Chapter VIII

SUMMARY OF METHOD OF INSTRUCTION GIVEN — PRELIMINARY “PLACING” OF LINES IN A SKETCH — THE RELATION OF A SILHOUETTE TO AN OUTLINE — DRAWING IN OUTLINE, IN SILHOUETTE, WITH PARTIAL SHADING AND WITH FULL SHADING — CUTS GIVEN OF VARIOUS STYLES OF BOOK DECORATIONS — ANALYSIS OF THESE STYLES.

Now for our summary. My method of teaching in this series has been one of suggestion, and very often I have seemingly gone off at a tangent, to hint at an application of some rule; in so doing perhaps the chapters seem to lack continuity, but I think several readings of them will show that there has been a logical development throughout. Perhaps the following summary will bring various parts together and fix all in the memory.

First, the student is advised to practice drawing from objects, and to learn to get something on the paper as soon as possible, and then by further labor to develop this something. There should be at first, lines and markings showing _about_ where the different parts of an object should come. In the Lautrec drawing the lines are not meant for a bicycle or the calves of a man’s legs, but the lines represent about where the bicycle and the man’s calves should come. Anything that can be seen may be “placed” in this way—a tree, a house, a cloud. After the student has learned to “place”■

{212}

After a lithograph by H. de T. Lautrec, from the _Revue Franco-Americaine_.

This is given as an example of rapid manner in placing a figure. In sketching a figure it is advisable always to draw the whole figure at once, and never finish the head first and then go to the hand. In a few lines, a correct draftsman may indicate a great deal. It is also given as an example of a reproduction from a crayon drawing. This is actually reproduced from a print, but the artist originally drew on a stone with crayon, and crayon on paper will reproduce by photo-engraving as well as this. Lithograph crayon may be used, or an ordinary hard crayon (the softer the better), or Hardtmuth’s crayon pencils. Charcoal paper may be used, or any of the special crayon papers. The more grain on the paper, the better.]

■{213} objects fairly well, he finds that by going over his sketch lines, and improving them a little, he can make outline drawings. Outlines are frequently used for finished effect as seen in the Beggarstaff poster.

Of course, this preliminary “placing” of the lines is difficult until the eye is trained to see correctly. I have■

■known beginners who could hardly grasp the idea of what an outline is, so I suggest the excellent method of trying to see objects as silhouettes. It is not a bad plan to put a whisk broom, a screw-driver and a hammer against a window pane and draw them in silhouette. {214} The Beggarstaff is very interesting from this point of view—if you will think of the cocked hat as a mass, like the Quaker hat, you will find it easier to draw its outline than as if you see it in all its component parts, as in the Penlick drawing. We have given previously many silhouette illustrations to emphasize this method of seeing things in mass. We also make this point: that the ability to see objects in silhouette is helpful, not only for the purpose of representing an entire object in silhouette, but also because details can frequently be thus represented with excellent effect. For example, the hair and mustache in the Penlick, and the hair in the Dailly are in silhouette.

Besides outline and silhouette, shading may be employed by the draftsman to bring out form. The Dailly differs considerably from the Beggarstaff—it is fully shaded, and shading brings out the forms of the planes and muscles of the face.

]

Mantelet’s initial gives us a third kind of drawing. It is partly shaded. The Sphinx design is an excellent example of shading contrasted with silhouette. In order to learn to shade, it is well to draw from white objects, such as plaster casts or pasteboard boxes, placed in a good light, which should come from one direction only. It makes little difference what material is used to draw with; your aim should be to accustom yourself to distinguish light and shade. If you can distinguish it upon the object it is not difficult to draw it on paper.

Lettering and the adaptability or application of■

{215}

■{216} the pictorial to printing are matters which we have allowed to force their way into almost every page, so a■

■summary of our method of teaching in this series would not be complete without a further word about the decoration of a page.

Let us next, therefore, consider the matter of periods or styles in illustrating. The initial letter designed by Auriol represents a modern style of design.■

Illustration from a French periodical. Crayon and silhouette effect.]

■{217} Twenty years ago the half-tone, as in this portrait, was unknown, and while the white and black goes back to the fifteenth century, the free distribution of the leaves is due to the French artists having studied Japanese designing.

The “Théatre du Chat Noir,” designed by the same artist, is also Japanesque in treatment. It may be profitably compared with the Grasset page. Auriol’s initial■

■“L” you will at once recognize as Gothic, and that also, you see, goes back farther than the fifteenth century. Now, does not that suggest to you that in modern designing there may be much recourse to antique styles? Recognizing this, you will grasp our idea in publishing these different Ls. We do not say any special one, like our initial “L,” could be of immediate use to you; but we do say that, in the hands of a clever designer, every one could serve as a basis on which to build a style of design.

Looking at these initials from this point of view, they offer various suggestions. Here, for example, are more natural forms, but not in the Japanese styles. A close observer of nature might be able to engrave a somewhat clumsier, {218} but none the less interesting, initial of this kind, while he could not draw a Japanese-like design with the grace of Auriol.

Leaves and flowers are not the only motives at the designer’s service. Here is a little street vista in which the suggestion of buildings is nicely brought out, yet the lines are by no means exact. If one or two lines have been cut away in the process of engraving, we hardly miss them; and if a few more should be cut away from the design as it is, they would not be missed. A style of designing in which free lines are used in this way has its value, though we should not advise one to found a study of drawing upon such principles.

