“A Ploughboy,” by George Clausen.
An excellent example of sketching in line. The original drawing was 7¾ × 5¾ in. I have reproduced Mr. Clausen’s artistic sketch of his picture in two sizes in order to compare results. The small block on page 59 (printed in Grosvenor Notes, 1888) appears to be the most suitable reduction for this drawing. The results are worth comparing by anyone studying process work. The first block was made by the gelatine process; the one opposite by the ordinary zinc process. (See Appendix.)
To return to illustration. The education of the illustrator in these days means much more than mere art training. The tendency of editors of magazines and newspapers is to employ those who can write as well as draw. This may not be a very hopeful sign from an art point of view, but it is a condition of things which we have to face. Much as we may desire to see a good artist and a good raconteur in one man, the combination will always be rare; those editors who seek for it are often tempted to accept inferior art for the sake of the story. I mention this as one of the influences affecting the quality of illustrations of an ephemeral or topical kind, which should not be overlooked.
In sketches of society the education and standing of the artist has much to do with his success. M. du Maurier’s work in Punch may be taken as an example of what I mean, combining excellent art with knowledge of society. His clever followers and imitators lack something which cannot be learned in an art school.
It should be understood that, in drawing for reproduction by any of the mechanical processes (either in wash or in line, but especially the latter), there is more strain on the artist than when his work was engraved on wood, and the knowledge of this has left drawing for process principally in the hands of the younger men. They will be older by the end of the century, but not as old then as some of our best and experienced illustrators who keep to wood engraving.
