_MECHANICAL AIDS TO DRAUGHTSMANSHIP--DRAWING AND SKETCHING FROM NATURE._
The various methods whereby illustrations may be made for reproduction
have now been reviewed, if not exhaustively, at least with sufficient
completeness to enable the reader to start making those actual
experiments in practice without which the most exact description is
useless.
But thus far, with the exception of such cases in which it is possible
to use a photogram and reproduce it by "half-tone" process, some ability
to draw, some certain amount of native artistry on the part of the
student, has been taken for granted.
Now, while in wash drawings, crayon, or pencil sketches, "scrape"
boards, and the like, there must be some amount of instinctive artistic
ability, not only to guide the hand in execution but to govern taste,
idea, and selection; yet in simple line drawing with the pen, without
any art knowledge or technical ability, it may be possible to produce a
perfectly reproducible drawing, fulfilling in every way the essential
duty of an illustration. And if this be so, there is no reason why very
many more writers should not illustrate what they have to say, making
matters more intelligible and producing a more lasting impression.
For the purpose we shall require a photogram to commence with, and here
is a use and an application of photography not always fully realised or
appreciated. A man may be possessed of considerable taste and judgment
in the selecting of a view, or particular aspect of a building, and yet
be utterly lacking in ability to put down on paper correctly what he
sees; that is, he is not a good draughtsman. No particular taste in
selecting a position may be needed, or possessed, and yet it may be
desirable to portray an object, or scene, and it is to such men that the
camera becomes so important as an indirect means to illustration.
Indirect because, as already pointed out, the reproduction of a
photogram by half-tone process (the only way of reproducing a photogram
for type machine printing) is attended with difficulties, and cannot
always be resorted to. The half-tone block is not suitable for the most
rapid printing in newspapers, &c.; its results are not all that could be
wished; it is more expensive and takes longer to make, apart from such
other drawbacks pointed out in an earlier chapter. Therefore it is
desirable to see how we can utilise a photogram so as to produce the
simpler, and often more acceptable, line block from it, and do this by a
more mechanical method than re-drawing, or copying from it.
Probably the first easy method that will suggest itself will be to make
a tracing from it on tracing paper, and then with carbon paper transfer
it to the desired card, &c.
There is no objection to such a course, except that it is not always
attended with equal satisfaction. To begin with, a photogram is often so
dark in parts as to prevent our seeing many details through the tracing
paper; also, however careful, if we are tracing a face, the slight
deviation in tracing over the outlines and features, which is almost
unavoidable, and further variations when afterwards transferring, will
often seriously interfere with the likeness--presuming a likeness to be
required.
[Illustration: STUDY OF TREES.
_Crayon drawing on Lalanne paper; vertical grain._ (_Original 8 x
4-1/2._)]
An avoidance of error and saving of time may be effected by making a
fairly pale print and, having "fixed" it, cover the back with the
scribble of a blue pencil or chalk.
We can now place this down upon the card board or paper to be drawn
upon, and carefully go over everything that is to be drawn with a sharp
hard point, which will leave a blue outline sketch which can then be
inked in, and the blue need not be rubbed out afterwards as it will not
appear in reproduction.
In the same way the original photogram can be used with a piece of
_blue_ carbon paper instead of chalking the back of the print. No
attempt should be made to draw in all the details of a photogram, but
only such salient points as may be required for illustration.
Another method is as follows:--Make the photogram in the ordinary way,
but on "plain salted paper," or "Matt silver sensitised paper," which
has been previously prepared by immersion for a short while in a
solution of ammonium chlorate, 100 grains; gelatine, 10 grains; water,
10 ounces.
The photogram is to be fixed and washed, toning being unnecessary; when
dry it can be drawn upon with a "_fixed_" or _indelible_ black ink,
carefully putting in just what parts are needed and disregarding the
rest of the picture. As soon as the ink is dry, the print is immersed in
a bath of mercury bichlorate and alcohol, when the photogram will
gradually disappear, leaving the black ink lines on plain white paper.
