PEN AND INK DRAWING.
Drawings for reproduction by the modern processes of photo-lithography and photo-etching may be prepared in a variety of ways. The most frequently used is termed Pen and Ink Drawing (often mistakenly called “etching,” which is engraving by means of an acid). This class of work is the most popular of all, and the most easily got at by artists and amateurs; it is translated with much greater ease, and at less cost, than photographs or shaded drawings of any kind. As the term indicates, it is executed with the pen; many artists, however, have a predilection for the brush (a fine sable pencil), which, though it requires considerable practice to master its use, becomes in masterly hands a valuable instrument, capable of greater and more varied effects than the pen. Good black ink, and smooth white paper or cardboard, are the essentials. Much may be said on the style or modes of different artists in drawing, the kind or quality of the ink, the pens and paper to be used. The relative values of thick and thin, open and close lines, the direction of the lines, etc., in producing the varied character and quality of good expressive drawing; the various textures of surfaces—roughness, smoothness, etc.—have all to be considered, more especially if the drawing is made upon a larger scale, to be reduced in the photo-etching process of translation. We heartily commend the shilling handbook on Pen and Ink drawing published by Winsor and Newton. It is an excellent introduction to the art; it gives full instructions on the best means of working, and the materials to be used.[3]
Club Device and Ex Libris.
Pen and Ink Drawing, reproduced by process block.
Reproduced by half-tone process block,
from an Aqua-Tint engraving, same size.
For Half-tone Shaded Blocks the design may be executed in washes as a china ink drawing, or in any other way. The illustrations are reproductions from various kinds of originals, as explained under each example.
Messrs. Carl Hentschel & Co., 182-3 Fleet Street, have been good enough to prepare several examples to illustrate the half-tone process; each block having been made from an original executed in a different way, as indicated by the explanatory title; and may be considered rather severe tests of what the process is capable. For these favours we are much obliged; we tender also our thanks for their kindness and courtesy in supplying much of the foregoing information.
Pen and Ink Drawing, reproduced by process block.
HINTS TO COLLECTORS
OF EX LIBRIS.
To distinguish how a book-plate
may have been produced.
A lithograph or a photo-lithograph may be distinguished from a woodcut, or from a copper engraving, by the following: By the quality of the lines, whether cut with the graver or etched upon copper; drawn with the pen or with the fine sable pencil. Each has a character of handling and manner of its own by which it may be recognised. A little observation of admitted examples with the aid of a strong magnifying glass will generally resolve this.
EX LIBRIS.
Reproduced by half-tone process block, from
Coloured Design for Stained Glass Window.
THE DIFFERENCE IN ENGRAVED OR
CUT LINES, AND ETCHED LINES.
Lines cut with the graver are invariably smooth and even, and have a clear silvery appearance; in isolated lines or cuts it will be observed that the beginning of the lines are finer where the graver has entered than where it stops. Etched lines, on the contrary, do not possess the same smooth-edged rigid character as those cut with the graver; and where greater strength of line is obtained it is by deeper etching with the acid bath, and in this the difference in the quality of line is more perceptible.
TO DISTINGUISH AN IMPRESSION
FROM PLATE.
In a plate engraving the lines are slightly in relief (and, if strongly engraved, or the paper thin, observable on the back). A sensitive finger will detect the stronger raised lines of the engraving. The mark of the plate, unless cut off, also betrays it; [the engraved plate by Mr. Sherborn], facing page 27, will illustrate this.
TO DISTINGUISH A WOODCUT,
OR LINE PROCESS BLOCK.
In a block the lines of the design are indented slightly into the paper, which shows itself on the back of the print (unless thoroughly rolled out under heavy pressure). Close observation with the magnifying glass will show the edges of the lines to be slightly rough—by the ink from the face of the line being squeezed over the edge; in good printing this is not so apparent. A weakness with nearly all process blocks is that the edges of fine tints and outlying fine lines are apt to print heavier than they should, unless very carefully worked.