[7] No one artist can teach drawing in line without a tendency to mannerism, especially in art classes.
[8] One of the most accomplished of English painters told me the other day that when he first drew for illustration, the wood engraver dictated the angle and style of cross-hatching, &c., so as to fit the engraver’s tools.
[9] Special interest attaches to the examples in this book from the fact that they have nearly all been drawn on different kinds of paper, and with different materials; and yet nearly all, as will be seen, have come out successfully, and give the spirit of the original.
[10] For description of the various grained papers, &c., see page 113, also Appendix.
[11] The young “pen-and-ink artist” of to-day generally avoids backgrounds, or renders them by a series of unmeaning scratches; he does not consider enough the true “lighting of a picture,” as we shall see further on. The tendency of much modern black-and-white teaching is to ignore backgrounds.
