Etching in intaglio is easier than copper engraving and can be mastered by anyone who can etch in relief.

LITHOGRAPHING.—Lithography, like copperplate, requires a special press, but a secondhand press can be bought for $25 or $30, and it is certainly the cheapest process known for short runs of pictorial color work; and any printer who has many orders for posters or picture printing would do well to investigate the process; for it is not difficult to draw on the stone, and, after the stones are bought, they last for years, and every new design simply necessitates the scouring off of the previous design, which will take a boy only about an hour. A hand press will easily print a 16 by 24 poster, and if it is to be printed in three or four colors by relief printing, the cost of zinc relief plates or wood blocks would be considerable, while in the case of the lithograph it is merely the hire of the boy who cleans the stone. There is no end to the variety of effects to be got in lithography by different combinations of technic: by using, separately or in combination, pen, crayon or brush line; crayon or spatter work tints; solid brush tints of color, or solid brush tints of color with letters or forms scratched out of them with a penknife.

CHALK PLATE.—The chalk-plate process is one that has never been adequately studied by designers. There are very many possibilities in it. It was first introduced {239} into Japan through the instrumentality of the writer. The editor of the “Kohumin Shimbun” called at my studio to investigate the working of the chalk plate, and I drew an outline portrait on the chalk plate, cast it, mounted it, and took a proof of it, all in forty minutes! Full information in regard to the process may be obtained from the Hoke Engraving Company, owners of the patents. Every newspaper owning a stereotype outfit will find that it will pay to use the chalk-plate process.

INDEX.

Outline, Force of, [41], [132], [139], [140], [144], [145], [213], [214] Outline, Mastery of, recommended to the printer, [23] Paper, [141], [165], [167] Papyrus, [208] Parallel lines. (See Printing), [115], [117], [123], [125] Paul, Herman, [132], [145] Pens, Various, may be used, [118], [120] Pen-Drawing, A, may be on large or small scale, [113] Penlick, [214], [221] Pen practice, Method of, [117], [129], [131] Pen technic, [112]–[130], [135], [139]–[146], [147] Pen technic from printers’ view-point, [113] Perspective, [19], [20], [22], [35], [36], [38], [39] Petrarchian letters, [200] Phœnician letters, [158], [208], [209] Photo-engraving, [113]–[148] Placing, Preliminary, of objects in beginning a drawing, [45], [50]–[66], [211] Plane, Objects seen in one, [33], [34], [39] Plant form, [205], [206] Pomeroy, F. W., [178] Posters, [177]–[179], [219] Preface, [3]–[5] Printer must have an educated taste to design correctly, [200], [201] Printing, Artistic, [154]–[167], [203], [223], [229] Printing, City newspaper, [115]–[119], [127]–[129], [143], [156], [161]–[168], [239] Printing, Country newspaper, [113]–[119], [125]–[129], [156], [161]–[168], [238] Printing, Magazines, [113]–[115], [118] Printing, Printers’ experience a guide in adapting technic to, [113], [115] Printing, Recent change in the character of, [17] Printing, Rough, defined, [164] Printing, Technics which are adapted to, [23], [32], [68], [78], [79], [90], [92], [108], [112]–[119], [123], [127], [128], [177] Process plate, [230] Proportion and direction, [50]–[55] Proportions, [65] Quill pen, [116], [118], [191]–[195], [197], [198], [200] Ratdolt, Erhard, [158] Reed pen, [208] Reduction of drawing for printing, [112]–[119], [124], [146], [149], [150], [164], [171], [176], [215] Renaissance lettering, [155] Renard, E., [114], [115], [123] Resumé of Part I, [133]–[150] Ricketts, Charles, [183], [184] Rivoire, [176], [179] Rococo design, [220] Rogel, Hans, [187], [188], [194], [198], [209] Roman lettering. (See Lettering), [155], [198] Schafhausen, [225], [226], [228] Scratch-board, Whites in, and wood engraving, [91], [92], [93], [94], [138], [148] Seeing properly, Drawing a matter of, [19]–[27], [50], [74]–[78] Shaded drawings, [42], [43], [46], [47], [48], [66]–[78], [146], [214] Shadows, Finding direction of, [65], [66], [67], [70] Shadows, Large, versus minor ones, [74], [76] Shadows, Thrown and modeling, [43], [46], [149] Sickert, Walter, [118], [119], [150] Silhouette, An old-fashioned, [125], [204], [230] Silhouette, its use as typographical ornament, [32] Silhouette, used by Egyptians, [26], [27] Silhouetting, Practice in, objects, [33], [157], [213], [214] Solid Blacks, (See Silhouette) Spanish scribes, [198] St. Elme, [123], [124], [126] Stevenson, Robert Louis, portrait of, [116], [117], [118] Still-life studies, [142], [145] Stimmer, Chr., [187], [188], [198], [209] Stipple, [138] Strange’s book on alphabets recommended, [181], [187], [202], [204] Stuck, Franz, [171], [172], [173], [177], [236] Summary, [211] Synthetic drawing, [58], [59], [62] Taste. (See Printing, Artistic), [158], [159], [160], [161], [163], [165] Technic. (See Pen Technic), [87] Texture, [30], [41], [42], [82] Thick and thin pen lines. (See Printing), [118] Tint lines, [228], [231] Touraine font, [158] Toussaint, T., [88], [89] Transfer, How to, a drawing, [131] Typographer should be designer, [17] Vale press, [183], [185], [186] Vallet, [128], [129] Vallotton heads, [133], [134], [135] Values, [42], [43], [68]–[71], [94] Venetian lettering, [198], [204] Verdyen, [92], [93] Vierge, Daniel, [122], [123] Visigothic letter, [155], [158], [198] Walker, Fred, [101], [102], [149] Watts, George Frederick, R. A., [78]–[88], [90], [94], [101], [103], [107], [112], [113] White, Gleason, [183] Windows in perspective. (See Perspective), [19], [20], [22] Wood engraving, [134], [135], [153], [218], [220], [223], [230] Wood engraving, Practice, [224], [232], [233] Written language, [207], [208] Youth, Portrayal of, [101]–[108] Zinc plate, [75], [230]–[236]

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