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The process used a chemical process to transfer a photographic negative to a rubber surface before printing. There were various artistic movements and their proponents in the nineteenth and twentieth centuries that took an interest in the enrichment of book design and illustration.

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For example, Aubrey Beardsley , a proponent of both Art Nouveau and Aestheticism , had a great influence over book illustrations. From Wikipedia, the free encyclopedia. See also: Picture book. Retrieved May 22, Meggs' History of Graphic Design. The Renaissance Print , Yale, , p.

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Ring Smart Home Security Systems. PillPack Pharmacy Simplified. The gathered chieftains come to [16] Otho's call:" and not perhaps until we have passed the third or fourth stanza, and are trying to picture in our minds the brilliant assemblage of Spanish chieftains, and the fierce challenge of the accused Lara terminating with "Demand thy life! It is not always possible even to get our book illustrations to face the matter which refers to it, and even if that can be arranged, or the illustration can actually come into the same page, the act of turning from text to picture means an interruption and severing the continuous thought.

Could our illustrations appear in the margin, between the lines, mingled with the letterpress, how smoothly we might read the illustrations along with the text, and how bright and pleasing would the pages appear! We will suppose some book of travel or poetry be set up in type by the printer, and a proof copy be made up with broad margins under the direction of the illustrator, who then takes it in hand and decorates each page as desired; or the pages are pulled as proofs on two or three kinds of paper, smooth for pen work, rough for crayon, or medium for wash drawings—what delightful variety might be secured!

When the artist has added his marginal and inter-paragraph illustrations the pages are photo-reproduced, the complete block including both letterpress and drawings. Of course the illustrations, if confined to the margins, could be reproduced separately, and set up with the type in the same form. In [18] the example I have given on page 15, the letterpress was set up by the printer to occupy a given space, the type used being a clear, bold letter.

The Guild Handbook of Scientific Illustration, 2nd Edition

This was printed from on two or three kinds of paper, and handed to me to add the illustrative matter. The proof used was about thirteen by nine inches, and this was subsequently reproduced by a simple zinco process to the size here shown. Of course the amount of letterpress possible on each page is small if the illustrating be carried to any great extent. An edition of Shakespeare's works treated in this fashion would of itself constitute a small library, but for smaller works, or for single plays or single poems, many a plain piece of reading might be by such means converted into a very delightful and beloved book.

I have often thought that in fiction, when we read that the dainty little billet doux slipped under the door, written in my lady's delicate and graceful style; or, the mysterious letter handed to the hero written in a strange handwriting "ran as follows," how much more forcible the thing would be if the author had given us a facsimile of the letter. I never read a letter in a story without feeling it was the author of the romance, instead of the character in the book, who composed the letter. Here it will probably be well to consider the different classes into which illustrations naturally seem to fall, and this because it is the common custom to regard the contents of an illustrated book as all belonging to one.

We do this without any forethought, without any artistic ability, and never for a moment considering that we are fulfilling the first theoretical function of the illustrator, and we make this sketch-plan partly because we could not so graphically describe what we wish in words; and, again, the drawing will produce a more lasting impression upon the person appealed to, and that without so great an effort of memory on his part.


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It is the same with the diagrams which illustrate the problems of Euclid, a tourist's map, an architect's plan; these are all illustrations of a diagrammatic kind. Only a little higher in the scale are the illustrations in scientific and physiological books. I say higher , because of the difficulties attaching to the photographing of such objects, and their more complex [20] forms, which sometimes necessitate their being drawn from the objects at first hand by one possessing some amount of skill as a draughtsman.

But the intention is to explain the text, added to which is perhaps the special office of enabling the student to recognise and identify the particular animal or vegetable structure, or a certain rock formation or crystal, when found; for which purpose it is of primary importance that the essential and specific characters of the particular object are carefully portrayed, and the entire figure be of faultless accuracy. This same quality must also be secured in topographical views with which the book of travels, with its description of far-distant places and people, is illustrated; it is in this class of drawings that there is most danger of a desire to make a pretty picture—overwhelming the purely descriptive or explanatory function.

The representation of the principal characters in a story, with which it is the custom to illustrate a novel or work of fiction, has often appeared to me to be one of the least successful departments of illustration.

Category:Handbook of Ornament () illustrations - Wikimedia Commons

Probably this arises from the fact that the artist has no actual models to work from; he creates, out of the author's description, imaginary beings, and portrays them accordingly. Therefore, unless author and artist have been in very close communication, it is as likely as not that the artist may get a conception of certain characters quite remote from the author's intention. At least, it must have occurred to many a reader to find the pictures in a favourite novel often quite fail to realise the ideal which he had himself formed of the hero or heroine, of whom, at the very outset, he had conjured up an image and an environment.

