MECHANICAL AIDS TO DRAUGHTSMANSHIP—DRAWING AND SKETCHING FROM NATURE.

The various methods whereby illustrations may be made for reproduction have now been reviewed, if not exhaustively, at least with sufficient completeness to enable the reader to start making those actual experiments in practice without which the most exact description is useless.

But thus far, with the exception of such cases in which it is possible to use a photogram and reproduce it by "half-tone" process, some ability to draw, some certain amount of native artistry on the part of the student, has been taken for granted.

Now, while in wash drawings, crayon, or pencil sketches, "scrape" boards, and the like, there must be some amount of instinctive artistic ability, not only to guide the hand in execution but to govern taste, idea, and selection; yet in simple line drawing with the pen, without any art knowledge or technical ability, it may be possible to produce a perfectly reproducible drawing, fulfilling in every way the essential duty of an illustration. And if this be so, there is no reason why very many more writers should not illustrate what they have to say, making matters more intelligible and producing a more lasting impression.

For the purpose we shall require a photogram to commence with, and here is a use and an application of photography not always fully realised or appreciated. A man may be possessed of considerable taste and judgment in the selecting of a view, or particular aspect of a building, and yet be utterly lacking in ability to put down on paper correctly what he sees; that is, he is not a good draughtsman. No particular taste in selecting a position may be needed, or possessed, and yet it may be desirable to portray an object, or scene, and it is to such men that the camera becomes so important as an indirect means to illustration. Indirect because, as already pointed out, the reproduction of a photogram by half-tone process (the only way of reproducing a photogram for type machine printing) is attended with difficulties, and cannot always be resorted to. The half-tone block is not suitable for the most rapid printing in newspapers, &c.; its results are not all that could be wished; it is more expensive and takes longer to make, apart from such other drawbacks pointed out in an earlier chapter. Therefore it is desirable to see how we can utilise a photogram so as to produce the simpler, and often more acceptable, line block from it, and do this by a more mechanical method than re-drawing, or copying from it.

Probably the first easy method that will suggest itself will be to make a tracing from it on tracing paper, and then with carbon paper transfer it to the desired card, &c.

There is no objection to such a course, except that it is not always attended with equal satisfaction. To begin with, a photogram is often so dark in parts as to prevent our seeing many details through the tracing paper; also, however careful, if we are tracing a face, the slight deviation in tracing over the outlines and features, which is almost unavoidable, and further variations when afterwards transferring, will often seriously interfere with the likeness—presuming a likeness to be required.

An avoidance of error and saving of time may be effected by making a fairly pale print and, having "fixed" it, cover the back with the scribble of a blue pencil or chalk.

We can now place this down upon the card board or paper to be drawn upon, and carefully go over everything that is to be drawn with a sharp hard point, which will leave a blue outline sketch which can then be inked in, and the blue need not be rubbed out afterwards as it will not appear in reproduction.

In the same way the original photogram can be used with a piece of blue carbon paper instead of chalking the back of the print. No attempt should be made to draw in all the details of a photogram, but only such salient points as may be required for illustration.

Another method is as follows:—Make the photogram in the ordinary way, but on "plain salted paper," or "Matt silver sensitised paper," which has been previously prepared by immersion for a short while in a solution of ammonium chlorate, 100 grains; gelatine, 10 grains; water, 10 ounces.

The photogram is to be fixed and washed, toning being unnecessary; when dry it can be drawn upon with a "fixed" or indelible black ink, carefully putting in just what parts are needed and disregarding the rest of the picture. As soon as the ink is dry, the print is immersed in a bath of mercury bichlorate and alcohol, when the photogram will gradually disappear, leaving the black ink lines on plain white paper. Nothing more is required beyond mounting on card to fit it for reproduction. Of course corrections can be made and stains, &c., be removed with Chinese white. Should it be desired to restore the bleached photogram, it can be done by immersing in a weak solution of soda hyposulphite.

The foregoing method is one given by Mr. C.G. Harper in his book "Drawing for Reproduction"; it appears, however, needlessly elaborate, and I presume mercury bichloride is intended and not bichlorate. Even with care the photographic image is sometimes slow to get rid of, and will often refuse altogether to leave the clear white blank we require.

A photographic print, however, on either albumenised or "Matt" paper will certainly disappear utterly if subjected to the following bath, for which formula I am indebted to Mr. E.J. Wall:—

This is a similar solution as is used to remove ink-stains from linen, &c.

The print may also be bleached by sponging over with the following preparation, recommended by W. Ethelbert Henry:—

After which the print is to be washed well for a few minutes.

Of course the reason for using a "fixed" ink in such processes is obvious.

Yet another method on similar lines, but even simpler in operation. A certain photographic printing paper called "Ferro-prussiate" paper gives, on exposure to light, a blue image, and only requires washing in water to "fix" or make it permanent. This blue print can now be used for drawing upon, as in the previous instance, only that the photographic image, being blue, does not need to be bleached, and will not interfere with the reproduction of the black lines drawn upon it.

If for any reason it be desired to get rid of the blue print, this can be bleached by immersion in water containing a little common washing soda.

