_OTHER METHODS ADAPTED FOR LINE REPRODUCTION._
When a large space is required to be covered with an even tint, an
immense saving of labour and time may be effected by the use of "Shading
media"; but beyond a mere saving of labour they may, if discreetly used,
be made to produce some very desirable effects.
[Illustration]
If applied to the entire surface, the result is very like a half-tone
process block in appearance. This is seen in the illustration on page
85, in which the shading medium has been applied everywhere except in
the few white spots.
Such an application is particularly useful for evening or twilight
subjects, but it is more usual to employ them locally, especially for
skies. They are also largely used by some artists for figures, in the
manner shown in illustration on page 65, in which the shading is so
effectively used on the waistcoat and hat of the man.
The pattern of the tint varies greatly, there being more than a dozen
distinct designs, a few examples of which are given on page 91.
[Illustration: SHADING MEDIUM ON PEN SKETCH VIGNETTE.
(_Original 5 x 4._)]
These shading media are introduced on to the zinc block after printing
from the negative (see Chap. VII.), for which purpose transparent sheets
of gelatine, on which the required pattern has been engraved and
previously inked, are used. By pressing these on to the albumen or other
surface of the block, an ink impression is transferred, which
accordingly protects the surface during etching in the same manner as
the rest of the picture. The "shading" need not be restricted to the
blank spaces only, but may be pressed on to any part or the whole of the
block; and there is no reason why two or more different patterns should
not be used in combination on the same subject. The gelatine sheets
being transparent, the process worker can see exactly where to apply
them, and can do so with considerably intricacy.
In sending to the etchers a drawing in which a shading medium is to be
introduced, the practice is to mark such portions as are to be shaded by
scribbling over with blue pencil; this is at once understood better than
written instructions. It had better be stated whether a dark or light
tint be required; also whether it is to be vignetted or shaded all over.
Vignetting is the most usual, as seen in the accompanying block, page
92. It is usual for the process people to make a slight additional
charge for the introduction of tints; especially if at all complicated.
And, of course, if special experiments in the combination of various
tints be intended, requiring special care, fair consideration must be
made for the additional trouble and labour.
Like most mechanical aids to drawing, shading media must be adopted with
discretion, and they can at best be considered as a poor substitute for
pure hand-work; they economise time and are useful in an emergency, but
I should certainly caution the beginner against the too frequent use of
them.
An ingenious method of imparting a certain greyness to some portions of
a drawing is illustrated by the accompanying sketch "Near Berry Head."
This is known as "Splatter work," and consists of sprinkling minute dots
of the black drawing fluid wherever required.
The drawing is first executed in the usual way, and all portions which
are not to be "splattered" upon are covered over with pieces of paper
cut to the necessary shape and size.
A stiff bristle brush is then inked; nothing serving for the purpose
better than an ordinary tooth-brush. Holding the brush in the left hand,
with the bristles downwards, the bristles are to be briskly stroked with
any handy stick of wood; in this manner a spray of tiny dots of ink is
splashed on to the paper beneath.
[Illustration: NEAR BERRY HEAD.
_Pen drawing--foreground dotted by "splatter" work._ (_Original 6-1/4 x
5._)]
Perhaps a finer and more regular spray may be obtained by taking the
brush in the right hand and brushing it over the fine teeth of a comb,
by which means the splashes can be with more certainty directed to a
particular spot. Superfluous ink should be struck off the brush before
sprinkling the drawing, and some portions of the protecting paper masks
can be removed before others if some of the "splattering" be required to
extend further.
It will be best to use an indelible or fixed ink for this work, as, even
after practice, some ugly splashes are apt to occur, which will have to
be afterwards corrected with Chinese white. Splatter work is more
largely practised in America, and is just one of those tricks which in
dexterous hands is sometimes so peculiarly happy in its results, and yet
so apparently unresponsive in others.
We now come to consider an important group of drawing methods, known as
"Scratch boards."
