An exalted position as an art is not necessarily claimed for drawing or painting for reproduction; but how much of that difficult-to-be-defined quality which we call "artistic" exists in it, depends not so much upon the method, the means, or the application, as it does on those who work at it and their motive. Apart from this, viewed from the lowest aspect, its utility is beyond question, and at the present time it is an application of fine art showing the most vitality of any.
The books devoted to the subject which have already been written, have perhaps given too much attention to the actual processes of reproduction—they have not appealed to the illustrator; or else, while professing to be books of instruction in practice, have dealt rather with the theory of illustration and the comparison of styles. It seemed to me there was need for a simple description of methods for the enlightening of a beginner: an elementary guide; a first step; in short, a Handbook of illustration.
They are used and endorsed by the leading Illustrators, Schools, Colleges and Institutes. Three-fourths of the professional draughtsmen of this country use no other drawing ink.
The manufacturers have never solicited a single testimonial, yet the merits of the inks have called forth endorsement from the most famous and experienced users of drawing inks in various professions, real masters of their arts. The following are a few commendations:
Jo. Pennell, the celebrated pen artist of London, Eng.—"There is no ink equal to it for half a dozen reasons. From the time you open the bottle until you have put all its contents on paper, you have no reason to find fault with it."
A.B. Frost, the famous American illustrator, Convent, N.J., U.S.A.—"I use a great deal of it, and it is certainly the best."