Thus from a photogram of even the most elaborate subject an absolutely correct drawing may be made fit for reproduction without the illustrator having any knowledge or skill as a draughtsman.

By placing the unskilled in such a position, photography appears to have removed the last obstacle to the more frequent use of appropriate illustration; and the ease with which both pleasing and accurate outlines can be made should render inexcusable the shamefully untruthful "sketches" which every day appear in newspaper and magazine.

The method of drawing on thin transfer paper with transfer ink, and then placing the drawing direct on to a zinc block, hardly needs to be referred to here. Such a simple means of placing the image on the zinc and then etching is necessarily of limited application, neither reduction nor enlargement is possible, and photography is not employed; it is merely a mechanical etching of the zinc in all parts not protected by the ink image, as transferred from the drawing in transfer ink, and is used for very rapid and imperfect portraits, &c., in the commoner class of newspaper work.

And now, whatever be the special characteristics and advantages of the camera, it is by no means my intention to advocate its use where even only a moderate amount of native artistic ability exists; and, in all probability, the possessor of such ability will more frequently prefer to use his sketch-book than his camera—and this is as it should be. There is always something of freshness about a first original sketch, be it in whatsoever medium, a quality which the most careful copy fails to repeat.

This brings us to consider whether it would not be well to make our first impressions or sketches in such a manner that they could be handed to the process worker right away; and we shall then have to consider what medium and what materials are suitable for "drawing from life." Certainly the ordinary pencil sketch, as taken from the pocket sketch-book, would not do. In the first place such sketches would rarely be vigorous enough, and whatever vigour they possessed would be sadly diminished by rubbing and the pressure of the opposite page.

Very few have successfully drawn from life in pen and ink. Some few well-known caricaturists and figure draughtsmen do so, and attain success purely through their splendid dash and spirit, but such things are forbidden the average man with whom the pen drawing is a matter of delicate care. But there seems no reason why the lithographic crayon on rough paper should not be thus utilised, and slight "touchings-up" added afterwards. In this way we might often have ready for immediate reproduction a sketch containing some of that spontaneous feeling which is so noticeable when glancing through the pages of an artist's sketch-book.

I have noticed in some a very false idea existing with regard to draughting in a picture with pencil before using the pen and ink. Now I do not hesitate to say that the careful sketching in of the subject in pencil is essential to all except the genius, and I am not writing for the genius, who knows more than I can tell him and can dispense with what he does not know. There is nothing to be ashamed of in drawing first in pencil; one might perhaps be able to draw in quite as correctly with the pen, but the advantage of a pencil outline as a guide is that it gives more time and leisure thought for carefully considering the pen work before putting it in. By this course there is less danger of confused hesitating lines. From the first let the ink lines be clear, distinct, and black; no "messing about," to quote Mr. Blackburn's expressive phrase; be decided as to the sort of shading you are going to put in a certain place and put it there, once for all, and don't touch it again. Avoid, by constant self-restraint, over-elaboration or too much laboured detail; let each part of the drawing be finished from the first, and do not return to it and work on it over and over again. And the first step to ensuring this precision will be by carefully pencilling everything, indicating only where shading is to come. When the pen and ink drawing is completed, carefully erase the pencil marks with bread crumbs; do not use indiarubber, which will be sure to abrade the surface, and probably break the continuity of the ink lines.

As we become more conversant with the possibilities of the zinco process, an intimacy which can only be brought by an experience built up of experiments and failures, we shall find it possible to sometimes leave in certain of the pencilling (allowing, of course, for their coming up as black as ink), but for the beginner such a practice is not recommended, as it is nearly sure to end in disappointment.

There are many interesting modifications of recognised means which are possible to the experienced—especially the production of what may be termed "mixed drawings," either for reproduction in half-tone or line, drawings in which in order to produce less ordinary effects, wash, pen, and pencil are employed combinedly; but, by the time my gentle reader has reached a stage when he may advisedly attempt such excursions from the orthodox path, he will have passed beyond the sphere of this book and will be entitled to that liberty which art permits to its practitioners.

In the meantime let me ask the student to repress for a time his more lofty aspirations, and content himself with patiently learning to produce—not a charming sketch, a delightful drawing, but—a drawing in which there is as much of artistic or pictorial merit as is compatible with the requirements of the process of reproduction. If you are drawing professedly for reproduction, no blame can attach to you if you "bear in mind during the production of your drawing the necessity of its making a good block, with as little sacrifice of artistic quality as may be."

An exalted position as an art is not necessarily claimed for drawing or painting for reproduction; but how much of that difficult-to-be-defined quality which we call "artistic" exists in it, depends not so much upon the method, the means, or the application, as it does on those who work at it and their motive. Apart from this, viewed from the lowest aspect, its utility is beyond question, and at the present time it is an application of fine art showing the most vitality of any.

The books devoted to the subject which have already been written, have perhaps given too much attention to the actual processes of reproduction—they have not appealed to the illustrator; or else, while professing to be books of instruction in practice, have dealt rather with the theory of illustration and the comparison of styles. It seemed to me there was need for a simple description of methods for the enlightening of a beginner: an elementary guide; a first step; in short, a Handbook of illustration.