Lines in themselves, as well as nature’s forms, may be used. This “L” is little more than a repetition of Arabic design; again in our example of Holbein’s book-cover design we see an echo of Moorish and Grolier designing, which were Arabic in character.

Like the former initial “L,” this one depends upon lines for its ornamentation. These are curved lines instead of straight ones, and where, as in the upper part, it resembles the Holbein cover, it is in a measure Moorish; but where, as along■

{219}

Designed and engraved on wood by the Beggarstaff Brothers.

Showing a clever use of silhouette and outline, with appropriate Old English lettering. One of the most harmonious designs we publish.]

■{220} the letter L, the curves have a knot at each end, one longer than the other, the design is based upon the Rococo, which is often used in modern illustration, when lightness and irregularity are required. The French illustrator Maurice Leloir, in his decorations of some eighteenth century books, Such as “Sterne’s Sentimental Journey,” used it advantageously.

Living forms may be substituted for lines, and the ingenious combination of the figure and its shadows in this specimen suggests a method of construction which is often used by designers. The sky in this little cut is nicely engraved, and could serve as a good exercise for one who had been practicing wood cutting a month or two.

Leaving out the initial, a little rectangular cut like the foregoing makes an effective introduction to a paragraph, and again suggests practice in wood engraving.

All the cuts illustrating this chapter, except the Holbein, are taken from numbers of the French journal, _L’Artist_, published between 1861 and 1868, and they represent a method of designing in vogue during those years and as far back as 1830, and as late as 1870. The initials were doubtless originally designed for a special purpose, so that the subject related to the text, but later on cuts■

{221}

From _La Petit Journal Pour Rire_.

The legend reads: “Our Soldiers. Machin, the staff officer, the terror of the soldier, doesn’t joke with the rules and regulations; has risen from the rank and file; a very useful individual; it’s always Machin here and Machin there, ask Machin. He terrorizes the one-year volunteers, whom he treats as young shoots (literal translation beets); an old bachelor to the core.”]

■{222} were put in the case and used promiscuously year after year; and when the letter needed was not at hand, a cut like the last example was employed to adorn the page, as a decoration.

Here we have a design by Holbein with Arabesque or Celtic interlacing, which is often studied by designers, and used with pleasing results.

It is probable that all the early Italian and French leather book-covers were imitations of Arab book-covers (or, at any rate, Eastern covers) brought into Europe by the Moors in the twelfth and thirteenth centuries. Their Mohammedan religion forbade their picturing the figures of man or beast, and so the efforts of their designers were almost entirely centered on lettering, and on interlacing streamers or bands, or whatever we may call them (since these were also used by Celtic and Byzantian designers they are sometimes called Celtic or Byzantian interlacing); and their book-covers consisted of beautiful inlays of colored leather on ingenious combinations of interlaced lines.

In the next chapter the subject of wood engraving will be taken up, and it will make this chapter more interesting.

{223} CHAPTER IX.

SUGGESTIONS FOR PRACTICE IN THE TECHNIC OF WOOD ENGRAVING — PHOTO-ENGRAVING THE MORE PRACTICAL, BUT LACKS THE RICHNESS OF THE WOOD-ENGRAVED LINE — DIRECTIONS FOR PRACTICE IN WOOD ENGRAVING — SIMPLE SUBJECTS AND A SIMPLE TECHNIC ARE ADVISED FOR BEGINNERS — MANY CASES INSTANCED IN WHICH CRUDE OR WORN PLATES AND WOOD TYPE MAY BE IMPROVED BY A LITTLE HAND WORK.

We wish to supplement the preceding pages with a chapter on the technic of wood engraving, and a few words about kindred arts which are of special consequence to the illustrator-printer. The art of wood engraving I consider one of the most valuable things for the illustrator-printer to learn. True, this art is going out of use because of its tediousness; and, it must be confessed, if you wish a picture of a building in your paper, it is much more economical and you can get a better result if you make a pen drawing and send it to be photo-engraved, than if you engrave it on wood. On the other hand, you get, in an engraved line, whether it is white line or facsimile black line, a richness of line that is in perfect keeping with the printed type. The white line made by the graver is apt to be sharper and deeper than the white space between two photo-engraved black lines, and it does not fill up so easily.

We illustrate this chapter with some valuable suggestions, and we consider that a printer who would learn wood engraving to such an extent that he could {224} execute designs of the kind suggested, could put forth some excellent examples of artistic printing.

Wood engraving is closely associated with the great masterpieces of printing in the past, though, to be candid, I must admit that only a limited public is capable of appreciating these historic associations; and you could not, perhaps, build up your job printing department entirely on such lines. But from time to time you might make posters, handbills and booklets, where antique styles could be followed, and they would meet with appreciation.

Nothing could be more easy to learn than the theory of wood engraving, though the practice is trying to one’s patience. Simply take a block of boxwood and place it upon a leather cushion filled with sand, so that you may turn the block of wood in any direction. The natural tendency is to place the handle of the burin or graver in the middle of the palm and push with all one’s might, in order to cut away the wood; but it should be placed against the palm, directly below the little finger, the little finger nestling in the concave part of the wooden handle and the other three fingers brought up along the shaft of the graver, the ends of the fingers touching the handle of the graver and its shaft, but _not wrapped around it_. The instrument should be pushed over the wood with about one-tenth of the muscular exertion that the beginner naturally uses. Hold a well-sharpened graver with ease and firmness, and the process of engraving tires the arm no more than writing does.