In speaking of white cardboards, reference was made to clay surface
boards, and the possibility of removing any fault by scraping with a
knife. We have now to do with a selection of boards in which the clay
surface and the scraping-out possibilities are carried to the utmost
practical extent, and made use of as a chief method of representation,
not as a means to correct mistakes. These boards are of two principal
kinds: 1st. White, on which are impressed white indented lines, giving
the whole a ribbed appearance; and, 2nd, Black reticulations, or lines
printed at right angles to the impressed grain or ribs.
Canvas-like reticulations, irregular grain or "Aquatint" dots, and
diagonal or vertical lines, are the most useful patterns (of which there
are many); they may be obtained at F.W. Devoe & C.T. Raynolds Co. and
most of the dealers in materials, and are known as scratch-out,
scrape-out or stipple boards.
Both boards are of a somewhat similar description, differing only in the
method of producing the pattern. In the white boards the marks are
_impressed_; whereas in the black ones they are _printed_.
Taking the black patterns first, the grain printed thereon supplies us
with a flat grey tint composed of numerous fine black lines; this for
convenience we will call the _full_ tint. Now if we gently scrape the
clay surface with the sharp point of a knife, moving it _across_ the
black lines, they will be removed from the top of the impressed ridges
which cross at right angles, thus at once converting the _black lines_
into rows of _black dots_, and giving a lighter tint which we will call
a half-tint. Closely examine the accompanying series of specimens, and
this will be at once recognised.
[Illustration:
No. I. No. II.
DOTS. HORIZONTAL LINES.]
[Illustration:
No. III. No. IV.
DIAGONAL LINES. AQUATINT.]
[Illustration:
THE SCRAPER.]
EXAMPLES OF BLACK GRAIN "SCRAPE BOARDS." (_Original size._)
In No. 1 we have a board with parallel ruling, as supplied by the
makers; in No. 2, a few strokes of the knife have converted some of the
lines into dots; in No. 3, the knife has been used more vigorously,
scraping away lines altogether and thus producing plain whites. This,
then, gives us full tint, half-tint, and white. Now if we work with
pencil or pen on the full tint, building up the drawing precisely as if
drawing on plain white card, and then scrape out, as just illustrated,
it will be seen what a wide range of "tones" will be suggested.
[Illustration: No. I. No. II. No. III.]
The drawing is to be put in first either with crayon, pencil, or ink,
and the scraping done afterwards; by this means any mistakes can readily
be scratched out; no small consolation to the unpractised. But, on the
other hand, a faulty scratch or scrape cannot be rectified, hence the
greater need for care.
The manner of handling the knife (an ordinary penknife, or a specially
constructed blade, may be used) differs a good deal in individual
workers, but the safer manner is perhaps to keep the knife well up and
nearly vertical. Avoid outlines, allowing the different degrees of tint
to separate one object from another, as one would do in a wash drawing,
and proceed somewhat in the manner illustrated by the accompanying
figures.
[Illustration: A MISTY MOONRISE.
(_Original 4 x 2-1/2._)]
[Illustration: (_Original 4 x 2-1/2._)]
One of the difficulties to be guarded against is the too great evidence
of scraping, the knife marks often revealing themselves much more
plainly in the reproduction than in the original, also the too sudden
contrast between the full tint and the scratched half-tint. Notice in
the two accompanying sketches on diagonal grain boards, by Mr. C.J.
Vine, how the full tint, when it meets the half-tint, is broken up by
slight irregular scratches; especially is this seen in the sky of "A
Misty Moonrise." In this sketch, sky, sea, and the sails of the two more
distant boats, are almost entirely made up by the diagonal tint and the
scraped half-tint. Only in the hulls of the boats and the sails of the
nearest boat is pen-work introduced, the lines being drawn diagonally
from right to left, at right angles to the grain of the full tint.[6]
[Illustration: PEN AND INK ON BLACK LINE SCRAPE BOARD. FIRST STAGE.
(_Original 5-3/4 x 3._)]
[Illustration: PEN AND INK ON BLACK LINE SCRAPE BOARD WITH WHITE SCRAPED
OUT.
