f much modern black-and-white
teaching is to ignore backgrounds.

CHAPTER IV.

PHOTO-ZINC PROCESS.[12]

In order to turn any of these drawings into blocks for the type press,
the first process is to have it photographed to the size required, and
to transfer a print of it on to a sensitized zinc plate. This print, or
photographic image of the drawing lying upon the zinc plate, is of
greasy substance (bichromate of potash and gelatine), and is afterwards
inked up with a roller; the plate is then immersed in a bath of nitric
acid and ether, which cuts away the parts which were left white upon
the paper, and leaves the lines of the drawing in relief. This "biting
in," as it is called, requires considerable experience and attention,
according to the nature of the drawing. Thus, the lines are turned into
metal in a few hours, and the plate when mounted on wood to the height
of type-letters, is ready to be printed from, if necessary, at the rate
of several thousands an hour.

[Illustration: PORTRAIT. (T. BLAKE WIRGMAN.)

(_From "Academy Notes."_)]

[This portrait was exhibited in the Royal Academy in 1880. I reproduce
Mr. Wirgman's sketch for the sake of his powerful treatment of line.]

[Illustration: No. XV.

"_Forget-Me-Not_," by HENRY RYLAND.

(_From the "English Illustrated Magazine."_)

An unusually fine example of reproduction in line, by zinc process, from
a large pen-and-ink drawing. It serves to show how clearly writing can
be reproduced if done by a trained hand. Students should notice the
variety of "colour" and delicacy of line, also the brightness and
evenness of the process block throughout.

This illustration suggests possibilities in producing decorative pages
in modern books without the aid of printers' type, which is worth
consideration in art schools. It requires, of course, knowledge of the
figure and of design, and a trained hand for process. One obvious
preparation for such work, is an examination of decorative pages in the
Manuscript Department of the British Museum. (_See Appendix._)

It would be difficult, I think, to show more clearly the scope and
variety of line work by process than in the contrast between this and
the two preceding illustrations. Each artist is an expert in black and
white in his own way.]

[Illustration: "BABY'S OWN." (G. HILLYARD SWINSTEAD.)

(_From "Academy Notes," 1890._)]

A wonderful and startling invention is here, worthy o