ent, as we see in these pages. I purposely do not dwell here
upon some special surfaces and papers by which different tones and
effects may be produced by the line processes; there is too much
tendency already with the artist to be interested in the mechanical
side. I have not recommended the use of "clay board," for instance, for
the line draughtsman, although it is much used for giving a crisp line
to process work, and has a useful surface for scraping out lights, &c.
The results are nearly always mechanical looking.[10]

On the next page are two simple, straightforward drawings, which, it
will be observed, are well suited to the method of reproduction for the
type press. The first is by Mr. H. S. Marks, R. A. (which I take from
the pages of _Academy Notes_), skilfully drawn upon Bristol board, about
7 x 5 in.

Here every line tells, and none are superfluous; the figure of the monk,
the texture of his dress, the old stone doorway, the creeper growing on
the wall, and the basket of provisions, all form a picture, the lines of
which harmonise well with the type of a book.

[Illustration: "THE STOPPED KEY." (H. S. MARKS, R. A.)]

In this deliberate, careful drawing, in which white paper plays by far
the principal part, the background and lighting of the picture are
considered, also the general balance of a decorative page.[11]

[Illustration: "NYMPH AND CUPID." SMALL BAS-RELIEF. (H. HOLIDAY.)

(_From "Academy Notes."_)]

FOOTNOTES:

[7] No one artist can teach drawing in line without a tendency to
mannerism, especially in art classes.

[8] One of the most accomplished of English painters told me the
other day that when he first drew for illustration, the wood engraver
dictated the angle and style of cross-hatching, &c., so as to fit the
engraver's tools.

[9] Special interest attaches to the examples in this book from the
fact that they have nearly all been _drawn on different kinds of
paper_, and _with different materials_; and yet nearly all, as will
be seen, have come out successfully, and give the spirit of the
original.

[10] For description of the various grained papers, &c., see page
113, also _Appendix_.

[11] The young "pen-and-ink artist" of to-day generally avoids
backgrounds, or renders them by a series of unmeaning scratches; he
does not consider enough the true "lighting of a picture," as we
shall see further on. The tendency o