Somewhat lately the experiment has been made of illustrating fiction with actual photograms from life, in which case the illustrator must select with great care individuals answering very exactly to the descriptions given, and use these as models grouped as required. Obviously this method must be confined to such books whose plot is laid in comparatively recent times and in ordinary scenes of life; for the difficulties, which are in any case great, assume insurmountable proportions when one conceives the idea of illustrating by photograms such books as "Robinson Crusoe," "Pilgrim's Progress," or "Don Quixote.

The ideal condition would be for the author to illustrate his own writings, then indeed should we be sure of getting a glimpse of the character intended; and we can imagine with what care he would fashion the child of his imagination.

Failing this, the author should control to a greater extent the work of the man who is to illustrate his writings, a point far too often overlooked in the making of a book. It will be seen that in this section of illustration the draughtsman draws upon his imagination, so that, to some extent at least, his art is creative. It must, however, be borne in mind that he is not at liberty to paint or draw his own unaided imaginings; he is merely interpreting [22] another's words into a graphic representation; so that, be he never so fine an artist, his art, like Pegasus in harness, is restrained under the yoke of the illustrator.

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Also in some dramatic works, in poetry, and in some prose, there is a much wider scope for the imagination of the artist, and we have high-class books of a real artistic merit. One other notable form of illustration remains, and that is the purely decorative. This is seen to advantage in the book-plates in which a device bears the name of the owner and is affixed to each book; to revive which custom an effort has happily been made of late. In allegorical figures and scrollwork on title-pages, at heads of chapters, in borders, in large initial letters, at the termination of a chapter, or a design interspersed with the type on a page, and in many other forms beyond the prescribed shape which its position determines, there is little to restrict the artist.

Some examples of designs for book-plates were recently given in that excellent magazine The Studio ; and some interesting and wholly praiseworthy "initials," formed on an actual photogram, appeared recently in The Photogram. These are two instances out of the many which may be seen on every hand, and in [23] this connection I have long felt that photograms from nature might be more largely applied to book illustration or decoration. Thus I have endeavoured to indicate the principal uses of illustrations.

Illustrating a Book: My Process - Part 1

Now in every work of art, its strength and its success are dependent in a great measure upon its composition and purpose possessing simplicity and unity, and I think that it cannot be too deeply impressed upon the illustrator that singleness of purpose will be a strong contributory to success. If the purpose of the illustration be to explain or to describe, then let it do that at the sacrifice, if need be, of all else; and if, at the same time, it be possible to introduce such qualities as will make it void of offence to the more cultivated eye, so much the better; but the particular aim and intention must be paramount.


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In like manner, if the illustration be for purely ornamental purposes, or purely pictorial, giving pleasure to the eye and the sense of beauty: then to attempt to make it fulfil the function of a teacher, to anything more than a subordinate degree, is to divide, and therefore to weaken, both capacities. An illustration, therefore, should be thought out, designed, and produced, with a definite and single purpose.

Speaking of the rise and development of newspaper illustration, in a lecture delivered before the Society of Arts, in November, , Mr. Henry Blackburn quoted from a discussion held at the same place in , when the following conclusion was arrived at: "In the production of illustrations we have arrived at great proficiency, and from London are issued the best illustrated newspapers in the world. But our artistic skill has led us into temptation, and by degrees engendered a habit of making pictures when we ought to be recording facts.

We have thus, through our cleverness, created a fashion, and a demand from the public, for something which is often elaborately untrue. This, it appears, was said before the mechanical process block was much used or even known; but what was true in principle in the old wood-engraving days is as true now that we have new and rapid means of reproduction. Having, in any given case, decided what is the purpose of the illustration required, it will next be necessary to determine by which of the methods at our disposal the scheme can best be carried out, both as regards the method of producing the original, and the method of reproducing it in print.

And this naturally brings us to the subject of our next chapter. From the processes with which I propose to engage my reader's attention, wood and steel engraving, and kindred methods, stand apart.

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Were we dependent upon these alone, not one-thousandth part of the illustration matter of to-day could ever have been produced, encumbered as the older methods are with the two things which, in the production of anything "for the million," are serious drawbacks, namely, time and expense of production. Whilst these older methods undoubtedly possess characteristics which will always give them a peculiar value, and secure for them immunity from extermination and make them, indeed, essential for certain purposes , there was long ago felt a need for a method of rapid reproduction unattended with individual artistic skill on the part of each worker employed, and, above all, free from heavy expense.

Such a need has been more than met by what we now know as the mechanical processes. I say more than met, because, gradual improvement in the processes themselves, and an increased knowledge of the particular requirements of these processes on the part of the draughtsmen or artists, has resulted in giving us a process which is not only rapid and cheap, but which produces prints of high quality and merit.

It will of course be at once apparent that in order to get our illustration into the printed pages of book or newspaper we must first transfer the original to a plate, or block, and then so manipulate the surface that, like a printer's type, it shall take the printing ink in such manner as shall leave an exact imprint upon the paper, or other surface, upon which it is pressed. The transfer of the original is accomplished by photography.