Telegram-herald., 1889-11-30
BzESHARD GILLIAN
WILLIAM HAAILros GIBs0S OK Tn
PH0T0-ESeEAvIHG FE0cEss-

WILLIAM HAMILr0s 6IBsoS on fhE
PHoTo-EseEAvIHG FE0cEss
think il Is generally conceded thas
IN 10 branch Of at has Ausrlca shown
such notable development as IA tie
nsll Of illustration. TIE supremacy q
the American illustrated magazine Is
uzdisputed
space IS too short for me % consider
the iur lenCes Glat nave colsnlred % t1ls
proud consammaliJn, ana aAlch have
been seg forth ln our critical columns.
Bu@tAege are q tes ialpor sant taecessor-es
~ the fact which perhaps have no<
won the consideration lley deserve I
would not invite she finger of scorn or
the deadly bar.n Of any one Of ny es-
teemed brethren OF tAe gr4ver. but /
an firmly Ot the opinion that in the ad-
vent Ot tie various ART processes 80
may Lnd the crlclbls which has tried
their meta and refined laeir gold the
Wlnn0Ning process aA-ch c4me as =
natural cons. ueuce ia this un-
equal competition leaving only the
chiefs masters Of the field. do not say,
Of course, that this has been tia sole
Incentive toward Trogsess. bat that it -
a more Important fact0r tnan IS gener-
ally credited, Al .ke 10 artist and en-
graver. Tor any condition OF Illustrative
art implies the recognition OF tie
minds OF Ehe tes gner and translator
The photO-en craving line process
came first, and Al gnwe .cOme herald II
Was. WAT terrible sweep 10 made
Those amazingly patient souls that
tOlltd by tae month digging out wood
b. tween the criscross peacil lines on a
box wood block What swath the
photO-engraviag process cut IN their
ranks NO matte how the artist
ueshed the lines, nobody 3 eyes 20 con-
sIder the camera wOaldn't worry over
them. nor omit them. The printed
proof came back 20 the designer an alb
s0lute fac-simile OF his drawing, az 4
few cents al inch as against the costly
hand engraving. and 4 hest of artistic
mechanics found their occupation gone.
On the heels OF this process followed
another chemical innovation which
brought untold advantage alike 70 artist
as we'll IS engraver-zrt photography
on wood. Previous 10 its Introduction
drawing on wood was a distinct profes-
sion and the main dependence OF illus
trative ert- To-day IL Is practically one
OF the lost arts with Us The box wood
no longer goes TO the studio, but to the
dark room OF the photographer. Illus
trative arr was reyOlutionized. No
longer did the hair of the artist stand
on end IS be saw his actual drawing
chipped of and annihilated in slivers
under the gouge OF bad engrayer, or.
later. its sculptured face with the
CHASTITY remains of his design sponged
on and supplanted with printers ink,
whereof the outcome was like unto
lottery with many blanks! No longer
now was such By no means hypOtheti-
cal three cornered dialogue as the fol-
lowing possible spice - hisdaily walk
and conversation
Artist don't like IL; it's all
wrong. IL is not as ! drew it.
EngraVer-I say Il IS Al absolute re-
production OF your drawing.
Artist-fiend. Don't you suppose l
know what l drew?
Arttul Engra aver-NO: evidently not.
By-the-way, how long were you in
making that drawing?
Truth tul Artist-One day
Engraver-WeN, l had the thing
under my nose three weeks, and guess
remember how it looked better than
you
Publisher-Gibson, that's a clincher.