a gloom over
illustrations in books and newspapers.

First, as to the method of making the blocks. As there are no lines in a
wash drawing or in a photograph from nature, it is necessary to obtain
some kind of grain, or interstices of white, on the zinc plate, as in a
mezzotint; so between the drawing or photograph to be reproduced and the
camera, glass screens, covered with lines or dots, are interposed,
varying in strength according to the light and shade required; thus
turning the image of the wash drawing practically into "line," with
sufficient interstices of white for printing purposes.

[Illustration: "THERE IS THE PRIORY!"]

Thus, all drawings in wash, chalk, pencil, etc., that will not reproduce
by the direct line processes, already referred to, are treated for
printing at the type press; and thus the uniform, monotonous dulness,
with which we are all familiar, pervades the page.

The conditions of drawing for this process have to be carefully studied,
to prevent the meaningless smears and blotches (the result generally of
making too hasty sketches in wash) which disfigure nearly every magazine
and newspaper we take up. There is no necessity for this degradation of
illustration.

The artist who draws in wash with body colour, or paints in oils in
monochrome, for this process, soon learns that his high lights will be
lost and his strongest effects neutralised, under this effect of gauze;
and so for pictorial purposes he has to _force his effect_ and
exaggerate lights and shades; avoiding too delicate gradations, and in
his different tones keeping, so to speak, to one octave instead of two.
Thus, also for this process, to obtain brightness and cheap effect, the
illustrator of to-day often avoids backgrounds altogether.

In spite of the uncertainty of this system of reproduction, it has great
attractions for the skilful or the hurried illustrator.

[Illustration: No. XXV.

"Helga rode without a saddle as if she had grown to her horse--at full
speed."

("_Hans Andersen's Fairy Tales._")]

[Illustration: No. XXVI.

"_The Storks_," by J. R. WEGUELIN.

"And high through the air came the first stork and the second stork;
a pretty child sat on the back of each."

Example of half-tone process applied to a slight wash drawing. The
illustration is much relieved by vignetting and _leaving out_: almost
the only chance for effect that the artist has by the screened
process. It s