Nothing more is required beyond mounting on card to fit it for
reproduction. Of course corrections can be made and stains, &c., be
removed with Chinese white. Should it be desired to restore the bleached
photogram, it can be done by immersing in a weak solution of soda
hyposulphite.
The foregoing method is one given by Mr. C.G. Harper in his book
"Drawing for Reproduction"; it appears, however, needlessly elaborate,
and I presume mercury _bichloride_ is intended and not bichlorate. Even
with care the photographic image is sometimes slow to get rid of, and
will often refuse altogether to leave the clear white blank we require.
[Illustration: ADVANCING TWILIGHT.
_Crayon drawing on Lalanne paper; horizontal grain._ (_Original 10-1/2 x
6._)]
A photographic print, however, on either albumenised or "Matt" paper
will certainly disappear utterly if subjected to the following bath, for
which formula I am indebted to Mr. E.J. Wall:--
Iodine 1 grain
Iodide of Potassium 10 grains
Cyanide of Potassium 20 "
Water 102 "
This is a similar solution as is used to remove ink-stains from linen,
&c.
The print may also be bleached by sponging over with the following
preparation, recommended by W. Ethelbert Henry:--
Saturated Solution Iodine in Alcohol 1 part
" " Cyanide of Potassium in Water 2 parts
Water 2 "
After which the print is to be washed well for a few minutes.
Of course the reason for using a "fixed" ink in such processes is
obvious.
Yet another method on similar lines, but even simpler in operation. A
certain photographic printing paper called "Ferro-prussiate" paper
gives, on exposure to light, a _blue_ image, and only requires washing
in water to "fix" or make it permanent. This blue print can now be used
for drawing upon, as in the previous instance, only that the
photographic image, being blue, does not need to be bleached, and will
not interfere with the reproduction of the black lines drawn upon it.
If for any reason it be desired to get rid of the blue print, this can
be bleached by immersion in water containing a little common washing
soda.
[Illustration: BEACHY HEAD.
_Crayon drawing on Michallet paper, right side._ (_Original 8-1/2 x
5-1/2._)]
Thus from a photogram of even the most elaborate subject an absolutely
correct drawing may be made fit for reproduction without the illustrator
having any knowledge or skill as a draughtsman.
By placing the unskilled in such a position, photography appears to have
removed the last obstacle to the more frequent use of appropriate
illustration; and the ease with which both pleasing and _accurate_
outlines can be made should render inexcusable the shamefully untruthful
"sketches" which every day appear in newspaper and magazine.
The method of drawing on thin transfer paper with transfer ink, and then
placing the drawing direct on to a zinc block, hardly needs to be
referred to here. Such a simple means of placing the image on the zinc
and then etching is necessarily of limited application, neither
reduction nor enlargement is possible, and photography is not employed;
it is merely a mechanical etching of the zinc in all parts not protected
by the ink image, as transferred from the drawing in transfer ink, and
is used for very rapid and imperfect portraits, &c., in the commoner
class of newspaper work.
And now, whatever be the special characteristics and advantages of the
camera, it is by no means my intention to advocate its use where even
only a moderate amount of native artistic ability exists; and, in all
probability, the possessor of such ability will more frequently prefer
to use his sketch-book than his camera--and this is as it should be.
There is always something of freshness about a first original sketch, be
it in whatsoever medium, a quality which the most careful copy fails to
repeat.
This brings us to consider whether it would not be well to make our
first impressions or sketches in such a manner that they could be handed
to the process worker right away; and we shall then have to consider
what medium and what materials are suitable for "drawing from life."
Certainly the ordinary pencil sketch, as taken from the pocket
sketch-book, would not do. In the first place such sketches would
rarely be vigorous enough, and whatever vigour they possessed would be
sadly diminished by rubbing and the pressure of the opposite page.
[Illustration: A SUSSEX LANE.
