CHAPTER VIII.
PROVING AND PRINTING.
85. Wax Proofs.—Our first desire, after the ground has been removed from the plate, is to see a proof. If you have no press, and yet desire to take proofs of your work after each biting, you may employ the following process to good advantage:—
Take a sheet of very thin paper, a little larger than your plate, and cover it with a thin layer of melted wax. The latter must be real white wax. Then sprinkle a little lamp-black on your engraved plate, and distribute it with your finger, so as to rub it into the lines; clean the surface of the plate by carefully passing the palm of your hand over it. Now lay the sheet of paper on the plate, with its waxed surface down, and be sure to turn the edges of the paper over on the back of the plate, so as to prevent its moving; then rub with the burnisher in all directions. The lamp-black sticks to the wax, and is sure to give an approximate image, sufficient to guide you in the further prosecution of your work, if that should be necessary[20]
86. The Printing-Press.—These proofs, however, as well as those which were hurriedly printed for you so far, give only a mere idea of your work, without conveying its full meaning. If you desire to become acquainted with all the resources of the printing-press, you will have to go to a plate printer. It is well worth your while to acquire this knowledge, also, after you have familiarized yourself with the various processes at the command of the etcher.
Here, then, is the printer at his press: at his side there is a box made of sheet-iron, enclosing a chafing-dish; there are also printing-ink, a ball for inking, rags, and paper.[21] He is about to explain the use made of these things to our young student, who delivers his plate to him, and is anxious to be instructed in all that relates to the taking of impressions.
87. Natural Printing.—The printer now begins his explanations as follows:—
I place the plate on the sheet-iron box (the plate-warmer); it there acquires the necessary degree of heat, and I then spread the printing ink over it by means of this ball; the ink penetrates into the lines, and completely covers the whole surface of the plate; I remove the excess of ink with a coarse muslin rag, precisely as this is done in all other kinds of plate printing; I now clean the plate with the palm of my hand, so that no ink is left on it anywhere but in the lines; I finally wipe the margins of the plate evenly, so as to leave a delicate tint on the etched part only, and then I put the plate into the press. The plate is laid on the travelling-board or bed of the press, which runs between two cylinders of iron or hard wood; on the plate I lay a piece of paper, slightly moistened, and I cover the whole with several thicknesses of flannel; I turn the wheel of the press, and the cylinders, turning on themselves, carry along the travelling-board, which, in passing between them, is subjected to great pressure. The paper is thus pressed into the lines on the plate, and this process is facilitated by the elasticity of the flannel. You see now that your plate has come out on the other side of the rollers (or cylinders): we have given the press only one turn, although, as a rule, the plate is passed through the press twice, by making it travel back again under the rollers. This imparts strength to the impression; but occasionally the lines are not rendered as delicately and with as much precision, as with only one turn. I remove the flannel, and very carefully lift the paper; it has absorbed the ink: we have before us a natural proof, which shows the exact state of the plate (see [Pl. I.]). Line-engravings are printed in the same manner; with this difference, however, that the tint, more or less apparent, which is preserved on an etching, is not allowed to remain on a plate engraved with the burin.
88. Artificial Printing.—The printing of etchings very frequently differs from the simple method just described. It must be varied according to the style of execution adopted by the etcher; and, as much of the harmony of the plate may depend upon it, it sometimes rises to the dignity of an art, in which the artist and the printer are merged into each other,—the printer losing himself in the artist, as he is compelled to enter into the latter's ideas; and the artist giving way to the printer, to avail himself of his practical experience. The proof from your plate, for instance, has a dry look (see [Pl. I.]); it needs more softness, and this can be given to it by the printer [D] (See [Pl. II.])
[D] It would be a great advantage if every etcher could print his own proofs. Rembrandt is the most striking example, as he was the author of many of the devices in use even to-day. A press can easily be procured. The firm of Ve. Cadart, Paris, has had a little portable press constructed, especially for the use of artists and amateurs. All the necessary accessories for printing can also be obtained of this firm. (See Note [22].)
I will now explain to you some of the various artifices which are employed in printing.
89. Handwiping with Retroussage.—Having wiped the plate with the palm of the hand, we might bring it up again (la retrousser) by playing over it very lightly with a piece of soft muslin rag rolled together. The muslin draws the ink out of the lines, and spreads it along their edges, so that, in the proof, the space between the lines is filled up by a vigorous tint. But this process can only be used on plates in which the lines are evenly disposed throughout, and, more especially, scattered. To produce the proper effect the retroussage must be general; because, if the rag passes over one passage only, and not over the others, or, if it is brought into play only on the dark parts, and not in the lights, there will be discordance of tone, and consequently want of harmony. In the present case, therefore, retroussage would be unsatisfactory, because the work on your plate, while it is broadly treated in some parts, is so close in others that there is no room left between the furrows. It follows that there is no place for the ink, drawn out of the lines, to spread on; the result would be a muddy tint,—one of those overcharged impressions which bring criticism upon the printer, because he has applied retroussage to a plate which did not need it.
