There is no doubt that the makers of process blocks are the best instructors as to the results to be obtained by certain lines and combinations of lines; but in the majority of cases they will tell the artist too much, and lead him to take too much interest in the mechanical side of the business. The illustrator’s best protection against this tendency, his whole armour and coat of mail, is to be an artist first and an illustrator afterwards.
This is the sum of the matter. Perhaps some of the examples in this book may help us, and lead to a more thorough testing of results by capable men.
“SKETCH.”
It will be interesting here to consider the material of which one number of an illustrated paper (Sketch) is made up, and how far the artist and wood engraver have part in it. From an economic point of view it will be instructive. I take this “newspaper” as an example, because it is a typical and quite “up-to-date” publication, vieing, in circulation and importance, with the Illustrated London News, both published by the same proprietors. In one number there are upwards of 30 pages, 10 being advertisements. There are in all 151 illustrations, of which 63 appear in the text part, and 88 in the advertisement pages. Out of the text illustrations, 24 only are from original drawings or sketches. Next are 26 photographs from life (several being full pages), and 13 reproductions from engravings, etc., reproduced by mechanical processes—in all 63. Some of the pages reproduced from photographs are undeniably good, and interesting to the public, as is evidenced by the popularity of this paper alone. In the advertisement portion are 88 illustrations (including many small ones), 85 of which have been engraved on wood; a number of them are electrotypes from old blocks, but there are many new ones every week. The reason for using wood engraving largely for advertisements is, that wood blocks print more easily than “process,” when mixed with the type, and print better (being cut deeper on the block) where inferior paper and ink are employed. But this class of wood engraving may be summed up in the words of one of the craft to me lately:—“It is not worth £2 a week to anybody.”
No. XXX.
MISS KATE RORKE. (FROM “SKETCH.”)
Photographed from life by H. S. Mendelssohn. Reproduced by half-tone process)