Studio: international art (2.1894)

Drawing for Reproduction

grain, Whatman's " Not" and " H P," and tions are quickly covered with the protective

Michallet's, are the best. material, while the finer lines or dots remain

The Allonge, Whatman's "Not," and Michallet practically untouched. Further rolling, though

require no preparation ; the Whatman " H P " absolutely necessary for the adequate protection

should have the glaze removed with a wet sponge, of these fine lines, results in more or less serious

care being taken not to roughen the surface, spreading and blotting-out of lights in the heavy

Allonge paper yields two effects; the right side shadows, and a piece of "colour" relieved by

approximates to Whatman's "Not," but in finer lights thus becomes an almost solid black. When

grain, while the reverse side is of still closer texture, this does not happen, the fine work, through

insufficient protection, is bitten up by the acid.

Whatman's "hp" paper (6x4)

but less pleasing. Work on these papers may be
greatly reduced ; indeed, sketches made on a half- ON allong£ paper' right side (6i x ^

sheet of Michallet or Allonge (about 18 by 12)

have been reduced to 9 by 6 with admirable Doubtless the swelled gelatine process would
results—but this was done in Paris ! reproduce this description of work better, but here

Michallet has perhaps one disadvantage, although the object is t0 show what maY be done by the less
some artists do not consider it a blemish—the expensive photo-zincography. For it should not be
lines which score its surface at intervals of about forgotten that this latter is after all but a clumsy
an inch are quite apparent, and give the drawing mechanical process, requiring skilful and masterful
the appearance of a badly joined wood block. supervision, but still mechanical; and it is un-

This imitation pencil work can never compete generous to hold the zinco-engraver responsible for
with pure line work—it can only supplement and ill-results arising from the lack of certain qualities

assist it; but it certainly might be more freely used in his mechanism. _ L. V.

than at present. Very deep, close shading is best Next t0 brains, perhaps the most important agent
avoided in any sort of drawing intended for a in pen-drawing is the pen, and some Mr. Joseph Gillott
cheap zinco-process; for if there be close masses sends us for notice seem beyond rivalry. The

drawing pen, No. 1000, has almost the quality of
a fine brush. For a line that nearly realises Euclid's
definition of length without breadth, to one a
quarter-inch wide, flows from it as the wielder
inclines. No. 601 E F, is another delightful nib,
full size; to fit an ordinary holder it has every desir-
able quality. No. 1 is also most useful. The
mapping pens, and the well-known lithographic
Crow Quill, No. 659, are equally worthy of praise.
No proof need be advanced to support a eulogy
upon Gillott's pens, for every artist who has tried
from the drawing (44 x 2J) on allonge paper them admits their perfection.

(right side)

In claiming for the Portable Photograph Tabloids

of dots or lines in contiguity with fine, though which Messrs. Burroughs, Wellcome & Co. issue

perfectly black,- lines, the former are generally in such convenient form—that they are portable,

deepened or rendered solid black. This unde- lasting, accurate, and energetic—the makers natu-

sirable effect is produced in "rolling up" on the rally attract the attention of all photographers,

zinc, preparatory to etching. This rolling up is especially amateurs and those touring with a

done with a roller akin to that used by the printer, camera. We hope at some future date to deal

and a network of close, strong lines or dots more fully with these excellent preparations, which

naturally takes the ink more readily than isolated appeal peculiarly to the artist who takes a camera

or fine lines. As a consequence, the heavy por- with his paint-box as an occasional ally.