Some of our friends, for example, who might have been interested in our first chapters and the specimens of caricature given therein, may have been disappointed {127} that we have given so much attention to portraiture recently, so we have made an effort in this chapter to give a mélange that will cover many fields of newspaper illustration. In the Forain we have a splendid example of such work. It was printed on very poor paper stock, but it came out admirably, harmonizing with the type, which is larger than that used in this country, long
NEWSPAPER CARICATURE. By Forain, from Figaro. This composition evidently makes fun of Mr. Berthelot, who has had, or expects to have, some dealings with England, for the visitor says, “May I see my honorable master?” and the maid responds, “Mr. Berthelot is not receiving; he is taking an English lesson.” The cut in Figaro was 8 by 8, and it represents an excellent method of newspaper drawing, and one that could be easily imitated in chalk plate. We would also call attention to the drawing of the broom. Our readers who followed the directions of our first chapters will see that the silhouette of the broom is indicated in a masterly manner.
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Example of news drawing, by L. Vallet, from a French periodical.
{129} primer predominating. The drawing of the still-life objects is particularly interesting. Look at the duster the woman holds: is not its form exactly what you would see if it were held up against the window and viewed in silhouette?
A good example of a news illustration is given in the Vallet page, which could easily be imitated in chalk plate. The artist viewed a collection of English army costumes, or witnessed a drill, and he shows us in very simple lines the style of accouterment. Any newspaper editor who could sketch tolerably well could do the same thing for his county fair.
In the Moullier we have a specimen that is well-nigh as amusing as the artist in the fog, for here we have a pen drawing that is not made by lines, but by a series of stipples. While the newspaper tyro should not employ this technic too frequently in his practice, still, realizing that the tone effect is graphically gained without the use of the conventional line, it must quickly dawn upon him that there are many technics, and, having practiced drawing mantelshelves according to the instructions in our early chapters, he will also appreciate the fact that the artist was in front of this mantelshelf, as the horizontal lines do not tip, and that the shelf was higher than his eye, as the top of the mantel is not shown. This knowledge gathered allows the student to see that various technics may represent the same truth in nature.
A good method of practice for pen work is as follows: Take a wood engraving or half-tone from some {130}