The Art of Illustration Part 12

[Ill.u.s.tration: "TAKE CARE." (W. B. BAIRD.)

(_Royal Academy, 1891._)]

FOOTNOTE:

[24] There seems but one rule of criticism in this connection. If a book ill.u.s.tration comes out coa.r.s.ely and (as is often the case) a mere smudge, the process is blamed, when the drawing or photograph may have been quite unsuitable for the process employed.

STUDENTS' DRAWINGS.

The following four examples of drawing from life, by students at Victoria Street, fresh from art schools, are interesting as tentative work. The object has been to test their powers and _adaptability for line work_; avoiding outline in the experiment as much as possible.

Nos. 1, 3, and 4, it will be observed, evade backgrounds altogether--the too ready solution of a difficult problem in line.

These drawings were made direct from life, in line; a system not to be recommended, excepting as an experiment of powers.

Examples of students' wash drawings, &c., will appear in future editions of this book.

[Ill.u.s.tration: No. XLI.

"_Spanish Woman_." A Study from Life.

By INA BIDDER.

This is a clever sketch with pen and ink and brush, and drawn with a bold free hand, reproduced on an (untouched) process block. It shows originality of treatment and courage on the part of the student; also the value of great reduction to give strength and effect.

(Size of drawing, 16 11-1/2 in.)]

[Ill.u.s.tration: No. XLII.

"_Sketch from Life_," by ESTELLE D'AVIGDOR.

This student was the winner in a prize compet.i.tion lately in _The Studio_. She has undoubted ability, but not clearly in the direction of line drawing. After considerable success in painting, this student writes: "I still find the pen a difficult instrument to wield."

In this sketch we see the influence of Aubrey Beardsley and others of the dense-black, reckless school of modern ill.u.s.trators.

(Size of drawing, 10 6-3/4 in.) Zinc process.]

[Ill.u.s.tration: No. XLIII.

_Sketch from Life_, by G. C. MARKS.

This pen-and-ink drawing is interesting for colour, especially in the hair; it would have been better modelled if drawn first in pencil or chalk.

This student has an obvious apt.i.tude for line work; the touch is very good for a beginner.

(Size of drawing, 10-1/2 8 in.) Zinc process.]

[Ill.u.s.tration: No. XLIV.

_Bough of Common Furze_, by WILLIAM FRENCH.

A most careful study from nature in pen and ink. (Size of original drawing, 14 11-1/2 in.) Reproduced by zinc process.

This artist learned the method of line work for process in a month.]

CANTOR LECTURES.

The ILl.u.s.tRATIONS in this Volume are, for the most part, reproductions of drawings which--for purposes of study and comparison--are shown by Mr. Blackburn at his Lectures in Art Schools, enlarged to a scale of 15 to 20 ft.

Students who may be unable to attend these lectures can see some of the original drawings on application (by letter) to "The Secretary, at Mr.

HENRY BLACKBURN'S STUDIO, 123, Victoria Street, Westminster."

APPENDIX.

1. PHOTO-ZINC PROCESS.--2. GELATINE PROCESS.--3. HALF-TONE.--4.

INTAGLIO PROCESSES.--5. DRAWING MATERIALS.--6. BOOKS FOR STUDENTS.--7.

DECORATIVE PAGES.--8. LIST OF PHOTO-ENGRAVERS.

PHOTO-ZINC PROCESS.

FOR THE REPRODUCTION OF LINE DRAWINGS IN RELIEF, SUITABLE FOR PRINTING AT THE TYPE PRESS.

DESCRIPTION OF THE PROCESS.--The first stage is to have the drawing photographed to the size required, and to transfer a print of it on to a sensitized zinc plate. This print, or photographic image of the drawing lying upon the zinc plate, is of greasy substance (b.i.+.c.hromate of potash and gelatine), and is afterwards inked up with a roller; the plate is then immersed in a bath of nitric acid and ether, which cuts away the parts which were left white upon the paper, and leaves the lines of the drawing in relief. This "biting in," as it is called, requires considerable experience and attention, according to the nature of the drawing. Thus, the lines are turned into metal in a few hours, and the plate, when mounted on wood to the height of type-letters, is ready to be printed from, if necessary, at the rate of several thousands an hour.

THE COST of these blocks averages 6d. the square inch where a number are made at one time, the minimum price being 5/-.

Small book ill.u.s.trations by this process, by firms who make a specialty of producing single ill.u.s.trations, are often charged 9d. the square inch, with a minimum of 7/6; but the cost should never be more than this for a single block by the zinc process.

GELATINE PROCESS.

FOR THE REPRODUCTION OF DRAWINGS IN LINE IN RELIEF, SUITABLE FOR PRINTING AT THE TYPE PRESS.

This is a more delicate and sensitive method of obtaining a relief block. It is called the "gelatine," or "Gillot" process.

The drawing is photographed to the required size (as before), and the _negative_ laid upon a gla.s.s plate (previously coated with a mixture of gelatine and b.i.+.c.hromate of potash). The part of this thin, sensitive film not exposed to the light is absorbent, and when immersed in water swells up. The part exposed to the light, _i.e._, the lines of the drawing, remains near the surface of the gla.s.s. Thus we have a sunk mould from which a metal cast can be taken, leaving the lines in relief as in the zinc process. In skilful hands this process admits of more delicate gradations, and pale, uncertain lines can be reproduced with tolerable fidelity. There is no process yet invented which gives better results from a pen-and-ink drawing for the type press.