(_Original 5-1/2 x 3-1/4._)]
A more rapid way of obtaining an effect can hardly be imagined than by
these "scraped" boards, and in good hands, or with practice, the
effects obtainable are often very charming. The drawings should, as a
rule, be not greatly larger than the reproduction intended--a reduction
of one-third or one-half being about the best. All the different kinds
of black grain boards are treated in the same manner as above described.
[Illustration: PENCIL ON VERTICAL GRAIN WHITE SCRAPE BOARD.
_By C.J. Vine._ (_Original 4 x 3._)]
Now the use of white grained boards is less a scraping method than pure
line drawing, much of the "line" being almost mechanically produced by
drawing upon the "ribbed" surface with pencil. We know if we place a
piece of paper upon a rough, cloth-covered book and rub a blacklead
pencil over it we get a mottled effect, the blacks and whites of which
are reproductions of the projections and depressions on the book cover;
so if we draw on a ribbed surface clay-board with pen and ink, the ink
follows elevation and depression in one continuous pen stroke. If,
however, we draw with a black pencil, without undue pressure, the pencil
passes from one elevation to another, or from one "rib" to another, and
thus forms a broken or dotted line, which, although in actual colour as
black as an ink line, yet being broken and not solid, will reproduce
lighter or greyer. A number of adjacent pencil lines would therefore
produce a flat tint of dots, very similar to the tint of a "half-tone"
block or a "shading medium," in addition to which, and upon which, ink
lines may be made to produce deeper blacks. On the accompanying
illustration are pencil marks and ink strokes drawn on a piece of
grained white board, the grain or "ribs" being vertical. To the left, a
single detached pencil stroke forming dotted lines; next are adjacent
pencil lines constituting a grained tint, something very like the full
tone of the black-grained blocks before considered, and coarser or finer
in proportion as the pencil is pressed more or less heavily; next we
have some pen and ink lines, the difference of which will at once be
seen; and finally, a mixture of pencil and pen, on which the knife has
subsequently been used to scratch some small lights. This exhausts the
practical possibilities of white grained scrape boards.
[Illustration]
The accompanying sketches will show somewhat the kind of things
obtainable.
[Illustration: PENCIL AND PEN ON VERTICAL LINE WHITE SCRAPE BOARD.
_By C.J. Vine._ (_Original 4 x 3._)]
Reduction causes a very marked improvement, and the drawings should be
looked at from time to time whilst in progress with a "diminishing"
glass. An indelible ink should be used, or one that does not penetrate
but rests on the surface: such as ivory-black, lamp-black, or Indian
ink. Instead of pencil, a stick of lithographic chalk will be of
advantage. In the first place, the greyness of pencil is deceptive, and
reproduces blacker than we expect, moreover pencil rubs and smears; not
so lithographic chalk, which does not rub, and is black. The scratching
or scraping must be the final stage of a drawing, as only solid pen
marks can be put on the white board after the grained clay surface has
been removed.
DRAWINGS IN PENCIL OR CHALK ON ROUGH PAPERS.
By the foregoing description of pencil or chalk drawing on ribbed
surfaces, we see how a pencil drawing may be translated by an ordinary
line zinco block, instead of the more expensive half-tone process
described in the earlier chapters. The pencil or crayon point, in
passing over a rough or broken surface, forms a series of dots instead
of a continuous line. The same thing occurs when pencil is used on a
rough surface drawing paper. Such pencillings, being examined, are found
to be lead marks, interspersed with minute interstices of white paper,
the whole giving a sort of grey tint of greater or less intensity.
For broad sketchy effects such a drawing method is exceedingly valuable;
some very delightful things may be done without the least appearance of
the mechanical.
[Illustration: SEWARDSTONE MARSHES.
_Drawing on Conté crayon on rough paper._ (_Original 6 x 4._)]
As may be readily understood from the accompanying examples, such
drawings are best adapted for purely artistic impressions, and not for
the portrayal of detail.
Practically any paper may be used which is white, and whose surface is
sufficiently rough; some particular kinds, about to be mentioned, have
proved especially successful under experiment. Any material may be used
to draw with, preference being given to a black substance which will not
smear or rub on being touched.
