THE SCIENTIST. 
69 
m 
Drawings in Pencil. 
These Ciiii be made on a paper with a 
^^ood, sharp, even tooth, or grain, like 
Steinbach paper or even the finer grained 
English drawing papers and if carefnlly 
reproduced without much reduction can 
l)e printed so as to give line results. 
Generally speaking, however, this exacts 
too mucli from the etcher and printer, 
especially when the latter has to work 
Mith clieap ink and pnper, 5md other 
drawing materials can be so used as to 
give hot tor results with no greater pains. 
HE fact that an 
I American manu- 
facturer is now 
supplying an ex- 
cellent quality of 
I printed ruled tint 
^ sheets and em- 
'^^ i bossed chalk sur- 
face paper greatly 
facilitates the 
work of the illus- 
trator, especially 
if he be an ama- 
teur and averse to 
the severer labor 
of the pen work. 
These papers are coated with a prepara- 
tion easily cut away with a scraper and 
are embossed in various regular pat- 
terns of lines, dots, etc. White line ef- 
fects are easily produced by scraping on 
parts first brushed in, in solid black, or 
on the ground of tint itself and if the 
scraping goes a little farther we get pure 
whites, as desired. In Germany, these pa- 
pers are used for the production of high 
grade artistic illustration, side by side 
with wood engraving. As a rule, Ameri- 
can draughtsmen have neglected them. 
The best way to work on these surfaces 
is to sketch the subject lightly and with 
fine clear blue pencil outlines, then with 
the brush, put in the solid blacks and 
those parts meant for dark gray. Let it 
dry completely and restore the light in 
these last by scraping with the edge of 
;i sharp erasei\ then put in the half-tones 
all over, with black wax crayon, (No. 2 
lithographic craj^on,) or with "Dixon's 
Best Black" crayon. Do not use much 
pressure but keep the point quite long 
and sharp and to gain depth of tone 
work rapidlj^ from various directions in 
short circling strokes so as to cover the 
sides of the grain. In the lights, work 
delicately on top of the grain. Do not 
try to recover light tints in parts tiiat are 
too dark, by scraping; it makes it muddy. 
When all is woi-ked up as far as can be 
in crayon, finish by putting in bits of 
clear outline and snappy little blacks 
with pen, and cleanly scrape out any de- 
sired whites, with the eraser. Such a 
drawing will always reproduce and print 
well. You have seen some evidence of 
that in Mr. Hare's drawings in the Scien- 
tist. 
Surface papers can be used in combi- 
nation with pure pen work or with each 
other. Suppose you wish to draw a grey 
fossil on a dark matrix of rock. Cut 
from one of these papers, (say "Hand 
stipple," No. 13^,) a piece the exact shape 
of the outline of the fossil. With strong 
starch paste, put it down firmly on a 
piece of enamelled card. Outline the 
rock surface and paint it in all black; 
when dry, line this up in a simple manner 
with a needle point. With pen and 
crayon woik up the details in full on the 
fossil, keeping the w^ork light. Or try 
drawing in a dark bird, with full heavy 
shades on a piece of the grey paper, (No. 
10 or 12,) when done, a very few strokes 
in white will detail the bird, and a few 
sketchy pen outlines, kept quite simple, 
will convert the gray background into a 
delicate pleasing landscape. Other uses 
will readily suggest themselves. 
Autotype. 
In the near future the so-called "half- 
tone" process of plate making, for which 
no operator has as yet found a correct 
name, will largely crowd others out. My 
reason for speaking thus in regard to 
