of an actress in
some elaborate costume, seems to answer the purpose of the editor of a
newspaper to fill a page, where formerly artists and engravers would
have been employed. One reason for this is that the details of the dress
are so well rendered by photography on the block as to answer the
purpose of a fashion plate, an important matter in some weekly
newspapers. The result is generally unsatisfactory from an artist's
point of view, but the picture is often most skilfully composed and the
values wonderfully rendered, direct from the original.

In the case of the reproduction of photographs, which we are now
considering, much may be done by working up a platinotype print before
giving it out to be made into a block. Much depends here upon the
artistic knowledge of editors and publishers, who have it in their power
to have produced good or bad illustrations from the same original. The
makers of the blocks being confined to time and price, are practically
powerless, and seldom have an opportunity of obtaining the best results.
It should be mentioned that blocks made from wash drawings, being
shallower than those made from line drawings, suffer more from bad
printing and paper.

A good silver print (whether from a photograph from life or from a
picture), full of delicate gradations and strong effects, appears on the
plate through the film of gauze, dull, flat, and comparatively
uninteresting; but _the expression of the original is given with more
fidelity_ than could be done by any ordinary wood engraving. This is
the best that can be said for it, it is a dull, mechanical process,
requiring help from the maker of the blocks; and so a system of touching
on the negative (before making the block) to bring out the lights and
accents of the picture is the common practice. This is a hazardous
business at the best, especially when dealing with the copy of a
painting. I mention it to show where "handwork" in the half-tone process
first comes in. The block, when made, is also often touched up by an
engraver in places, especially where spotty or too dark; and on this
work many who were formerly wood-engravers now find employment.

There is no doubt that the makers of process blocks are the best
instructors as to the results to be obtained by certain lines and
combinations of lines; but in the majority of cases they will tell the
artist too much, and lead him to take too much interest in the
mechanical side of the business. T