Drawings thus made, upon Bristol board or paper of similar surface, with lamp black, Indian ink, or any of the numerous inks now in use, which dry with a dull, not shiny, surface, will always reproduce well. The pen should be of medium point, or a brush may be used as a pen. The lines should be clear and sharp, and are capable of much variation in style and treatment, as we see in these pages. I purposely do not dwell here upon some special surfaces and papers by which different tones and effects may be produced by the line processes; there is too much tendency already with the artist to be interested in the mechanical side. I have not recommended the use of “clay board,” for instance, for the line draughtsman, although it is much used for giving a crisp line to process work, and has a useful surface for scraping out lights, &c. The results are nearly always mechanical looking.[10]
On the next page are two simple, straightforward drawings, which, it will be observed, are well suited to the method of reproduction for the type press. The first is by Mr. H. S. Marks, R. A. (which I take from the pages of Academy Notes), skilfully drawn upon Bristol board, about 7 × 5 in.
Here every line tells, and none are superfluous; the figure of the monk, the texture of his dress, the old stone doorway, the creeper growing on the wall, and the basket of provisions, all form a picture, the lines of which harmonise well with the type of a book.
“THE STOPPED KEY.” (H. S. MARKS, R. A.)
In this deliberate, careful drawing, in which white paper plays by far the principal part, the background and lighting of the picture are considered, also the general balance of a decorative page.[11]
“NYMPH AND CUPID.” SMALL BAS-RELIEF. (H. HOLIDAY.)
(From “Academy Notes.”)