[13] The mechanical processes, neglected and despised by the majority of illustrators for many years, have, by a sudden freak of fashion, apparently become so universal that, it is estimated, several thousand blocks are made in London alone every week.
[14] This excellent drawing was made on rough white paper with autographic chalk; the print being much reduced in size. It is seldom that such a good grey block can be obtained by this means.
[15] The young artist would be much better occupied in learning drawing on stone direct, a branch of art which does not come into the scope of this book, as it is seldom used in book illustration, and cannot be printed at the type press. Drawing on stone is well worthy of study now, for the art is being revived in England on account of the greater facilities for printing than formerly.
[16] The evil of it is that we are becoming used to black blots in the pages of books and newspapers, and take them as a matter of course; just as we submit to the deformity of the outward man in the matter of clothing.
[17] On the opposite page is an excellent reproduction of a painting from a photograph by the half-tone process.
[18] “’Mongst Mines and Miners,” by J. C. Burrows and W. Thomas. (London: Simpkin, Marshall & Co.)
[19] Both Mr. Cameron’s and Mr. Mendelssohn’s photographs have had to be slightly cut down to fit these pages. But as illustrations they are, I think, remarkable examples of the photographer’s and the photo-engraver’s art.
[20] From the Graphic newspaper, 28th October, 1893.