Studio: international art (3.1894)

Decorative Illustration

In the work of the young artist here shown, we which in their reproduction are a trifle flat and
find no possible doubt; he has distinctly proclaimed grey. There can be little doubt that the danger
himself a follower of the more severe traditions of of this school lies in the temptation to employ too
the Pre-Raphaelites, and in The Bridge, for instance many lines, which if drawn on the wood would be
(illustrated below), shows an uncompromising expressed more simply, especially if the draughts-
severity of manner, allied to a strongly imaginative man intended to complete his work by cutting his

own block. That there is an infinitesimal
difference between an impression for a
woodcut and an impression of a process-
block from identically the same drawing
may be granted, without joining those who
denounce photo-engraving and all its work.
This is not the point I wish to emphasise
so much as the fact that for pen-drawings
in this manner the idea of a woodcut
must, one feels, dominate the whole treat-
ment. This may be said to be deliberately
falsifying the craft; and it is quite logical
to claim that a pen-drawing is, and should
be, obviously drawn by the pen, and not in
any way so close in its imitation of the
lines of a woodcut that it needs close
inspection to reveal the method of its pro-
duction. But logical deductions are not
always satisfactory in questions of aesthe-
tics. \'ou may demonstrate mathemati-
cally that a large drawing should preserve
the same relative effect when reduced;
that its masses of pure black, grey, and
white are in the same geometric propor-
tion to each other, whether it be a foot
square, six inches square, or three inches.
As a fact, the effect is surprisingly different.
Those who have had much practical ex-
perience of photographic methods of
reducing drawings, know that their fore-
casts are constantly contradicted by the
result; that no amount of experience will
enable them to say with certainty that the
" colour" of their drawing will appear
unchanged after considerable reduction.
' the bridge" from a pen-drawing by paton wilson This question of reduction is peculiarly

vital when discussing work of the school
grasp of his subject. Nor for a beginner is there these drawings follow. In fact, not a few artists
undue influence of any one master. It seems to working in pure black line have sternly refused the
me that in his composition and dramatic expression tempting offers of the photographer, and despite
of the literary idea there is considerable promise, the ease of working to a large scale, and the in-
On the one hand there is a slight tendency to a creased delicacy of detail gained by perfectly
somewhat colourless work, which besets the pen- achieved reduction, prefer to work, as in the old
draughtsman who attempts in this manner to days of wood-engraving, to the exact size intended
approach too near the realistic presentation of his for printing. Nor can it be doubted that the
theme; but in The Bridge we see that, working on feeling of a woodcut is more easily imitated in this
more purely conventional lines, he is stronger and way. One may allow for the reduction of the mass,
secures more colour than in either of the others but the thinning of each individual line is almost

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