_Crayon drawing on Michallet paper, wrong side of paper used._
(_Original 9 x 4-1/2._)]
Very few have successfully drawn from life in pen and ink. Some few
well-known caricaturists and figure draughtsmen do so, and attain
success purely through their splendid dash and spirit, but such things
are forbidden the average man with whom the pen drawing is a matter of
delicate care. But there seems no reason why the lithographic crayon on
rough paper should not be thus utilised, and slight "touchings-up" added
afterwards. In this way we might often have ready for immediate
reproduction a sketch containing some of that spontaneous feeling which
is so noticeable when glancing through the pages of an artist's
sketch-book.
I have noticed in some a very false idea existing with regard to
draughting in a picture with pencil before using the pen and ink. Now I
do not hesitate to say that the careful sketching in of the subject in
pencil is essential to all except the genius, and I am not writing for
the genius, who knows more than I can tell him and can dispense with
what he does not know. There is nothing to be ashamed of in drawing
first in pencil; one might perhaps be able to draw in quite as correctly
with the pen, but the advantage of a pencil outline as a guide is that
it gives more time and leisure thought for carefully considering the pen
work before putting it in. By this course there is less danger of
confused hesitating lines. From the first let the ink lines be clear,
distinct, and black; no "messing about," to quote Mr. Blackburn's
expressive phrase; be decided as to the sort of shading you are going to
put in a certain place and put it there, once for all, and don't touch
it again. Avoid, by constant self-restraint, over-elaboration or too
much laboured detail; let each part of the drawing be _finished_ from
the first, and do not return to it and work on it over and over again.
And the first step to ensuring this precision will be by carefully
pencilling everything, _indicating_ only where shading is to come. When
the pen and ink drawing is completed, carefully erase the pencil marks
with _bread crumbs_; do not use indiarubber, which will be sure to
abrade the surface, and probably break the continuity of the ink lines.
As we become more conversant with the possibilities of the zinco
process, an intimacy which can only be brought by an experience built up
of experiments and failures, we shall find it possible to sometimes
leave in certain of the pencilling (allowing, of course, for their
coming up as black as ink), but for the beginner such a practice is not
recommended, as it is nearly sure to end in disappointment.
There are many interesting modifications of recognised means which are
possible to the experienced--especially the production of what may be
termed "mixed drawings," either for reproduction in half-tone or line,
drawings in which in order to produce less ordinary effects, wash, pen,
and pencil are employed combinedly; but, by the time my gentle reader
has reached a stage when he may advisedly attempt such excursions from
the orthodox path, he will have passed beyond the sphere of this book
and will be entitled to that liberty which art permits to its
practitioners.
In the meantime let me ask the student to repress for a time his more
lofty aspirations, and content himself with patiently learning to
produce--not a charming sketch, a delightful drawing, but--a drawing in
which there is as much of artistic or pictorial merit as is compatible
with the requirements of the process of reproduction. If you are drawing
professedly for reproduction, no blame can attach to you if you "bear in
mind during the production of your drawing the necessity of its making a
good block, with as little sacrifice of artistic quality as may be."
An exalted position as an art is not necessarily claimed for drawing or
painting for reproduction; but how much of that difficult-to-be-defined
quality which we call "artistic" exists in it, depends not so much upon
the method, the means, or the application, as it does on those who work
at it and their motive. Apart from this, viewed from the lowest aspect,
its utility is beyond question, and at the present time it is an
application of fine art showing the most vitality of any.
The books devoted to the subject which have already been written, have
perhaps given too much attention to the actual processes of
reproduction--they have not appealed to the illustrator; or else, while
professing to be books of instruction in practice, have dealt rather
with the theory of illustration and the comparison of styles. It seemed
to me there was need for a simple description of methods for the
enlightening of a beginner: an elementary guide; a first step; in short,
a Handbook of illustration.
