as the interpreter of their work. Sir John Tenniel, M. du
Maurier, and Mr. Sambourne, not to mention others on the _Punch_ staff,
have been accustomed to draw for wood engraving, and would probably
still prefer this method to any other.

[Illustration: "THE ROSE QUEEN." (G. D. LESLIE, R.A.) (_From "Academy
Notes," 1893._)]

But the young illustrator has to learn the newer methods, and how to get
his effects through direct photo-engraving. What may be done by process
is demonstrated in the line drawings interspersed through these pages,
also in the illustrations which are appearing every day in our
newspapers, magazines, and books--especially those which are well
printed and on good paper. Mr. George Leslie's pretty line drawing from
his picture, on the opposite page, is full of suggestion for
illustrative purposes.

But let us glance first at the ordinary hand-book teaching, and see how
far it is useful to the illustrator of to-day. The rules laid down as to
the methods of line work, the direction of lines for the expression of
certain textures, "cross-hatching," &c., are, if followed too closely,
apt to lead to hardness and mannerism in the young artist, which he will
with difficulty shake off. On these points, Mr. Robertson, the
well-known painter and etcher, writing seven years ago, says well:--

"The mental properties of every line drawn with pen and ink should be
original and personal ... this strong point is sure to be attained
unconsciously, if an artist's work is simple and sincere, and _not the
imitation of another man's style_."[7]

When the question arises as to what examples a beginner should copy who
wishes to practise the art of pen-and-ink drawing, the difficulty will
be to select from the great and varied stores of material that are
everywhere to his hand. All steel and copper-plate engravings that have
been executed in line, and all wood engravings, are within the possible
range of pen-and-ink drawing. I hold, however, that much time should not
be occupied in the imitatative copying of prints: only, indeed, so much
as enables the student to learn with what arrangement of lines the
different textures and qualities of objects may be best rendered.

There are, roughly, two methods of obtaining effect with a pen--one by
few lines, laid slowly, and the other by many lines, drawn with
rapidity. If the intention is to see what effect may be obtained with
comparatively few lines deliberately