A good "B" blacklead pencil has the advantage of being pleasant to
handle, and capable of being used with a sufficiently fine point to
render some details; it has, however, the decided disadvantage of
"rubbing" with a very little touching, and the strokes, although fairly
intense, are not so black as crayon; hence, in reproduction, many
portions which were expected to come out soft and delicate, reproduce
much too black. We have, then, for our selection, Hardmuth's or Conté's
crayons, made in several degrees, and also made into cedar-wood
pencils--a cleaner and more handy form. Neither of these is,
unfortunately, free from the disadvantage of blurring when rubbed, and
will hence require to be fixed before being sent away; the
photo-engraver, in the press of his business, rarely failing to subject
drawings to a severe test.
Fixing may be best effected by treating the drawing with a solution of
one part pure gum mastic dissolved in seven parts methylated spirit.
In Lemercier's lithographic crayons we have a drawing medium which gives
as satisfactory results as the Conté or Hardmuth, and does not blur; it
therefore saves the trouble of fixing. Being greasy, they should be used
in a porte-crayon. They are made in three degrees as to hardness, the
No. 1 being the hardest and best suited for drawing the limited amount
of detail which is possible with crayons.
So long as the drawing is not too heavily worked upon, a surprising
improvement is secured by reducing. A reduction of one-half is not too
much.
As to the papers to be used, the following may be mentioned as only some
which I have tested, and which others have spoken well of, but there
must be a great many other rough surface materials well worth a trial.
Of the well-known Whatman papers, both the "Hot-pressed" and "Not," the
latter being, perhaps, preferable.
A French paper, Allongé, has a very pleasing surface grain, and may be
used on the right or wrong side with different results; the right side
being the rougher, and perhaps the better.
[Illustration: CRAYON DRAWING ON ALLONGÉ PAPER.
_Small whites in Chinese white._ (_Original 9 x 6._)]
Next, we have Lalanne and Michallet or Ingres papers, and some examples
of crayon drawing on these are here given.
[Illustration: CRAYON ON PYRAMID PAPER NO. 2.
_Small whites in Chinese white._ (_Original 7 x 6._)]
The most noticeable feature in these will be the lines, or grain, formed
by the texture of the paper; this grain is apparently more perceptible
when vertical, but if the paper is turned round so that the lines come
into a horizontal position, they are much less discernible in the
finished sketch.
In many respects the effect of these papers is a good deal similar to
that gained by using the white lined clay-boards; the grain being,
however, less mechanical. In like manner the crayon sketch may be
effectively helped by the addition of pen and ink, or fine brush work.
Scraping out, however, is not within its capabilities; though Chinese
white, if applied fairly solidly, may successfully stop-out small lights
or efface errors.
[Illustration: CRAYON ON PYRAMID NO. 1. (_Original 9 x 6._)]
Other papers which may be attempted are Arnold's drawing papers, rough
surface cartridge, various crayon papers, &c. Such houses as Penrose &
Co., Amwell Street, E.C., London, or F.W. Devoe & C.T. Raynolds Co., of
New York, would probably supply patterns and information in this
respect.
A paper known as Pyramid Grained paper has a granulated surface,
breaking the crayon marks into a succession of dots rather than broken
lines, and often yields very pleasing results; it is made in two varying
degrees, No. 1 having a grain of 15,000 "pyramids" to the square inch,
and No. 2, 9,000.
For a further variation in effect, a drawing may be executed in crayon
or pencil on a fairly smooth paper previously pressed into close contact
with any rough surface, such as sandpaper or canvas. The unsized side of
a canvas for oil painting, or the cover of a book, will answer the
purpose; openness of work, and the amount of ultimate reduction
desirable, being depended upon and controlled accordingly.
The following sketches, by Mr. C.J. Vine, on Michallet and Lallane
papers (pp. 111, 113, 115, 117), are pure untouched crayon work,
reproduced by zinc line etching, so that these drawings may be safely
entrusted to this cheapest and least sympathetic process; though there
can be little doubt that the swelled gelatine would render fuller
justice to work of this class.
[Illustration]
[Illustration]