[Illustration]
Higgins'
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Inks
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Originators and Manufacturers Inks and Adhesives,
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[Illustration]
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PHOTO-CERAMICS
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Photography applied to the decoration of China, Porcelain, Placques, Art
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POST PAID, FIVE CENTS EXTRA
G. GENNERT, PUBLISHER
24 & 26 East 13th St. NEW YORK
Photo Lithography
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BY GEORGE FRITZ
VICE-DIRECTOR OF THE COURT AND IMPERIAL STATE PRINTING WORKS AT VIENNA
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TRANSLATED BY E.J. WALL FELLOW OF THE ROYAL PHOTOGRAPHIC SOCIETY
* * * * *
CONTAINING SIX FULL PAGE PLATES BY THE IMPERIAL STATE PRINTING WORKS AT
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This book treats of the preparation of Collodions, etc., for Negative
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G. GENNERT, PUBLISHER
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[Illustration]
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[Illustration]
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[Illustration]
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[Illustration]
Hume's
[Illustration]
[Illustration]
CANTILEVER ENLARGING APPARATUS
In 30 Sizes, Various Patterns.
[Illustration:
The
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Pattern
]
5½ in. Condensers, for 3¼ 4¼ plate, without objective, $35; with
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8¼ in. Condensers, for 5×7 plate, without objective, $60; with
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Fine Screw Motion, for use with non-racking lenses. Price for all sizes,
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Goods Tested Thoroughly and Packed Free
G. GENNERT
Sole American Agent
24 and 26 East 13th St. NEW YORK
Adams
[Illustration]
"BRILLIANT" VIEW FINDERS
[Illustration]
A perfect, bright and distinct image in direct sunlight, or in a room
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STYLE No. 1, FOR REGULAR CAMERAS STYLE No. 2, FOR DETECTIVE CAMERAS
* * * * *
=J.A. LEONARD,
Civil Engineer.=
NEWBURGH, N.Y., Oct. 2, 1895.
The "Adams" Finder received this A.M., and I want to thank you for
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* * * * *
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Style No. 1. Size No. 1, $4.50 Size No. 2, $5.50 Size No. 3, $6.50
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G. GENNERT, Sole Agent
24 and 26 East 13th Street, NEW YORK THE "GENNERT"
"UNIVERSAL"
Hard Rubber Fixing Box
[Illustration: No. 1.]
[Illustration: No. 2.]
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Buy a "Gennert" Universal Fixing Box, made of pure hard rubber, and save
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G. GENNERT, Manufacturer
24-26 East 13th Street NEW YORK
CARBUTT'S
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[Illustration: JOHN CARBUTT
MANUFACTURER OF
Dry Plates, Films
AND
PHOTOGRAPHIC SPECIALTIES
WAYNE JUNCTION
PHILADELPHIA.
]
PRICE LIST--Plain, Orthochromatic and Strippers
Sizes. |Per Doz. |Per Doz. |No. of
|Plain |Strippers.|Doz.
|or Ortho.| |in Case.
----------------+---------+----------+---------
3-1/4 × 4-1/4 | $0 45 | $0 70 | 36
4 × 5 | 0 65 | 0 90 | 36
4-3/4 × 6-1/2 | 1 00 | 1 25 | 24
5 × 7 | 1 10 | 1 45 | 24
5 × 8 | 1 25 | 1 65 | 24
6-1/2 × 8-1/2 | $1 65 | $2 20 | 12
8 × 10 | 2 40 | 3 20 | 12
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11 × 14 | 5 00 | 6 65 | 3
14 × 17 | 9 00 | 12 00 | 2
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WRITE TO FACTORY FOR CIRCULARS
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=Wayne Junction, Philadelphia=
Winsor & Newton's
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[Illustration]
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[Illustration]
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[Illustration]
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[Illustration: AS A FRONT FOCUS.]
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screw catching.
10th. It can be set up and taken down quicker and easier than any
Camera.
Add to this absolutely perfect workmanship, materials and finish, and
you have the Brighton Camera, the Twentieth Century product.
[Illustration: AS A BACK FOCUS.]
PRICE LIST.--Leather Bellows, Double Swing, including one "Xtralite"
Plate Holder and Carrying Case, 5×7, $24.00; 5×8, $26.00; 6-1/2×8-1/2,
$28.00; 8×10, $30.00; 11×14, $40.00; 14×17, $60.00.