It takes three or four months’ practice to learn to thus hold the tool and use it with such surety that one {225} can draw in white line on the block as in “The Standard-Bearer” of Schafhausen. But after the facility is acquired, it does not take one long to get up a block either in this style, or in what we should term the Chap-Book style, especially when you have made your design so simple that it can be engraved in a simple way. Please mark this last qualification. The wood engravings in our magazines are of a style unadvisable for the printer to follow, for the engraving of a multitude of gray tones and the printing of the same requires much labor in cutting and in make-ready, but cuts of the kind we recommend can be printed rapidly and with little make-ready. We give a specimen of the genuine Chap-Book illustration, and “The Pedlar’s Lamentation,” which is a clever modern adaptation of the Chap-Book style. These form good examples for the beginner to follow.

Beyond the directions as to holding the burin or graver, there is little that the experimenter will not find out for himself. A design is drawn on the block with pencil, pen or brush. When tones are to be indicated, it is advisable for the printer to use a pen or brush. To lighten the yellow color of the wood, the block may first be rubbed with Chinese white or with moistened whiting. The design may then be sketched in pencil, and afterward drawn in ink. As the design must be in reverse, a good way is to draw it with a pen on thin, smooth paper. A piece of transfer paper, like typewriters’ carbon paper, is laid on the block; the design is laid face downward upon this, and a hard pencil or stylus is used to go over the back of the design, which can be seen through the thin paper. The pressure transfers {226} the mark of the transfer paper to the block, rendering the design in reverse, and it may then be drawn over with a pen or brush. In a good wood engraving the■

A 1521 wood cut in white lines.]

■curving of lines is generally reduced to a minimum. Though the transferring and careful cutting around the line is wearisome at first, it allows one to consider each line separately and thoroughly to study economy of line. {227} The block is held, if small enough, between the thumb and first finger of the left hand, the fingers holding not the top and bottom of the block but the sides of it.■

From an article on “Art Among the Ballad-Mongers,” by Llewellynn Jewett, F. S. A., in the London _Art Journal_.]

■It is then easily turned from side to side on the leather pad. When a curved line is to be engraved it is not the graver alone which moves, but the block also is directed with the left hand, so as to assist matters. {228}

The first process in engraving a line is to take a fine tool (called a tint-tool as distinguished from the blunter tool called a graver) and outline the line. In the Schafhausen cut, the white line around the man’s legs gives a good idea of the proper character of such an outlining line, except that the line should be thinner, more uniform, and more like the lower part of the outline of the sword and the outline of the left side of the staff of the standard. The wood is cut away from both sides of a black line; and then with a gouge of any convenient size the wood is further cleared away. In this way the genuine Chap-Book cut was produced. The white line of the “Standard-Bearer” of Schafhausen can easily be combined with tint lines. Tint lines may be seen in the Chap-Book imitation. It is advisable to draw simple or rough subjects at first; and to draw your outlines heavier at first than you intend them finally to be, since in cutting away you are apt to reduce them by a slip of the tool or by a little more pressure in one place than in another, and then it is necessary to go around the line again to reduce it to uniform regularity. It is better to draw a face like the one in the Crawhall than like the genuine Chap-Book example, for in following the lines of the latter a slip of the burin might entirely destroy an eyebrow or the bridge of the nose; but in the Crawhall any of the lines might be reduced to a somewhat narrower one without interfering with the general effect. The beginner is advised to confine himself to initial letters and tailpieces and not to attempt ambitious subjects. He is also especially advised not to plan out, on the day he receives his tools, a cut for a job wanted immediately, for he will surely have to keep that order waiting a week■

{229}

Cut directly on the wood, without any copy, by Joseph Crawhall.]

■{230} or two. A pound of boxwood in four or six irregular pieces from one inch to three inches long and one to two inches wide, if not squared off, may be obtained for about 25 cents from a boxwood supply house. The printer may square these scraps with a miter box and saw, and he can proportion his designs to the size of the scraps. Thus, illustrations and devices may be got up for a mere song. Larger blocks of boxwood may be ordered at 3 or 4 cents a square inch, which is nearly the cost of photo-engraving; and as it takes longer to engrave than to draw in pen-and-ink, wood engraving is not recommended for general illustration. But as photo-engravers usually have a minimum price of from 75 cents to $1 for each cut, it is cheaper to cut initial letters and tailpieces on scraps than to have them photo-engraved. For instance, twenty photo-engraved tailpieces might cost you from $15 to $20, but they might not cost you $2 if boxwood scraps were used.

