Part 6 (2/2)

The question may arise in many minds, are these contrivances with theireffect, worthy of the time and attention which has been bestowed upon theht to be produced by rained papers; certainly, in the hands of the unskilled, the results would prove disastrous A painter may use them for sketches, especially for landscape Mr Compton (as on p 116) can express very rapidly and effectively, by scraping out the lights and strengthening the darks, a snowdrift or the surface of a glacier In the drawing on page 123, Mr

C J Watson has shown us how the grained paper can be played with, in artistic hands, to give the effect of a picture

The difference, artistically speaking, between sketches rained papers seems to me much in favour of the latter

[Illustration: No XX

”_Volendam_,” by C J WATSON

Example of white-lined paper, treated very skilfully and effectively--only the painter of the picture could have given so much breadth and truth of effect

This _white_ paper has a strong vertical grain which when drawn upon with autographic chalk has the same appearance as black-lined paper; and is often taken for it

(Size of drawing 6 4-1/2 in)]

But at the best, blocks s on these papers are apt to be unequal, and do not print with the ease and certainty of pure line work; they require good paper and careful printing, which is not always to be obtained The artist who draws for the processes in this countryin very exceptional cases) to have his work reproduced and printed as in America, or even as well as in this book

[Illustration: ”AND WEE PEERIE WINKIE PAYED FOR A'” (FROM THE PAINTING BY HUGH CAMERON)

_Exaely reduced_]

[Illustration: No XXI

”_An Arrest_,” by MELTON PRIOR

This is a re

It is seldo can be obtained on a ”half-tone” relief block, or the lights so successfully preserved

This is only a portion of a picture by Mr Melton Prior, the well-known special artist, for which I am indebted to the proprietors of _Sketch_

The reproduction is by Carl Hentschel]

The reproduction on the previous page owes its success not only to good process, paper, and printing, but also to _the firm, decisive touch of an experienced illustrator_ like Mr Melton Prior A pencil drawing in less skilful hands is apt to ”go to pieces” on the press

Mr C G Harper, in his excellent book on _English Pen Artists_, has treated of other ways in which drawings on prepared papers may be manipulated for the type press; but not alith success In that interesting publication, _The Studio_, there have appeared during the past year many valuable papers on this subject, but in which the _mechanism_ of illustration is perhaps too s,” and of chalk-and-pencil reproductions,such aids to illustration

The fact is, that the use of grained papers is, at the best, a radation of the art of illustration, if judged by the old standards It will be a bad day for the art of England when thesestudents in art schools

For the purposes of ordinary illustrations we should keep to the sireat care in printing, and the blocks have often to be worked up by an engraver _The material of the process blocks is unsuited to the purpose_ In a handbook to students of illustration this requires repeating on nearly every page

As a contrast to the foregoing, let us look at a sketch in pure line by the landscape painter, Mr M R Corbet, ith littleof sunrise and the still air ast the trees

[Illustration: ”SUNRISE IN THE SEVERN VALLEY” (MATTHEW R CORBET)]

MECHANICAL DOTS