Volltext: The Imprint (1)

THE VALUE OF GOOD ILLUSTRATING 
N enjoyable little dinner was recently held at the Criterion 
Restaurant, under the auspices of the Technical Circle of the 
Institute of Journalists, when Mr. P. A. Gilbert Wood, of 
" The Architect " presided over a fairly large attendance. 
After dinner, the Chairman announced that Mr. Carl 
Hentschel,  would give an address on " Methods of Illus- 
tration and the Preparation of Blocks for Technical Papers." 
Mr. Hentschel, who was received with great applause, said the know- 
ledge of technical details in every branch of the trade was now so extensive 
that it made it somewhat difficult for him to speak upon details which 
would be new and interesting. As one who had watched the growth of 
reproduction and use of illustrations, and had observed the various processes 
which had been perfected during the past thirty-five years, he could not 
fail to realise what an enormous revolution process work had created, not 
only in the newspaper, printing and journalistic world, but also in commer- 
cial circles as well. Naturally he could not help feeling proud that to a 
certain extent the name of Hentschel would always be associated as the 
pioneer in the advance of process work both in black and white, and colour, 
and as having brought the invention of these processes not only to practical 
use but also to commercial success. Briefly, the various methods used in 
connection with reproducing illustrations would be described as follows : 
Steel engraving, mezzotint, copper-plate engraving, lithography, wood 
engraving, collotype, heliotype, autotype, photogravure, zincography, 
Meisenbach or half-tone engraving, three-colour process or Hentschel- 
colourtype, rotary photogravure and offset printing. 
In regard to the first three methods, they were adopted for a special 
class of work,  plates or engravings for which the editions were limited 
and cost was no object. Steel engravings and mezzotint had practically died 
out and one must, from an artistic standpoint, regret that a process requir- 
ing such personal attention as mezzotint should have died out. At present 
there were few men capable of doing it, and the L.C.C. at the School of 
Engraving, he was glad to see, had started classes for that special branch. 
For commercial purposes he was afraid it was entirely out of the question. 
Coming to lithography they were all familiar with the method, which was 
discovered by accident in 1719. It had, however, its limitations, inasmuch 
as every original to be reproduced had to be redrawn on stone, and unless 
the lithographer or artist employed was very clever the reproduction 
suffered. In regard to artistic work, many artists felt a peculiar fascination 
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