Some people cannot draw firm clean lines at all, and should not attempt them. Few allow sufficiently for the result of reduction, and the necessary thickening of some lines. The results are often a matter of touch and temperament. Some artists are naturally unfitted for line work; the rules which would apply to one are almost useless to another. Again, there is great inequality in the making of these cheap zinc blocks, however well the drawings may be made; they require more care and experience in developing than is generally supposed.
As line drawing is the basis of the best drawing for the press, I have interspersed through these pages examples and achievements in this direction; examples which in nearly every case are the result of knowledge and consideration of the requirements of process, as an antidote to the sketchy, careless methods so much in vogue. Here we may see—as has probably never been seen before in one volume—what harmonies and discords may be played on this instrument with one string. One string—no “messing about,” if the phrase may be excused—pure black lines on Bristol board (or paper of the same surface), photographed on to a zinc plate, the white parts etched away and the drawing made to stand in relief, ready to print with the letterpress of a book; every line and touch coming out a black one, or rejected altogether by the process.
No. XIV.
“For the Squire,” by Sir John Millais, Bart., R. A.
This is an example of drawing for process for rapid printing. The accents of the picture are expressed firmly and in the fewest lines, to give the effect of the picture in the simplest way. Sir John Millais’ picture, which was exhibited in the Grosvenor Gallery in 1883, was engraved in mezzotint, and published by Messrs. Thos. Agnew & Sons. (Size of pen-and-ink drawing, 7¼ × 5½ in.) It is suitable for much greater reduction.