Studio: international art (1.1893)

Drawing for Reproduction

engraver; I am dealing with him on his own lines;
and I think that he should endeavour to work
sympathetically with the artist for a change, and
try—price being duly considered—to work up to
the artist, instead of always demanding that the
artist should work down to him.

We should then find that the standard of excel-
lence both in drawings and process would rise
instead of falling, as it does at present. If the
photo-engraver will do this, the artist who works for
these cheap processes, knowing the difficulties all
round, will be satisfied, for it will result in this :
that although a drawing drawn to the process loses
less than one done to please oneself, the actual
result from the latter, which is incomparably the
better drawing, is far preferable, artistically, to the

ON PAPER WITH WHITE AQUATINT GRAIN

result obtained from the former. But at present
it is as though a moulder said to a sculptor: " I
can give you a perfect cast of your work very
cheaply, {/'you leave out the modelling."

L. Raven Hill.

V. Prepared Surface Papers. By an Expert.

The papers that have been experimented upon
are all chosen from those made by Gillot, and sold
by Lechertier, Barbe iS: Co., Regent Street, W.
The examples illustrated are given solely to exhibit
the different styles of work best adapted to their
use. These blocks are " direct" engravings, cost-
ing at most one-third of the price for "half-tones."
No special care has been given to their reproduc-
tion, and no engraving added to the blocks, the
object being not to show the most perfect result
possible, but the ordinary result which may be
reckoned upon safely in commercial work. The
capabilities of these prepared papers are not ex-
hausted in these specimens; but so far as possible
the drawings have been planned to display the
most important effects obtained with knowledge of
the material. Not merely is there great economy

ON PAPER WITH CANVAS GRAIN

of cost by their use, but the artist is able to judge
of the effect of his work while it is in progress, and
escape the uncertainty of a translation of a wash to
the " network " or " grain " of a half-tone block.
Besides, pure white spaces are possible with them,
whereas, on an ordinary " tint," or half-tone block,
pure white can only be obtained by the use of the
graver after the block has been made. The speci-
mens illustrated have been worked in several
varieties of paper, and shown examples upon :—

(1) Black diagonal lines.—This paper gives the
best imitation of a reproduction of a wash drawing
by the half-tone process.

(2) Black straight lines.—This runs the diagonal
very closely as regards usefulness; in both, the
effects are quickly and easily obtained.

(3) Black aquatint lines.—Though good for some
effects, its uses would be limited. Might be used
with advantage in the representation of textile
fabrics, &c. Requires care in working, and the
half tone is not neat or pretty.

(4) White diagonal lines.—Stipple effect, obtained
more satisfactorily with the black diagonal or
straight. Gives a fair imitation of a wash-drawing
if carefully worked, but is somewhat irregular and

A FAILURE