4½ × 8. A WINDOW, CHEPSTOW CASTLE.
Drawing in Conté crayon on rough paper.
The albumen process is perhaps the more widely used of the three. By it the vast majority of the blocks used in journalistic work are made. It is credibly reported that one firm alone delivers annually sixty-three thousand blocks made by this process, which (it will thus be seen) is particularly suited to reproduction of the most instant and straight-away nature. It is also the cheapest method of reproduction, which goes far toward explaining that gigantic output just quoted. But, on the other hand, the albumen process in the hands of an artist in reproduction (as, for instance, M. Chefdeville) is capable of the most sympathetic results. It gives a softer, more velvety line than one would think possible, a line of a different character entirely from the clear, cold, sharp, and formal line characteristic of processes in which bitumen is used. These two methods (albumen and bitumen) are incapable of reproducing scarcely anything in fac-simile but pure line-work; pencil marks or greyed ink are either omitted or exaggerated to extremity, and they can only be corrected by the subsequent use of the graver upon the block. But black chalk or Conté crayon used upon slightly granulated drawing-papers, either by themselves or mixed with pen-work, come readily enough and help greatly to reinforce a sketch. This sketch of [A Window, Chepstow Castle], was made with a Conté crayon. Unfortunately, these materials smear very easily, and have to be fixed before they can be trusted to the photo-engraver with perfect safety. Drawings made in this way may be fixed with a solution composed of gum mastic and methylated spirits of wine: one part of the former to seven parts of the latter. This fixing solution is best applied with a spray apparatus, as sold by chemists. But better than crayons, chalks, or charcoals are the lithographic chalks now coming somewhat into vogue. They have the one inestimable advantage of fixity, and cannot be readily smeared, even with intent. They are not fit for use upon smooth Bristol-board or glazed paper, but find their best mediums in HP and “not” makes of drawing-paper, and in the grained “scratch-out” cardboards, of which more hereafter. They give greater depth of colour than lead pencil, and reproduce more surely; and the drawings worked up with them readily stand as much reduction as an ordinary pen-drawing. The No. 1 Lemercier is the best variety of lithographic chalks for this admixture; it is harder than others, and can be better sharpened to a fine point. For detail it is to be used very sparingly or not at all, because it is incapable of producing a delicate line; but for giving force, for instance, to a drawing of crumbling walls, or to an impressionist sketch of landscape, it is invaluable. The effects produced by working with a No. 1 Lemercier litho-chalk are shown here. The first example was drawn upon [Whatman’s “not” paper], which gives a fine, bold granulation. The two remaining examples are from sketches on [Allongé paper], a fine-grained charcoal paper of French make.
ON WHATMAN’S “NOT” PAPER (6½ × 4½).
ON ALLONGÉ PAPER, RIGHT SIDE (6¼ × 4½).