In previous illustrations, such as the head of Göthe’s mother, the Grasset typographical ornaments, the Vallotton, Auriol and Hassall examples, we gave suggestions for exercises in wood engraving. The benefit derived from the practice of wood engraving is not limited to preparing new cuts alone. No printer who uses illustrations should be without a wood engraving outfit, consisting of four to six tools, and the cunning to use it. There are many cases in which a process plate, or a chalk plate, or old wood type, can be cleaned up, altered or improved with a little handwork. Sometimes in a zinc plate the fine lines in a sky print clearly on a small run, but soon begin to round and flatten; if not essential to the design they may then be entirely cut out {231} and the run continued. In chalk plate, surfaces may be cast black and then cut into with a white line, as in the Schafhausen. And wood type which is too old to print a solid black evenly, may be punched with an awl, as in the background of the Larousse Dictionary A, to reduce it to a stipple gray; or white-lined like the following portrait; or the sides may be trimmed with the graver. Rouletting can be imitated with a■

From a French periodical, showing open white lines used to represent a tint.]

■common graver by cutting across the line at regular intervals. Only when a _series_ of lines has to be rouletted is it necessary to have a special instrument, which costs from $1.50 to $3. New processes are being developed every day whereby printers can make more or less effective, if crude, cuts with little expense; but they are rarely perfect mechanically, and a little handwork will improve their results a hundred per cent.

In order to train oneself to engrave a tint as in the French portrait, it is excellent practice to make parallel {232} lines on a block without any drawing on it. Taking a tint tool, you engrave a line on the wood, of any thickness, and then below it engrave another line, leaving between the two a ridge of wood the same thickness as your white lines. It is then your task to cover your■

■piece of wood with parallel lines all of the same thickness, leaving a space between them, always of the same thickness.

This exercise may be varied after you can make an even tint by making a graduated tint, letting your white■

■lines be nearer and nearer together as you approach the base of the block. These print lighter than those at the top. {233}

Another variation is produced by waving the lines; and still another by crossing a tint with white lines. Cross-hatched black lines are very tedious to engrave—we give an example of some.

Besides boxwood, maple wood may be used to engrave upon; it is cheaper than boxwood, costing but 1 cent a square inch.

Proofs are easily taken by laying a thin piece of paper (engravers use india paper) upon the inked block, and rubbing a penknife handle or some hard object over the paper for some minutes until a perfect impression is obtained.

{234} CHAPTER X.

SUGGESTIONS FOR PRINTERS IN REGARD TO PROCESSES, ASIDE FROM WOOD ENGRAVING, BY WHICH ILLUSTRATIONS ARE MADE — DIRECTIONS FOR EXPERIMENTS WITH ZINC PLATES, DESIGNING FOR ZINC-PLATE PROCESS — MANIPULATION IN COPPERPLATE ENGRAVING, ETCHING IN INTAGLIO — LITHOGRAPHY THE CHEAPEST PROCESS KNOWN FOR SHORT RUNS OF PICTORIAL COLOR WORK, ITS RANGE OF EFFECTS — MANY POSSIBILITIES IN THE CHALK-PLATE PROCESS.

The preceding chapter was devoted to wood engraving: the other processes by which illustrations are made come outside the province of “Drawing for Printers,” and we shall merely give a paragraph to each process.

ZINC PLATES.—Experiments may be made in zinc plates. The cut above was traced from the Grasset cut given with Chapter III, Part I. Between the tracing {235} paper and the zinc, typewriting carbon paper was laid. The tracing was gone over with a hard pencil; the design was thus transferred to the zinc. The lines were then covered with asphaltum (which is the same as bitumen), bought in a tube at a paint store. Any colored oil paint or varnish or transfer ink will do, as its use is simply to hold the dragon’s blood. It may be thinned with turpentine so that it will flow easily from the brush. While the asphaltum was still wet, the plate was dusted with dragon’s blood, which was put in a coarse linen rag and held like a bag over the plate by the right hand; the left hand tapping the right made the powder fall evenly over the plate. Do this carefully for practice in order to learn to powder a plate evenly for a stipple tint (see farther on); the dragon’s blood may be dumped on the plate. The plate was then dusted off with a camel’s-hair brush, which removed the dragon’s blood from the plate except where bitumen held it. The plate was then held over a flame till the dragon’s blood turned black; it was then immersed in an acid bath, about ninety per cent water and ten per cent nitric acid. The vessel (an old baking pan painted with asphaltum) holding the bath was rocked from time to time. The dragon’s blood served as a stopping-out varnish. The acid will eat away the plate where it is not protected by dragon’s blood. After five or ten minutes, when the acid seemed to be eating into the stopping-out varnish, the plate was taken out, washed and dried, and again dusted with dragon’s blood. (In using a large plate, of course, it would be easier to roll it up with lithographic transfer ink.) A second and third etching reduced the background, so {236} that a proof was taken. For printing in this book the plate has been routed. The ragged edge is due to our ’prentice hand; this is our second experiment, but a little practice, we are certain, would bring more satisfactory results. The Pan lettering is copied from the title-page by Stuck, given in Chapter II, Part II, page 171.■

■It is produced as was the Grasset, except that it was etched on copper and required more bitings than the zinc.

Designs for this process should not be drawn in fine lines like Engström’s portrait of himself, but should be heavy like his portrait of “Hedin” and the Molock “Crispi.” (See Chapters I and II, Part I.) When a white background is not required, the dragon’s blood dusted on the plate may be allowed to remain upon it, in which case a stipple background is the result. An ingenious experimenter can get many different results by this stipple method.

