The first stage of illustration, where little more than a plan or elevation of a building is aimed at (as suggested in the last chapter), and where an author, with little artistic knowledge, is yet enabled to explain himself, is comparatively easy; it is when we approach the hazardous domain of art that the real difficulties begin.
As matters stand at present, it is scarcely too much to say that the majority of art students and the younger school of draughtsmen in this country are “all abroad” in the matter of drawing for the press, lacking, not industry, not capacity, but method. That they do good work in abundance is not denied, but it is not exactly the kind of work required—in short, they are not taught at the outset the value of a line. That greater skill and certainty of drawing can be attained by our younger draughtsmen is unquestionable, and, bearing in mind that nearly every book and newspaper in the future will be illustrated, the importance of study in this direction is much greater than may appear at first sight.
No. IV.
“Tiresome Dog,” by E. K. Johnson.
This example of pen-and-ink work has been reproduced by the gelatine relief process. The drawing, which has been greatly reduced in reproduction, was made by Mr. Johnson for an Illustrated Catalogue of the Royal Water-Colour Society, of which he is a member.
It is instructive as showing the possibilities and limitations of relief process-work in good hands. The gradation of tone is all obtained in pure black, or dotted lines. Mr. Dawson has aided the effect by “rouletting” on the block on the more delicate parts; but most of the examples in this book are untouched by the engraver.
(See Appendix.)