The Art of Illustration Part 4

I do not think the modern ill.u.s.trator realises how much depends upon him in taking the place, so to speak, of the wood engraver. The interpretation of tone into line fitted for the type press, to which the wood engraver gave a lifetime, will devolve more and more upon him.

We cannot keep this too continually in mind, for in spite of the limitations in mechanically-produced blocks (as compared with wood engraving) in obtaining delicate effects of tone in line, much can be done in which the engraver has no part.

[Ill.u.s.tration: "THE LOWING HERD WINDS SLOWLY O'ER THE LEA." (W H.

GORE.)]

I purposely place these two pen-and-ink drawings by Mr. Gore side by side, to show what delicacy of line and tone may be obtained on a relief block by proper treatment. One could hardly point to better examples of pure line. They were drawn on ordinary cardboard (the one above, 4-1/4 9-3/4 in.) and reproduced by the gelatine relief process.

All this, it will be observed, points to a more delicate and intelligent use of the process block than is generally allowed, to something, in short very different to the thin sketchy outlines and scribbles which are considered the proper style for the "pen-and-ink artist."

But "the values" are scarcely ever considered in this connection. Mr.

Hamerton makes a curious error in his _Graphic Arts_, where he advocates the use of the "black blot in pen drawing," arguing that as we use liberally white paper to express air and various degrees of light, so we may use ma.s.ses of solid black to represent many gradations of darkness.

A little reflection will convince anyone that this is no argument at all.

Mr. Ruskin's advice in his _Elements of Drawing_, as to how to lay flat tints by means of pure black lines (although written many years ago, and before mechanical processes of reproduction were in vogue) is singularly applicable and useful to the student of to-day; especially where he reminds him that, "if you cannot gradate well with pure black lines, you will never do so with pale ones."

To "gradate well with pure black lines" is, so to speak, the whole art and mystery of drawing for the photo-zinc process, of which one London firm alone turns out more than a thousand blocks a week.

As to the amount of reduction that a drawing will bear in reproduction, it cannot be sufficiently widely known, that in spite of rules laid down, there is no rule about it.

[Ill.u.s.tration: "ADVERSITY." (FRED. HALL.)]

It is interesting to compare this reproduction with the larger one overleaf. There is no limit to the experiments which may be made in reduction, if pursued on scientific principles.

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

"_Adversity_," by FRED. HALL.

This fine drawing was made in pen and ink by Mr. Hall, from his picture in the Royal Academy, 1889. Size of original 14-1/2 11-1/2 in. Reproduced by gelatine blocks.

The feeling in line is conspicuous in both blocks, but many painters might prefer the smaller.]

[Ill.u.s.tration: "A WILLOWY STREAM." (FROM THE PAINTING BY MAUD NAFTEL.)

(_New Gallery, 1889._)]

Mr. Emery Walker, of the firm of Walker and Boutall, who has had great experience in the reproduction of ill.u.s.trations and designs from old books and ma.n.u.scripts, will tell you that very often there is no reduction of the original; and he will show reproductions in photo-relief of engravings and drawings of the same size as the originals, the character of the paper, and the colour of the printing also, so closely imitated that experts can hardly distinguish one from the other. On the other hand, the value of reduction, for certain styles of drawing especially, can hardly be over-estimated. The last drawing was reduced to less than half the length of the original, and is, I think, one of the best results yet attained by the Dawson relief process.

Again, I say, "there is no rule about it." In the course of years, and in the reduction to various scales of thousands of drawings by different artists, to print at the type press, my experience is that _every drawing has its scale, to which it is best reduced_.

In these pages will be found examples of drawings reduced to _one-sixtieth_ the area of the original, whilst others have not been reduced at all.

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

"_Twins_," by STANLEY BERKLEY.

Sketch in pen and ink (size 8-1/4 5-1/2 in.) from Mr. Berkley's picture in the Grosvenor Gallery in 1884.

A good example of breadth and expression in line, the values being well indicated. Mr. Berkley, knowing animal life well, and _knowing his picture_, is able to give expression to almost every touch. Here the common zinc process answers well.]

[Ill.u.s.tration: "THE DARK ISLAND." (FROM THE PAINTING BY ALFRED EAST.)

(_Royal Academy, 1885._)]

There is much instruction in these drawings by painters, instruction of a kind, not to be obtained elsewhere. The broad distinction between a "sketch" from Nature and _a drawing made in a sketchy manner_ cannot be too often pointed out, and such drawings as those by Mr. G. Clausen (p.

59), Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C. Gotch (p. 83), and others, help to explain the difference. These are all reproduced easily on process blocks.[9]

As to sketching in line from life, ready for reproduction on a process block, it is necessary to say a few words here. The system is, I know, followed by a few ill.u.s.trators for newspapers (and by a few geniuses like Mr. Joseph Pennell, Raven Hill, and Phil. May, who have their own methods), and who, by incessant practice, have become proficient. They have special ability for this kind of work, and their manner and style is their capital and attraction.

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

_A Portrait_, by T. C. GOTCH.

Pen-and-ink drawing (size 7-1/2 6-1/2 in.); from his picture in the Exhibition of the New English Art Club, 1889.

Mr. Gotch is well known for his painting of children; but he has also the instinct for line drawing, and a touch which reproduces well without any help from the maker of the zinc block.

The absence of outline, and the modelling suggested by vertical lines, also the treatment of background, should be noticed. This background lights up when opposed to white and _vice-versa_.]

But to attempt to _teach_ rapid sketching in pen and ink is beginning at the wrong end, and is fatal to good art; it is like teaching the principles of pyrotechnics whilst fireworks are going off. And yet we hear of prizes given for rapid sketches to be reproduced by the processes. Indeed, I believe this is the wrong road; the baneful result of living in high-pressure times. It is difficult to imagine any artist of the past consenting to such a system of education.

Sketching from life is, of course, necessary to the student (especially when making ill.u.s.trations by wash drawings, of which I shall speak presently), but for line work it should be done first in pencil, or whatever medium is easiest at the moment. The lines for reproduction require thinking about, thinking what to leave out, how to interpret the grey of a pencil, or the tints of a brush sketch in the fewest lines.

Thus, and thus only, the student learns "the art of leaving out," "the value of a line."

The tendency of modern ill.u.s.trators is to imitate somebody; and in line drawing for the processes, where the artist, and not the engraver, has to make the lines, imitation of some man's method is almost inevitable.

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

"_Sir John Tenniel_," by EDWIN WARD.

Example of another style of line drawing. Mr. Ward is a master of line, as well as a skilful portrait painter. He has lost nothing of the force and character of the original here, by treating it in line.

Mr. Ward has painted a series of small portraits of public men, of which there is an example on p. 90.

Size of pen-and-ink drawing 8-1/2 5-1/2 in., reproduced by common process.]

Let me quote an instance. The style of the late Charles Keene is imitated in more than one journal at the present time, the artists catching his method of line more easily than the higher qualities of his art, his _chiaroscuro_, his sense of values and atmospheric effect. I say nothing of his pictorial sense and humour, for they are beyond imitation. It is the husk only we have presented to us.

As a matter of education and outlook for the younger generation of ill.u.s.trators, this imitation of other men's lines deserves our special consideration. Nothing is easier in line work than to copy from the daily press. Nothing is more prejudicial to good art, or more fatal to progress.

And yet it is the habit of some instructors to hold up the methods (and the tricks) of one draughtsman to the admiration of students. I read in an art periodical the other day, a suggestion for the better understanding of the way to draw topical ill.u.s.trations in pen and ink, viz.: that examples of the work of Daniel Vierge, Rico, Abbey, Raven Hill, and other noted pen draughtsmen, should be "set as an exercise to students;" of course with explanation by a lecturer or teacher. But this is a dangerous road for the average student to travel. Of all branches of art none leads so quickly to mannerism as line work, and a particular manner when thus acquired is difficult to shake off.

[Ill.u.s.tration: THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)]

Think of the consequences--Vierge with his garish lights, his trick of black spots, his mechanical shadows and neglect of _chiaroscuro_--all redeemed and tolerated in a genius for the dash and spirit and beauty of his lines--lines, be it observed, that reproduce with difficulty on relief blocks--imitated by countless students; Mr. E. A. Abbey, the refined, and delicate American draughtsman, imitated for his method--the style and _chic_ of it being his own, and inimitable. Think of the crowd coming on--imitators of the imitators of Rico--imitators of the imitators of Charles Keene!

It may be said generally, that in order to obtain work as an ill.u.s.trator--the practical point--there must be originality of thought and design. _There must be originality_, as well as care and thought bestowed on every drawing for the Press.

The drawing of portraits in line from photographs gives employment to some ill.u.s.trators, as line blocks will print in newspapers much better than photographs. But for newspaper printing they must be done with something of the precision of this portrait, in which the whites are cut deep and where there are few broken lines.