COPPERPLATE ENGRAVING.—Copperplate engraving, and etching in intaglio are not used by the typographical printer, but the printer who executes very fine work would find that he could make handsome frontispieces for limited editions, or book-plates, by either {237} of these processes. For about 25 cents one may obtain Winsor & Newton’s handbook on “The Art of Etching,” by H. R. Robertson, which will give a description of the first process.

Copperplate engraving is most difficult to master and should not be attempted by anyone who cannot■

■draw a sure line. A designer with a sure hand might attempt a simple book-plate. Anyone who can use the burin on wood can use it on copper, though in the latter case the pressure from the palm of the hand, which the beginner in wood engraving should avoid, {238} is used because the resistance of copper is much greater than that of wood. The first finger may be placed _on top_ of the burin when engraving in copper, but at the side for wood cutting. We would say that the engraved line of the copperplate is one of the handsomest lines in the graphic arts.

Etching in intaglio is easier than copper engraving and can be mastered by anyone who can etch in relief.

LITHOGRAPHING.—Lithography, like copperplate, requires a special press, but a secondhand press can be bought for $25 or $30, and it is certainly the cheapest process known for short runs of pictorial color work; and any printer who has many orders for posters or picture printing would do well to investigate the process; for it is not difficult to draw on the stone, and, after the stones are bought, they last for years, and every new design simply necessitates the scouring off of the previous design, which will take a boy only about an hour. A hand press will easily print a 16 by 24 poster, and if it is to be printed in three or four colors by relief printing, the cost of zinc relief plates or wood blocks would be considerable, while in the case of the lithograph it is merely the hire of the boy who cleans the stone. There is no end to the variety of effects to be got in lithography by different combinations of technic: by using, separately or in combination, pen, crayon or brush line; crayon or spatter work tints; solid brush tints of color, or solid brush tints of color with letters or forms scratched out of them with a penknife.

CHALK PLATE.—The chalk-plate process is one that has never been adequately studied by designers. There are very many possibilities in it. It was first introduced {239} into Japan through the instrumentality of the writer. The editor of the “Kohumin Shimbun” called at my studio to investigate the working of the chalk plate, and I drew an outline portrait on the chalk plate, cast it, mounted it, and took a proof of it, all in forty minutes! Full information in regard to the process may be obtained from the Hoke Engraving Company, owners of the patents. Every newspaper owning a stereotype outfit will find that it will pay to use the chalk-plate process.

{240} ERRATA.

Page 38, lines 3 and 8: before “when” insert “that is.”

Page 38, line 11: for “called” read “on.”

Page 39, line 4: after “lines” insert “if in nature parallel to the axis of his eyes, or if on a level with his eyes.”

Page 43, line 19: for second “bulk” read “effect.”

Page 63, chapter heading, line 9: after “light and shade,” and on

Page 71, line 4: after “light and shade” read “of the sort most usual in Occidental modeling.”

Page 70, line 25: before “style” insert “complex.”

Page 106, last word: for “depression” read “depressor.”

Page 109: “Lucca della Robia” read “Luca della Robbia.”

Page 120, line 13: for “whereat” read “wherever.”

Page 150, line 1: for “Reeves” read “Rivers.”

Page 183, line 3 of legend: for “U. E. I.” read “U. H. I.”

{241} INDEX.

Ability, Natural, versus instruction, 17, 18, 19

Action, 55

Aldine printing, 158, 199, 200

Aldus type, 199, 200

Alphabets (See Lettering), 158, 181, 202, 209

America, The printer in, 159, 160

Analyzation of the naso-labial line, 86, 87

Arabic lettering, 198, 218, 222

Artist, How the, sees (See Eye, Education of), 56, 59

Artist, Reader not to be discouraged if he cannot become a full-fledged, 18, 19, 80

Art school methods, 56, 58, 62, 65–71, 74

Assyrian letters, 207

Auriol, Georg, 175, 177, 179, 191, 198, 204, 205, 216, 217, 218, 230

Axis, Every object has its, 52, 55

Balance in design, 48, 204

Ballantyne, Messrs, 183

Bargue and Gérôme, Studies published under direction of, 66, 67, 80, 98, 99, 100

Bauernfeind alphabets, 181, 186, 187, 188

Beggarstaff Brothers, 214, 215, 219

Begin, How should one, to learn to draw, 19

Ben Day film, 75

Bergomensis letter (See Lettering), 193, 194, 198, 209

Bible manuscripts, 209, 210

Blocking in shadows by outline, 63–67, 70

Bonnard, Pierre, 87, 88, 90, 92, 94, 95, 96, 117

Bonnat, Léon, 54, 55, 91, 92, 94

Boxwood, 224, 230

Broad black line desirable for lettering, “devices,” and designs in general, 167–71

Broad drawing recommended to printers, 78

Brun, A, 92, 94, 97

Burns, Robert, Statue of, 177, 178

Byzantine design, 222

Caricature, 46, 139, 142, 144, 213

Caricaturing beneficial to draftsman, 22

Caroline lettering (See Lettering), 155, 189, 191, 192, 194, 198, 204

Cartoon, Newspaper, style (See Printing), 127

Casts, Plaster, used as studies, 68–71, 74

Caspari, 169, 173, 177, 179

Catalogues, 170

Caxton, 158, 189, 200

Celtic interlacing, 189, 222

Chalk plate, 129, 143, 156, 161,230, 238

Chap-Book style, 225, 227, 228, 229

Chapter Headings (See Initial Letters), 18, 121, 123, 167, 168, 182, 189, 204, 205, 215–218, 220, 222

