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A Handbook of Illustration

Chapter 18: Footnotes:
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About This Book

A practical manual surveys the principles and techniques for creating and reproducing illustrations, explaining categories such as pictorial, decorative, scientific and topographical work and the relationship between author and illustrator. It describes photographic methods including half-tone, typogravure and photograms, line and pen-and-ink processes, and mechanical tints, with guidance on preparing originals—wash, oil, pencil and mixed media—and on retouching for reproduction. Chapters compare processes, discuss materials and tools, and offer hands-on advice for achieving desirable tonal range, image reduction, printing considerations, and the use of mechanical aids in tracing and layout.



F.W. DEVOE & C.T. RAYNOLDS CO

MANUFACTURERS OF

Artists' Materials

SUPPLIES FOR

Oil and Water
Color Painting

Pastel and
Miniature Painting

Charcoal, Crayon and
Lead Pencil Drawing

Etching, Ornamenting
and Designing

Materials for
Tapestry Painting

Pyrography and
China Painting

Materials for Pen and Ink Drawing A Specialty

Liquid Inks, Crow Quill Pens, Process Papers,
Roulettes, F.W. Devoe & Co.'s Superior Liquid
Chinese White and Indian Ink, "Pen and Ink
Carton," "Bank Note Bristol," best for Black
and White Work, "Scratch Board," etc., etc.


A Complete Line of Ross's Hand Stipple Process Papers at Wholesale and Retail


Fulton and William Streets, New York,
and 176 Randolph Street, Chicago



A.B. Fleming & Co.
(LIMITED)

Scottish Printing Ink Manufactory

Caroline Park, EDINBURGH

Warehouse;
15 Whitefriars St., London, E.C.

Fine Color Department;
101 Leadenhall St., London, E.C.

Manufacturers of Every Kind of Black and Colored Inks

HALF-TONE PRINTING INKS

IN BLACK AND ART SHADES A SPECIALTY

(Any Shade Made to Order)

Our Half-Tone Inks will not fill up, do not contain Earth-Colors, and are permanent

Photochromic Printing in Three Colors

THE THREE NEUTRAL COLORS

(Red, Blue and Yellow)

SPECIALLY PREPARED AND GUARANTEED ABSOLUTELY PERMANENT

Shades Verified by Lovibond's Patent Tintometer

HIGH-CLASS COLLOTYPE INKS

OF ALL SHADES


Patented 1881-89 and Patent applied for

AS A FRONT FOCUS.

The Brighton is the first desired step forward in view cameras for several years, and can justly be called perfect, as it has all the features so highly prized by Artists and View Photographers, and is also adapted for Studio use of the amateur or artist.

1st. It is a Front Focus Camera.

2d. It is a Back Focus Camera as well.

3d. It has more swing than any other Camera.

4th. It has a self-centering, rising and falling front.

5th. It has Rack and Pinion (forward) and slide (backward) movement.

6th. It has a new front board feature, and an extra large front board.

7th. It can be used with an extremely short or long focus lens and no lens is so wide in its angle that it can take in any part of the bed.

8th. While no Camera is more rigid when the back clamp is set, it can be taken entirely apart by reversing the tightening lever.

9th. It has an improvement which allows the bed to be raised without the screw catching.

10th. It can be set up and taken down quicker and easier than any Camera.

Add to this absolutely perfect workmanship, materials and finish, and you have the Brighton Camera, the Twentieth Century product.

AS A BACK FOCUS.

Price List.—Leather Bellows, Double Swing, including one "Xtralite" Plate Holder and Carrying Case, 5 × 7, $24.00; 5 × 8, $26.00; 6½ × 8½, $28.00; 8 × 10, $30.00; 11 × 14, $40.00; 14 × 17, $60.00.

G. GENNERT, Manufacturer

24 & 26 East 13th Street, NEW YORK




"The NEW YORK PHOTOGRAVURE CO., at 137 West 23d Street, makes perfect pictures for artistic, scientific and commercial purposes, by special, inimitable photogravure, photogelatine, and half-tone block processes. It has a gallery fitted to produce negatives of all sizes up to 24 × 30, by the best orthochromatic methods. From this department to the packing room, there is not a phase of any work, however trivial apparently, not carefully attended with the most zealous supervision."
From King's Handbook of New York City


Photographs in Colors

"Mr. Edwards spoke from the small stage at the end of the exhibition hall, and after an interesting résumé of the many 'processes' by which pictures and illustrations are now made with the aid of photography, the most important of which he explained in lucid and not too technical phraseology, he approached the most interesting part of his discourse, the modern method of three-color printing, which has, under the New York Photogravure Company, reached so high a state of perfection and resulted in such surprisingly attractive results."
From the Mail and Express, New York


"SUN AND SHADE reproduces, not only the most notable paintings and portraits, but the best work of amateur and professional photographers. If it gave nothing but the latter work, it would be deserving of the most liberal patronage that it receives; but it is an admirable record of the greatest paintings at the Metropolitan Museum of Art, of living American players, of portraits of celebrated Americans, of great American painters, with reproductions of their work, and it is a monument of the New York Photogravure Co., which is a monument of artistic New York."


Footnotes:

[1] Our frontispiece, a Collotype by S.B. Bolas and Co., is an excellent example of this process.

[2] The copper deposited by electro-deposition is little more than a thin skin of metal, which is then backed by a block of type-metal of the same thickness as the usual letterpress type.

[3] See remarks on printing in Chap. X.

[4] The term "tone," as used here and elsewhere throughout this book, is a word universally employed in art to express varying degrees of lightness and darkness irrespective of colour. The word "shade," as commonly used and accepted, comes nearest to its meaning, but that shade refers rather to varying tint of local colour, as when one says "a beautiful shade of pink." "Shade" is also used to express the reverse of "light," as "light and shade." Objects in nature, when represented in correct relationship of lightness and darkness, are said to be in correct relative tone.

[5] Refer to p. 72.

[6] Here, with all due deference, I may draw attention to the unpleasing effect of an illustration of elliptical or "cushion" shape, especially when mixed with letterpress on a book page, the general scheme of which is square or rectangular. Unless an irregular shape is for a special purpose desirable, it will be safer to keep the illustrations to a rectangular form.

Transcriber notes:

Fixed various commas and full-stops.
P.16. 'astist' changed to 'artist'.
P.32. 'ana' changed to 'and'.
P.109. 'reveiwed' changed to 'reviewed'.
Add: Camera: to 'be be raised', changed to 'be raised'.

Please note, special fonts used for this work are:
"Arial Narrow"; "Gill Sans MT Ext Condensed Bold"; "Wolf's Bane"; "Saunder BRK"; "Flowers Blossom Black" "Olde English Regular" and "Georgia".