The lithographic stone is rather a cumbersome thing to handle, but the initial drawing can be done on paper and afterwards transferred to the stone.  In the case of line work the result is practically identical, but where much tone and playing about with the chalk is indulged in, the stone is much better.  Lithographic papers of different textures are made for this purpose, but almost any paper will do, provided the drawing is done with the special lithographic chalk.

[Sidenote:  Pen and Ink.]

Pen and ink was a favourite means of making studies with many old masters, notably Rembrandt.  Often heightening the effect with a wash, he conveyed marvellous suggestions with the simplest scribbles.  But it is a difficult medium for the young student to hope to do much with in his studies, although for training the eye and hand to quick definite statement of impressions, there is much to be said for it.  No hugging of half tones is possible, things must be reduced to a statement of clear darks—­which would be a useful corrective to the tendency so many students have of seeing chiefly the half tones in their work.

[Illustration:  Plate LVI.

STUDY IN PEN AND INK AND WASH FOR TREE IN “THE BOAR HUNT” RUBENS
(LOUVRE)

Photo Giraudon]

The kind of pen used will depend on the kind of drawing you wish to make.  In steel pens there are innumerable varieties, from the fine crow-quills to the thick “J” nibs.  The natural crow-quill is a much more sympathetic tool than a steel pen, although not quite so certain in its line.  But more play and variety is to be got out of it, and when a free pen drawing is wanted it is preferable.

Reed pens are also made, and are useful when thick lines are wanted.  They sometimes have a steel spring underneath to hold the ink somewhat in the same manner as some fountain pens.

There is even a glass pen, consisting of a sharp-pointed cone of glass with grooves running down to the point.  The ink is held in these grooves, and runs down and is deposited freely as the pen is used.  A line of only one thickness can be drawn with it, but this can be drawn in any direction, an advantage over most other shapes.

[Sidenote:  Etching.]

Etching is a process of reproduction that consists in drawing with a steel point on a waxed plate of copper or zinc, and then putting it in a bath of diluted nitric acid to bite in the lines.  The longer the plate remains in the bath the deeper and darker the lines become, so that variety in thickness is got by stopping out with a varnish the light lines when they are sufficiently strong, and letting the darker ones have a longer exposure to the acid.

Many wonderful and beautiful things have been done with this simple means.  The printing consists in inking the plate all over and wiping off until only the lines retain any ink, when the plate is put in a press and an impression taken.  Or some slight amount of ink may be left on the plate in certain places where a tint is wanted, and a little may be smudged out of the lines themselves to give them a softer quality.  In fact there are no end of tricks a clever etching printer will adopt to give quality to his print.