FROM THE ORIGINAL PAINTING BY R.C. MINOR. N.Y. PHOTOGRAVURE CO.

Evening

A HANDBOOK OF ILLUSTRATION

BY

A. HORSLEY HINTON

WITH REPRODUCTIONS

FROM

PHOTOGRAMS

AND SKETCHES

BY THE AUTHOR

AND OTHER ARTISTS

NEW YORK, U.S.A.
G. GENNERT, 24 and 26 EAST THIRTEENTH ST.
LONDON, ENG.
DAWBARN & WARD, LIMITED

CONTENTS.

CHAPTER I.—Introduction.—Primitive illustrations—Art and illustration—Influence in photography—Illustrations from the Author's aspect—Some uses of illustration.

CHAPTER II.—A Neglected Field.

CHAPTER III.—Theory and Principles of Illustration.—Different kinds of illustration—Maps or plans—Scientific diagrams—Topographical views—In fiction—Author and Illustrator—Pictorial or artistic—Decorative—The "Two things."

CHAPTER IV.—Reproduction by Half-tone Process.—Processes other than photo-mechanical—The object of mechanical process—Intaglio, relief, and separate printing process—Description of half-tone process—The screen—Printing on the gelatine—Development—Etching—Inherent disadvantage of the screen—Cutting out lights—Comparative results.

CHAPTER V.—Preparation of Originals for Reproduction by Half-tone.—I.—Photograms—The best kind of Photograms for reproduction—Negative and print—Legitimate hand work—Relieving the shadows—Helping the high light and shadows—Application of photograms—"Stopping out"—Backgrounds not essential—Composition and arrangement—Decorative initials, &c.

CHAPTER VI.—Preparation of Originals for Half-tone. II.—Wash drawings, oil paintings, pencil and other drawings—Character of wash drawing or grey surface—Monochrome oil painting—Painting on a photographic basis—Mixed drawings—Pencil drawings—Coloured sketches for illustration—Thin reproduction.

CHAPTER VII.—Line Process.—Requirements of the process—The processes described: Gelatine, Albumen, and Bitumen—Copying, printing, developing, mounting—Description of the copy negative—Reduction—Diminishing glasses—Pencil marks, &c.—Non-photographic methods.

CHAPTER VIII.—Methods of Line Reproduction. I.—Pen-and-ink drawing—Character of line drawings—"Tone" interpreted into line—Various styles of line—Suggestion of colour, textures, &c.—The art of leaving out—What to copy and study—Line shading—Flat tints—Outlines—Reduction and thickening.

CHAPTER IX.—Materials for Simple Line Drawing.—Papers and cardboards—Inks and fluids—Pens.

CHAPTER X.—Comparison of Line Processes.—Some characteristics of each described, and results in each compared—The roulette.

CHAPTER XI.—Other Methods for Line Reproduction. The Materials Required.—Mechanical tints—Their application—"Splatter" work—How produced—Grained clay surface boards or "scrape" boards—Their use described—Pencil and chalk drawing for line reproduction.

CHAPTER XII.—Mechanical Aids to Drawing.—Methods of tracing from a photogram—Drawing on a photogram—Drawing on a "blue" print—Tracing on transfer paper—Drawing from nature—Conclusion.

Authors preface

Increased use of the Photographic Reproduction process and a prevailing ignorance of their nature and application, made desirable a simple practical Handbook of Illustration Methods

Such a book it has been my endeavour to produce

A.H.H.
London November 1894

PEN DRAWING.

(Original 9 x 5 ⅛.)

CHAPTER I.

INTRODUCTION—THE ART OF ILLUSTRATION.

Introduced to this country, in round numbers, some fifty years ago, Photography has progressed beyond its contemporaries of the present century. It has obtained a hold upon the people, entering equally into their work and their amusements; the speed, the reality, the brilliancy of it fit it peculiarly for the age into which it has been born. It has survived, and will survive, amidst the decay of other things, because of its extraordinary adaptability to changing circumstances, its readiness to meet altering tastes and requirements; versatile in aspect, elastic in its application.

Amidst all its adaptations of modern date, in none has it been more successful than in that to which this book is devoted: that wherein photography, directly or indirectly, is employed to introduce into our literature