Composition.—In its broadest sense composition in graphic art refers to the putting together or combination of the various details into a pleasing and effective picture. It may comprise—(1) the choice of a subject; (2) the most effective moment of its representation; (3) the choice of such circumstantial matter as will best intensify the interest of the picture, and enhance its artistic value. Nor is one part much less important than another, for interest in the subject must necessarily be influenced by effective grouping, and the choice of harmonious surrounding for both. It is in this that the finesse of the artist becomes available, and, by clever contrasts and agreeable combinations, enables him to emphasise the expressive power of his pictorial art.
Light and Shade.—The importance of light and shade in the composition of a picture is a fact too well established to require much further recognition here. If skilfully arranged and distributed it may in some measure compensate for any lack of cohesion in the design, and thus become a redeeming feature in what would otherwise prove to be an ineffective composition.
It is chiefly by a dexterous arrangement of light and shade that the artist engraver can produce a faithful and intelligible translation of his subject. It adds considerably to the force and vigour of pictures, and produces effects which please the eye and successfully appeal to the imagination.
There are, of course, other qualities and conditions which materially affect the engraver and his work, and these will now be briefly indicated.
Expression.—"Expression is the representation of an object agreeably to its nature and character, and the use or office it is intended to have in the work." It is, in fact, the very essence of a picture. Without it there can be no character, no emotion, and therefore no faithful delineation.
Perspective.—Linear perspective in engraving represents the position or magnitude of the lines or contour of objects portrayed, and suggests their diminution in proportion to their distance from the eye.
Aërial perspective, on the other hand, represents the diminution of colour value of each object as it recedes from the eye. It is, in reality, a degradation of tone, suggesting the relative distances of objects. Either may be the direct product of light and shade as well as of accurate drawing.
Execution.—The execution of an engraving admits of almost any degree of variety—the display of individual skill, and knowledge of technique. Execution, as the term implies, is the direct result of individual dexterity; the ability to interpret colour, tone, and texture of a picture by an arrangement of lines of varying depth and fineness; the ability also to imitate, or even create, pictorial expression.
The work of the engraver, like many other phases of reproductive art, is a fruitful source of mannerisms; yet even these will produce excellent results if they create innovations which will be afterwards approved and recognised as healthy, independent, and entirely original methods.