Character of objects, 103, 144

Charcoal drawing, 212

Chaume, Geoffroy de, 136, 137, 141

Chinese lettering, 207

Choudieu, Pierre Réné, 87, 88, 90, 92, 94, 95, 100, 101, 197

Color printing, 238

Copperplate, 236–238

Cover design, 157, 162, 166, 169–174, 176, 177, 179, 204, 222

Crane, Walter, 160

Crawhall, Joseph, 228, 229

Crayon drawing, 212

Cross-hatched lines (See Printing, Technic adapted to), 117, 123

Dagnan-Bouveret, 72, 76, 82, 84, 85

Dailly, 213, 214

David d’Angers, 136, 137, 148

Decorated page, the, 123, 124, 161, 168, 169, 182, 203, 205, 216, 217

“Decorative Illustration”, 160

Design considered, 158, 163–173, 216–218

Design, Economy in, 177, 179

Design, Use of heavy blacks in, 167, 171

Designing of value to the printer, 18, 200–202

Designs, Small, as difficult as large, 18

Detail versus broad drawing, 74, 76, 90

d’Illzach, Ringel, 136, 138, 150

Dollman, J. C., 139

Donatello, 103, 104

_Don Chisciotte_, 32

Dots, Eccentric use of, 129, 130

Dragon’s blood, 235

Draw as though tracing on a window pane, 35

Draw by lamplight, 94

Drawing-board recommended, 78

Drawing Finished, and original “placing” compared, 63–70

Drawing, Finished and rough compared, 73, 78, 80, 81

Drawing fragments for practice helpful, 65

Drawing from pasteboard boxes good training in light and shade, 76

Drawing, How to begin a, 19, 49–55

Drawing not arbitrary, 86, 103

Drawing, Preliminary placing of objects in beginning a, 45, 50–66, 211, 212

Drayton, Michael, 184

Dürer, Albrecht, 76, 187

Durham Book, 202

Eaton, Wyatt, 116, 117, 118

Economy of line, 226

Egyptian, The, hieroglyphic and hieratic writing, 207, 208, 209

Element defined, 52

English Old Style lettering, 200, 219

Enlarging a drawing, 75, 113

Engström, Albert, 22, 28, 29, 30, 132, 133, 236

Etching, Art of, 237

Etruscan, The, letter, 158

Eye, Untrained, sees incorrectly, 19

Eye, Education of the, 19–25, 50, 74, 76, 78

Eye, Drawing of the, 103–105

Eyesight, Knowledge of effect necessary beyond mere, 84

Face, Drawing of a, and head, 84, 85, 90–92, 101–109, 132, 133, 136, 144

Finished drawing and original “placing,” compared, 63–70

Finished drawing and rough drawing, compared, 73, 78, 80, 81

Foot, Drawing a, 98, 99, 100

Forain, 127, 139, 142, 144, 161

Fonts, Modern, 158

Form, 69, 76–78

French art school studies, 57, 66, 67

French names, 94, 96, 100

French Old Style lettering, 167, 175, 198, 200

French printers, 160, 161, 175

Frontal muscle, lines made by, 107

Gaillard, C. F., 76, 77, 78, 80, 82, 84, 103

Geometrical forms, 59–62

Gerbault, H., 24

Girardet, Jules, 36

Gothic letters, 155, 181, 182, 187, 188, 191, 193, 197, 198, 200, 203, 204, 206

Grasset, E., 32, 33, 39, 59, 63, 64, 166, 168, 172, 173, 177, 179, 191, 192, 197, 203, 204, 217, 230, 234, 236

Greek manuscript, 209

Grellet, F., 101, 103–107, 109

Grolier, 218

Guillaume, 125, 126, 129, 143

Gütenberg, 200

Half-tones, 148, 160, 167, 170, 177

Hassall, 177, 179, 230

Hats, 23, 24, 26, 27

Hebrew alphabet, 208

Herkomer, Hubert, 50, 51, 52, 59, 60, 61, 63, 65

Hieroglyphs, 207

High light, 42

Historic associations of certain alphabets. (See Lettering), 202, 224

Holbein, 218, 220, 222

Initial letters, Chapter headings, 18, 121, 123, 167, 168, 182, 189, 204, 205, 215–218, 220, 222

