lines tend to thicken and so to crowd out the light between them.
This is so distressingly true of newspaper reproduction that in
drawings for this purpose the lines have to be generally very thin,
sharp, and well apart. The above rule should be particularly regarded
in all cases where the drawing is to be subject to much reduction.
The degree of reduction of which pen drawings are susceptible is
not, as is commonly supposed, subject to rule. It all depends on
the scale of the technique.

Third: Have the values few and positive. It is necessary to keep
the gray tones pretty distinct to prevent the relation of values
being injured, for while the gray tones darken in proportion to the
degree of reduction, the blacks cannot, of course, grow blacker.
A gray tone which may be light and delicate in the original, will,
especially if it be closely knit, darken and thicken in the printing.
These rules are most strictly to be observed when drawing for the
cheaper classes of publications. For book and magazine work, however,
where the plates are touched up by the engraver, and the values in a
measure restored, the third rule is not so arbitrary. Nevertheless,
the beginner who has ambitions in this direction will do well not
to put difficulties in his own way by submitting work not directly
printable.

[Side note: _Some Fanciful Expedients_]

There are a number of more or less fanciful expedients employed in
modern pen work which may be noted here, and which are illustrated
in Fig. 10. The student is advised, however, to resort to them as
little as possible, not only because he is liable to make injudicious
use of them, but because it is wiser for him to cultivate the less