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    Engraving for Illustration Historical and Practical Notes
    Engraving for Illustration Historical and Practical Notes
    Engraving for Illustration Historical and Practical Notes
    Ebook98 pages59 minutes

    Engraving for Illustration Historical and Practical Notes

    By Joseph Kirkbride

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    Engraving for Illustration Historical and Practical Notes

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      Book preview

      Engraving for Illustration Historical and Practical Notes - Joseph Kirkbride

      Project Gutenberg's Engraving for Illustration, by Joseph Kirkbride

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: Engraving for Illustration

      Historical and Practical Notes

      Author: Joseph Kirkbride

      Release Date: July 17, 2011 [EBook #36751]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK ENGRAVING FOR ILLUSTRATION ***

      Produced by Chris Curnow, David Garcia and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive)

      ENGRAVING FOR ILLUSTRATION

      Reproduction by R. J. EVERETT & SONS' INK-PHOTO Process

      FRONTISPIECE. ENGRAVING FOR ILLUSTRATION.

      ENGRAVING FOR ILLUSTRATION

      Historical and Practical Notes

      BY

      JOSEPH KIRKBRIDE

      WITH TWO PLATES BY INK PHOTO PROCESS

      AND SIX ILLUSTRATIONS

      LONDON

      SCOTT, GREENWOOD & CO.

      10 LUDGATE HILL, E.C.

      NEW YORK

      D. VAN NOSTRAND CO.

      23 MURRAY STREET

      1903

      [All Rights remain with Scott, Greenwood & Co.]

      PREFACE

      A philosopher and writer has declared that in our fine arts, not imitation, but creation, is the aim.

      It is to emphasise a distinction between an imitative and a creative art that the following chapters are offered.

      Engraving for Illustration is pre-eminently a creative art by which the work of the artist is translated, in order to render the effect of his design in such a form as will admit of rapid and effective reproduction.

      It is, moreover, a popular art with a well-defined educative principle underlying the numerous phases of its manifestation; while, at the same time, its historical and general interest will commend this brief record of its progress and influence to many who are lovers of art for art's sake.

      J. K.

      London June 1903.

      ENGRAVING FOR ILLUSTRATION

      CHAPTER I

      ITS INCEPTION—A THEORY OF EVOLUTION—A DISTINCT PROGRESS

      In proportion to his force the artist will find in his work an outlet for his proper character.—Emerson.

      Its Inception.—It was the dawn of a new sense when primitive man first ornamented his weapons, utensils, and the walls of his cave dwellings with incised drawings,—pictorial representations which enabled him to record events or suggest and illustrate thoughts and ideas when his somewhat limited vocabulary failed him.

      It was a severely utilitarian epoch of the world's history, and the crude yet intensely realistic manifestations of man's artistic desires were the more remarkable that they were wholly dependent upon stern necessity for their realisation. Childlike in their simplicity, yet both graphic and vigorous in expression, these ancient drawings bear testimony to the intense desire of primeval man for some suitable and satisfying form of pictorial expression. Such incised drawings were undoubtedly the earliest forms, which the mind of man suggested and his skill attained, of conveying information and displaying pictorial or ornamental art. They were but crude conceptions of the untutored art of a savage race, yet, with a characteristic quaintness of expression, they abundantly prove the existence of an innate, imitative, and artistic faculty, inspired by an insatiable craving for illustrative delineation.

      A Theory of Evolution.—The antiquity of the engraver's art, then, is exceedingly remote, and its earliest records display frequent evidences of manipulative skill and artistic perception—evidences which are still more convincing when the environment and scanty resources of its exponents are fully appreciated. It was a most unique phase of that process of evolution whereby the social education of the human race was advanced, and through countless ages it has indicated the same onward roll of progressive intelligence.

      Responsive to the ever-changing conditions of life, the necessities of mankind were constantly increasing. His higher intelligence also created a greater diversity of interests, and consequently demanded a fuller and more expressive vehicle of communication for his thoughts. No longer content with what was only needful for the maintenance of social or commercial

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