Introduction to Part II, 154, 155, 158–162

Irish text, 158, 202, 203

Italian lettering. (See Lettering), 181, 185, 187, 195, 198–200, 209

Italic letter. (See Lettering), 195, 199, 200

Japanese brush, 87

Japanese designing, 48, 217, 218

Japanese graphic art without Occidental modeling, 71

Japanese synthetic drawing, 59

Japanese use chalk plate, 238

Jenson, 158, 174, 200

Jewett, Llewellynn, 227

Kelmscott type, 186

Knaus, Ludwig, 82–85

Landscape, 130, 140, 144, 148, 150

Lansyer, E., 20

Larousse’s Dictionary, 166, 201, 202, 204, 208, 209, 231

Latin capitals, 197, 198

La-Tour, Fantin, 68–71, 148

Lautrec, H. de F., 211, 212

Lefébvre, J., 105, 106, 107

Leloir, Maurice, 147, 220

LeRoux, E., 139, 140, 144

Lettering, 155, 158, 166–169, 171–175, 180–210

Lettering must follow historical principles, 180, 187

Letters based on the circle and the square, 183

Light and dark, Spots of, 47, 48, 90

Lighting, Unusual, on head, 141, 148, 149

Line, Broad, 167–171

Line, Value of a, 56

Lines used to indicate organic parts, 56, 57, 58, 84

Lithography, 69, 109, 238

Local color, 42, 43, 47, 71

Lœwe-Marchand, 74, 75, 84

Lombardic lettering, 198

Lormier. E., 136, 138

Lucas, F. H., 144

Luca della Robbia, 103, 107, 109

Lucidario page, 185, 186, 195, 200

Luque, M., 40, 41, 42, 46, 146

Mannerisms of a caricaturist, 46

Mantelet, Albert, 214, 215

Marchetti, 121, 123, 126

Masses of light and dark appropriate for rough printing, 167–172

Masses of shadows, 74, 76, 90

Materials, Drawing, and technic of slight consequence compared with correct seeing, 19, 86, 87

Medallions, David d’Angers, 136, 137, 148

Medallions, Lormier, E., 136, 138

Medallions, Ringel d’Illzach, 136, 138

Millais, John Everett, 45

Minnesinger song book, Page from a, 182

Minnesinger lettering, 182, 192–195, 200, 209

Modern Roman lettering. (See Lettering), 200

Modeling, 137

Moloch, B., 30, 31, 236

Monet, Claude, 148, 150

Monumental letters. (See Lettering), 188, 204, 209

Moorish design, 218, 222

Morris, William, 155, 158, 161, 165, 174, 200

Moullier, 129, 130

Mouth, Study of the, 104, 106, 107, 132, 133

Munkacsy, Michael, 53, 55

Naso-labial line, 80–90, 101, 102, 109

Newspaper illustration. (See Printing), 113, 119, 125–129, 143, 156, 161–168, 238, 239

Newspaper portraiture, 116, 117

Nose, The wing of the, 84, 85

Nostril, The shadows of the, 84, 85

Observation, Value of, 25

Old age, How to portray, 101, 105, 107, 169

Old English font, 158

Orbicular muscle, Lines made by, 105

Organic lines defined and illustrated, 56, 58

Ornamentation, Aimless, 203

Ornamentation of Northern and Southern scribes compared, 198

Outline, Beginner advised to use, almost exclusively, 47

Outline, Connecting link between, and shaded drawing, 72, 73

Outline, Force of, 41, 132, 139, 140, 144, 145, 213, 214

Outline, Mastery of, recommended to the printer, 23

Paper, 141, 165, 167

Papyrus, 208

Parallel lines. (See Printing), 115, 117, 123, 125

Paul, Herman, 132, 145

Pens, Various, may be used, 118, 120

Pen-Drawing, A, may be on large or small scale, 113

Penlick, 214, 221

Pen practice, Method of, 117, 129, 131

Pen technic, 112–130, 135, 139–146, 147

Pen technic from printers’ view-point, 113

Perspective, 19, 20, 22, 35, 36, 38, 39

Petrarchian letters, 200

Phœnician letters, 158, 208, 209

Photo-engraving, 113–148

Placing, Preliminary, of objects in beginning a drawing, 45, 50–66, 211

Plane, Objects seen in one, 33, 34, 39

Plant form, 205, 206

Pomeroy, F. W., 178

Posters, 177–179, 219

Preface, 3–5

Printer must have an educated taste to design correctly, 200, 201

Printing, Artistic, 154–167, 203, 223, 229

Printing, City newspaper, 115–119, 127–129, 143, 156, 161–168, 239

Printing, Country newspaper, 113–119, 125–129, 156, 161–168, 238

Printing, Magazines, 113–115, 118

Printing, Printers’ experience a guide in adapting technic to, 113, 115

Printing, Recent change in the character of, 17

Printing, Rough, defined, 164

Printing, Technics which are adapted to, 23, 32, 68, 78, 79, 90, 92, 108, 112–119, 123, 127, 128, 177

Process plate, 230

Proportion and direction, 50–55

Proportions, 65

Quill pen, 116, 118, 191–195, 197, 198, 200

Ratdolt, Erhard, 158

Reed pen, 208

Reduction of drawing for printing, 112–119, 124, 146, 149, 150, 164, 171, 176, 215

Renaissance lettering, 155

Renard, E., 114, 115, 123

Resumé of Part I, 133–150

Ricketts, Charles, 183, 184

Rivoire, 176, 179

Rococo design, 220

Rogel, Hans, 187, 188, 194, 198, 209

Roman lettering. (See Lettering), 155, 198

Schafhausen, 225, 226, 228

Scratch-board, Whites in, and wood engraving, 91, 92, 93, 94, 138, 148

Seeing properly, Drawing a matter of, 19–27, 50, 74–78

Shaded drawings, 42, 43, 46, 47, 48, 66–78, 146, 214

Shadows, Finding direction of, 65, 66, 67, 70

Shadows, Large, _versus_ minor ones, 74, 76

Shadows, Thrown and modeling, 43, 46, 149

Sickert, Walter, 118, 119, 150

Silhouette, An old-fashioned, 125, 204, 230

Silhouette, its use as typographical ornament, 32

Silhouette, used by Egyptians, 26, 27

Silhouetting, Practice in, objects, 33, 157, 213, 214

Solid Blacks, (See Silhouette)

