The Art of Illustration
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The Art of Illustration Overview
The object of this book is to explain the modern systems of Book and Newspaper Illustration, and especially the methods of drawing for what is commonly called “process,” on which so many artists are now engaged.
There is almost a revolution in illustration at the present time, and both old and young—teachers and scholars—are in want of a handbook for reference when turning to the new methods. The illustrator of to-day is called upon suddenly to take the place of the wood engraver in interpreting tone into line, x and requires practical information which this book is intended to supply.
The most important branch of illustration treated of is line drawing, as it is practically out of reach of competition by the photographer, and is, moreover, the kind of drawing most easily reproduced and printed at the type press; but wash drawing, drawing upon grained papers, and the modern appliances for reproduction, are all treated of.
The best instructors in drawing for process are, after all, the painters of pictures who know so well how to express themselves in black and white, and to whom I owe many obligations. There is a wide distinction between their treatment of “illustration” and the so-called “pen-and-ink” artist.
The “genius” who strikes out a wonderful path of his own, whose scratches and splashes appear in so many books and newspapers, is of the “butterfly” order of being—a creation, so to speak, of the processes, and is not to be emulated or imitated. There is no reason but custom why, in drawing for process, a man’s coat should be made to look like straw, or the background (if there be a background) have the appearance of fireworks. No ability on the part of the illustrator will make these things tolerable in the near future. There is xi a reaction already, and signs of a better and more sober treatment of illustration, which only requires a better understanding of the requirements and limitations of the processes, to make it equal to some of the best work of the past.
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CONTENTS.
PAGE.
CHAPTER I.—Introductory 1
CHAPTER II.—Elementary Illustration 15
Diagrams—Daily Illustrated Newspapers—Pictorial v. Verbal Description.
CHAPTER III.—Artistic Illustrations
Education of the Illustrator—Line Drawing for Process—Sketching from Life—Examples of Line Drawing.
CHAPTER IV.—The Processes 102
“Photo zinco”—Gelatine Process—Grained Papers—Mechanical Dots—“Half-tone” Process—Wash Drawing—Illustrations from Photographs—Sketch, Graphic, &c.—Daniel Vierge.
CHAPTER V.—Wood Engraving 182
CHAPTER VI.—The Decorative Page 197
CHAPTER VII.—Author, Illustrator, & Publisher 211
Students’ Drawings 223
Appendix 233
The Art of Illustration Specifications
The object of this book is to explain the modern systems of Book and Newspaper Illustration, and especially the methods of drawing for what is commonly called “process,” on which so many artists are now engaged.
There is almost a revolution in illustration at the present time, and both old and young—teachers and scholars—are in want of a handbook for reference when turning to the new methods. The illustrator of to-day is called upon suddenly to take the place of the wood engraver in interpreting tone into line, x and requires practical information which this book is intended to supply.
The most important branch of illustration treated of is line drawing, as it is practically out of reach of competition by the photographer, and is, moreover, the kind of drawing most easily reproduced and printed at the type press; but wash drawing, drawing upon grained papers, and the modern appliances for reproduction, are all treated of.
The best instructors in drawing for process are, after all, the painters of pictures who know so well how to express themselves in black and white, and to whom I owe many obligations. There is a wide distinction between their treatment of “illustration” and the so-called “pen-and-ink” artist.
The “genius” who strikes out a wonderful path of his own, whose scratches and splashes appear in so many books and newspapers, is of the “butterfly” order of being—a creation, so to speak, of the processes, and is not to be emulated or imitated. There is no reason but custom why, in drawing for process, a man’s coat should be made to look like straw, or the background (if there be a background) have the appearance of fireworks. No ability on the part of the illustrator will make these things tolerable in the near future. There is xi a reaction already, and signs of a better and more sober treatment of illustration, which only requires a better understanding of the requirements and limitations of the processes, to make it equal to some of the best work of the past.
------- ------
CONTENTS.
PAGE.
CHAPTER I.—Introductory 1
CHAPTER II.—Elementary Illustration 15
Diagrams—Daily Illustrated Newspapers—Pictorial v. Verbal Description.
CHAPTER III.—Artistic Illustrations
Education of the Illustrator—Line Drawing for Process—Sketching from Life—Examples of Line Drawing.
CHAPTER IV.—The Processes 102
“Photo zinco”—Gelatine Process—Grained Papers—Mechanical Dots—“Half-tone” Process—Wash Drawing—Illustrations from Photographs—Sketch, Graphic, &c.—Daniel Vierge.
CHAPTER V.—Wood Engraving 182
CHAPTER VI.—The Decorative Page 197
CHAPTER VII.—Author, Illustrator, & Publisher 211
Students’ Drawings 223
Appendix 233
