The bookstalls are laden with the daring achievements of Phil May, Raven Hill, Dudley Hardy, and others, but it is not the object of this book to exhibit the works of genius, either for emulation or imitation. It is rather to suggest to the average student what he may legitimately attempt, and to show him the possibilities of the process block in different hands. It may be said, without disparagement of the numerous clever and experienced illustrators of the day, that they are only adapting themselves to the circumstances of the time. There is a theory—the truth of which I do not question—that the reproductions of rapid sketches from the living model by the half-tone process have more vitality and freedom, more feeling and artistic qualities than can be obtained by any other means. But the young illustrator should hesitate before adapting these methods, and should never have anything reproduced for publication which was “drawn to time” in art classes.
One thing cannot be repeated too often in this connection: that the hastily produced blotches called “illustrations,” which disfigure the pages of so many books and magazines, are generally the result of want of care on the part of the artist rather than of the maker of the blocks.
No. XXIX.
This is part of a page illustration lent by the proprietors of Sketch. It does not do justice to the talent (or the taste, we will hope), of the illustrator, and is only inserted here to record the kind of work which is popular in 1894. (Perhaps in a second edition we may have other exploits of genius to record.)
It should be noted that this and the illustration on p. 149 are both reproduced by the same half-tone process, the difference of result being altogether in the handling of the brush. This sketch would have been intolerable in less artistic hands. Artists will doubtless find more feeling and expression in the broad washes and splashes before us, than in the most careful stippling of Mr. Manton.
Students of wash drawing for process may take a middle course.