Spanish scribes, 198

St. Elme, 123, 124, 126

Stevenson, Robert Louis, portrait of, 116, 117, 118

Still-life studies, 142, 145

Stimmer, Chr., 187, 188, 198, 209

Stipple, 138

Strange’s book on alphabets recommended, 181, 187, 202, 204

Stuck, Franz, 171, 172, 173, 177, 236

Summary, 211

Synthetic drawing, 58, 59, 62

Taste. (See Printing, Artistic), 158, 159, 160, 161, 163, 165

Technic. (See Pen Technic), 87

Texture, 30, 41, 42, 82

Thick and thin pen lines. (See Printing), 118

Tint lines, 228, 231

Touraine font, 158

Toussaint, T., 88, 89

Transfer, How to, a drawing, 131

Typographer should be designer, 17

Vale press, 183, 185, 186

Vallet, 128, 129

Vallotton heads, 133, 134, 135

Values, 42, 43, 68–71, 94

Venetian lettering, 198, 204

Verdyen, 92, 93

Vierge, Daniel, 122, 123

Visigothic letter, 155, 158, 198

Walker, Fred, 101, 102, 149

Watts, George Frederick, R. A., 78–88, 90, 94, 101, 103, 107, 112, 113

White, Gleason, 183

Windows in perspective. (See Perspective), 19, 20, 22

Wood engraving, 134, 135, 153, 218, 220, 223, 230

Wood engraving, Practice, 224, 232, 233

Written language, 207, 208

Youth, Portrayal of, 101–108

Zinc plate, 75, 230–236

{247} ADVERTISEMENTS

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The Inland Printer is a monthly magazine of from 100 to 120 pages, 9 by 12 inches in size, devoted to printing, publishing, engraving, electrotyping, stereotyping, bookbinding, papermaking and all the kindred trades. It is a work of art, and should be in the hands of every lover of the typographic art or anyone interested in newspaper work or advertising. Issued promptly on the first of every month. Subscriptions can begin with any number.

What it Contains.

Its pages are filled with the most instructive and interesting original articles relating to the matters that properly come within its domain, besides an amount of valuable data, trade topics, correspondence, craft items, recent patents, recipes, hints and suggestions that will surprise you. In addition to this, it is copiously illustrated, and the whole make-up and general character of the work is such as to challenge admiration.

THE ILLUSTRATIONS. The full Page illustrations and those worked in with the text are all of a high order, and include half-tone, zinc etching and other methods of engraving, alike valuable to the engraver, process-worker, compositor and pressman. Colored plates, by various processes, are also shown.

THE TEXT. Taking up a copy at random one finds articles on proofreading, the point system in type founding, notes on bookbinding, natural colors in the printing press, newspapers and newspaper men, the country newspaper, typographical make-ready, advertising, convention notes, review of type designs, pressroom queries and answers, process engraving, new patents, trade notes and much general information.

THE ADVERTISEMENTS. These are as important in a way as any other part of THE INLAND PRINTER, for the reason that they are set in attractive and catchy style, alike beneficial to the compositor and “ad.” writer, and printed in the same excellent way that the other part of the journal is. This part will interest you as well as the text.

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TRANSCRIBER’S NOTE

Original spelling and grammar have been generally retained, with some exceptions noted below. Original printed page numbers are shown like this: {52}. Original small caps are now uppercase. Italics look _like this_. Original page images are available from archive.org—search for “drawingforprinte00knau”. The transcriber produced the cover image by editing the original cover image, and hereby assigns it to the public domain.

Illustrations are the main subject of this book. Many of the illustrations were printed full page, and fell on numbered pages, inside paragraphs of text, frequently breaking sentences. The List of Illustrations and many of the cross-references point to page numbers. Therefore, the illustrations have been left where they originally lay—_i.e._ many of them inside paragraphs and sentences. This is unconventional, relative to normal Distributed Proofreaders practices, and it may make reading the text in this simple text edition slightly more difficult, since there are no variations in font and no images. Therefore, paragraphs broken by illustrations have been marked in this edition with the glyph “■” at each break point.

Page 14. The name “Loewe-Marchand” was changed, in the list of illustrations and in the index, to “Lœwe-Marchand” to agree with the text in other places.

Page 182. The letter A originally printed in blackletter type is coded “«A»” in the simple text edition, and is shown via image in the other editions.

Page 184. Rare unicode characters “○” U+25cb and “⬯” U+2b2f were employed on this page in the simple text edition of this ebook; these may require uncommon fonts to display properly. In the other editions, images are substituted.

Page 240, Errata. These errata have been applied to the text in the ebook editions. Also, there was an error in the errata: ‘Page 182, line 3 of legend: for “U. E. I.” read U. H. I.”’ has been changed to ‘Page 183, line 3 of legend: for “U. E. I.” read “U. H. I.”’. Furthermore, the erratum ‘for “Reeves” read “Rivers.”’ had already been applied in the printed edition which is the basis of this transcription.

Page 247. A new heading “ADVERTISEMENTS” has been added here.