A Handbook of Illustration

by A. Horsley Hinton

Ordinary writing ink is quite unsuitable; it "runs" when fine lines cross, and is either too blue or too brown in colour. Common Indian Ink is also too brown to reproduce well, so that the beginner will do wisely to use one of the above-named blacks, which are prepared for the purpose, and so diminish his chances of failure. All are sold in bottles at sixpence or one shilling.

Not taking account of eccentricities of accomplished artists, who may use some special medium to their fancy, and whose very mastership guarantees their success in whatever medium they may work, a dull intense black line on a pure white surface is the ideal to be attained.

It may be mentioned that if for any exceptional purpose the reproduction is to be printed in coloured ink, the original had better be drawn in a like colour, always excepting blue or anything approaching thereto. But brown, green, red, and orange are permissible, and will photograph correctly. A black drawing, reproduced in brown or other colour, is apt to give a very different impression, and still more so if a colour be reproduced in black.

Chinese white has been referred to, and should certainly always be at hand. If applied fairly thickly with a fine brush it will efface any faulty ink marks, and may also be used to introduce lights into shading which has been worked up too solid. It is also useful for putting in small lights, as in windows, or longitudinal white streaks on water which has been shaded in dark. It should be of good quality, and kept well stoppered in a strong glass or stone bottle.

With regard to the pen to be used there is more latitude for individual taste, as what one man can do with a given pen another cannot. The manufacturers who have given most attention to the requirements of draughtsmen are J. Gillott and Sons, the well-known makers of pens of all kinds. Many kinds of Brandauer's and Blanzy Poure and Co.'s pens are also very good.

It should not be supposed that a very fine-pointed pen is essential, for on the contrary a small tool often seems to lead to the making of small, niggling work. Mr. C.G. Harper finds a well-cut quill pen delightful for making pen studies, and says "it flies over all descriptions of paper, rough or smooth, without the least catching of fibres or spluttering. It is the freest and least trammelling of pens, and seems almost to draw of its own volition." A glass drawing-pen, such as is used by mechanical designers, &c., has its uses, but it is only capable of making a uniformly thick line.

An assortment of one dozen of Gillott's pens can be obtained for one shilling, and from these our selection can be made. Brandauer's No. 515 and No. 342 E.F. are well spoken of, and have the advantage of not becoming scratchy with use. A flexible pen, capable of making fine as well as thick strokes, working evenly, and not soon worn out, is what should be sought, and having found two or three kinds to suit, stick to them, and make yourself thoroughly master of their capabilities. Should any difficulty exist in obtaining a special pen, an ordinary "F" writing nib will not lead you far wrong, while for bold vigorous drawing I should prefer a gold "J"; it is clear from this that mere fineness of point is not an essential matter.

The possibilities of a particular pen are not learnt all at once, it should be persevered with and understood. It has been recommended that two or three pens of different character should respectively be used on different portions of the same drawing. There may be advantages in this, especially if a drawing contain a very wide variation in quality of its lines. It may sometimes be that very bold thick work in foreground is associated with fine delicate work in distance and sky.

Some artists prefer to use a fine brush instead of a pen. A small sable brush, having the outside hairs cut away, or a long hair brush known as "tracer" or "rigger," is capable of making fine lines hardly to be distinguished from pen strokes. At first they are slow to work with, but considerable rapidity may be acquired with practice. The lines are rounder and not so harsh as those made with the pen, and it is said that an artist who has once accustomed himself to use a brush never goes back to pens.