ain has to be used, producing the "Berlin
wool pattern" effect on the page, with which we are all familiar in
newspapers.

Let us now look at two examples of wash drawing by process, lent by the
proprietors of _Black and White_.

[Illustration: No. XXVII.

This is a good average example of what to expect by the half-tone
process from a wash drawing. That the result is tame and monotonous is
no fault of the artist, whose work could have been more brightly
rendered by wood engraving.

That "it is better to have this process than bad wood engraving" is
the opinion of nearly all illustrators of to-day. The artist _sees his
own work_, at any rate, if through a veil of fog and gloom which is
meant for sunshine!

But the time is coming when the public will hardly rest content with
such results as these.]

[Illustration: No. XXVIII.

_Illustration from_ "_Black and White_," by G. G. MANTON.

This is a good example of wash drawing for process; that is to say, a
good example from the "process man's" point of view.

Here the artist has used his utmost endeavours to meet the process
half-way; he has been careful to use broad, clear, firm washes, and
has done them with certainty of hand, the result of experience. If, in
the endeavour to get strength, and the _best results out of a few
tones_, the work lacks some artistic qualities, it is almost a
necessity.

Mr. Manton has a peculiar method of lining, or stippling, over his
wash work, which lends itself admirably for reproduction; but the
practice can hardly be recommended to the attention of students. It is
as difficult to achieve artistic results by these means, as in the
combination of line and chalk in one drawing, advocated by some
experts.

At the same time, Mr. Manton's indication of surfaces and textures by
process are both interesting and valuable.]

[Illustration: "A SUNNY LAND." (FROM THE PAINTING BY GEORGE WETHERBEE.)

(_New Gallery, 1891._)]

[Illustration: DECORATIVE DESIGN BY RANDOLPH CALDECOTT.]

(The above design, from the _Memoir of R. Caldecott_, is lent by
Messrs. Sampson Low & Co.)

One of the many uses which artists may make of the half-tone process is
suggested by the reproduction of one of Mr. Caldecott's decorative
designs, drawn freely with a brush full of white, on brown paper on a
large scale (sometimes two or even three feet long), and reduced as
above; the reductio