=G. GENNERT, Manufacturer=
=24 & 26 East 13th Street, NEW YORK=
[Illustration]
ROSS LENSES
ROSS ZEISS ANASTIGMATS
ROSS-GOERZ
DOUBLE ANASTIGMATS
[Illustration]
=The Best Photographic Objectives for all purposes. Several series
especially adapted to Reproductions.=
[Illustration]
Catalogue on Application to
G. GENNERT
Sole American Agent
=24 & 26 East 13th Street, NEW YORK=
[Illustration]
There are
WASHING BOXES AND BOXES
=That are Supposed to Wash, But Don't Do It=
[Illustration]
The Gennert Universal Washing Box
[Illustration]
WASHES CLEAN AND QUICK
No. 1 Holds 22 Plates 3-1/4 × 4-1/4 or 4-1/4 × 6-1/2--11 Plates
6-1/2 × 8-1/2. Price, $2.00.
No. 2 Holds 22 Plates 4 × 5, 5 × 7, or 5 × 8--11 Plates 8 × 10.
Price, $2.25.
G. GENNERT, Sole Mfr.,
=24 and 26 East 13th St. NEW YORK=
"THE NEW YORK PHOTOGRAVURE CO., at 137 West 23d Street, makes perfect
pictures for artistic, scientific and commercial purposes, by special,
inimitable photogravure, photogelatine, and half-tone block processes.
It has a gallery fitted to produce negatives of all sizes up to 24 × 30,
by the best orthochromatic methods. From this department to the packing
room, there is not a phase of any work, however trivial apparently, not
carefully attended with the most zealous supervision."
=From King's Handbook of New York City=
* * * * *
=Photographs in Colors=
"Mr. Edwards spoke from the small stage at the end of the exhibition
hall, and after an interesting résumé of the many 'processes' by which
pictures and illustrations are now made with the aid of photography, the
most important of which he explained in lucid and not too technical
phraseology, he approached the most interesting part of his discourse,
the modern method of three-color printing, which has, under the New York
Photogravure Company, reached so high a state of perfection and resulted
in such surprisingly attractive results."
=From the Mail and Express, New York=
* * * * *
"SUN AND SHADE reproduces, not only the most notable paintings and
portraits, but the best work of amateur and professional photographers.
If it gave nothing but the latter work, it would be deserving of the
most liberal patronage that it receives; but it is an admirable record
of the greatest paintings at the Metropolitan Museum of Art, of living
American players, of portraits of celebrated Americans, of great
American painters, with reproductions of their work, and it is a
monument of the New York Photogravure Co., which is a monument of
artistic New York."
FOOTNOTES:
[1] Our frontispiece, a Collotype by S.B. Bolas and Co., is an
excellent example of this process.]
[2] The copper deposited by electro-deposition is little more
than a thin skin of metal, which is then backed by a block of type-metal
of the same thickness as the usual letterpress type.]
[3] See remarks on printing in Chap. X.]
[4] The term "tone," as used here and elsewhere throughout this
book, is a word universally employed in art to express varying degrees
of lightness and darkness irrespective of colour. The word "shade," as
commonly used and accepted, comes nearest to its meaning, but that shade
refers rather to varying tint of local colour, as when one says "a
beautiful shade of pink." "Shade" is also used to express the reverse of
"light," as "light and shade." Objects in nature, when represented in
correct relationship of lightness and darkness, are said to be in
correct relative tone.]
[5] Refer to p. 72.]
[6] Here, with all due deference, I may draw attention to the
unpleasing effect of an illustration of elliptical or "cushion" shape,
especially when mixed with letterpress on a book page, the general
scheme of which is square or rectangular. Unless an irregular shape is
for a special purpose desirable, it will be safer to keep the
illustrations to a rectangular form.]
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| |
| Transcribers Notes: |
| |
| Fixed various commas and full-stops. |
| P.16. 'astist' changed to 'artist'. |
| P.32. 'ana' changed to 'and'. |
| P.109. 'reveiwed' changed to 'reviewed'. |
| Add: Camera: to 'be be raised', changed to 'be raised'. |
| |
+--------------------------------------------------------------+
End of Project Gutenberg's A Handbook of Illustration, by A. Horsley Hinton