90. Tinting with a Stiff Rag.—Let us now try another means. The proof will gain in freshness if we soften the lines by going over the plate, after it has been wiped with the hand, somewhat more heavily with stiff muslin. Owing to the pressure used, the rag, instead of carrying away the ink which it has taken up out of the lines, retains it; a tint like that produced by the stump is spread over the plate, and envelops the lines without obscuring them; the proof is supple and velvety. (See [Pl. II.])
91. Wiping with the Rag only.—Here is another variety. I am just printing a number of original plates by different artists. Being true painter's etchings, some of these plates are boldly accentuated and heavily bitten; the lines are widely apart, and significant. If these plates were printed naturally, they would yield bare and poor-looking proofs. Wiping with the hand would be useless. I therefore go over the plate with stiff muslin. In the same manner I continue and finish, so as to give the greatest amount of cleaning to the luminous passages, while a tolerably strong tint is left on the dark and deeply bitten ones.
Or I might have wiped the plate energetically with soft muslin, and then might have brought up again certain passages with a soft and somewhat cleaner rag.
This method of wiping, which leaves on the surface of the plate a tint of more or less depth, must not be confounded with retroussage. Here is a proof of one of the plates of which I spoke to you: it is well sustained at all points; the lines are full and nourished; the general aspect is harmonious and energetic; the lights are softened; the strongly marked passages are enveloped in a warm tint. One might almost say that the effect of painting has been carried into etching.
This method is employed for plates which have been deeply bitten, but upon which stopping-out has been used but sparingly, for works in which there is sobriety of expression, or for sketches (see [Pl. VIII.]). It is all the more necessary, sometimes, for the printer to take the initiative, the simpler the plate has been etched; it is left to him, in short, to complete the intention merely indicated by the artist.
Pl. VIII.
92. Limits of Artificial Printing.—These examples have shown to you that difference in tone depends on the amount of pressure, and the variety of texture in the muslin. It is oftentimes necessary—and this is an affair of tact—to make use of these diverse qualities of the muslin on the same plate,—now reducing an over-strong tint by more vigorous wiping; now giving renewed force to it, in case it has become too soft.
These various means constitute the art of printing etchings. But, while fully recognizing their efficiency when they are used to the purpose, we must also keep in mind the dangers which arise from their being applied without discernment. Plates produced by an intelligent combination of bitings, must be printed naturally, if they are not to lose the absolute character given to them by the needle and the acid. If they are at all wiped with the rag, so as to impart more softness to them, it must, at least, be done with the greatest of care.
The artist has every thing to gain, therefore, by watching over the printing of his plates, and instructing the printer as to the manner in which he desires to be interpreted. Some etchers prefer the simplicity of the natural state; but the great majority favor the other method of printing, which, for the very reason that it is difficult, and on account of the many variations in its application, ought always to be an object of interest to the printer, and the aim of his studies. It is, moreover, the method which is generally understood and adopted by our first etchers.[22]
93. Printing Inks.—The quality and the shade of the ink, as well as the way in which it is ground, are of great importance in the beauty of a proof. Inks are made of pure black, slightly tempered with bistre or burnt sienna, and the shade can be varied according to taste. A plate like yours needs a delicate black, composed of Frankfort black and lamp-black; the bistre-tint, which, in the course of time, loses its freshness and strength, would not answer. This tint is always best suited to strongly bitten work, but in your case it would be insufficient. A very strong black, on the other hand, would make your etching look hard. This last shade—pure, or very slightly broken with bistre—is preferable for strongly accented plates.[23]
94. Paper.—Laid paper is the most suitable paper for printing etchings; its sparkle produces a marvellous effect; its strength defies time itself.
Some artists and amateurs ransack the shops for old paper with brown and dingy edges, which, to certain plates, imparts the appearance of old etchings.
India paper (Chinese paper) promotes purity of line; but, as its surface is dull, it furnishes somewhat dry and dim proofs.
Japanese paper, of a warm yellowish tint, silky and transparent, is excellent, especially for plates which need more of mystery than of brilliancy, for heavy and deep tones, and for concentration of effect. Japanese paper absorbs the ink, and it is necessary, therefore, to bring up (retrousser) the plate strongly, and to wipe it with the rag. This paper is less favorable to sketches, the precise, free, and widely spaced lines of which accommodate themselves better to the tint of the laid paper.
Parchment may also be used for proofs; nothing equals the beauty of such proofs, printed either naturally, or wiped with the rag; they are the treasures of collectors.[24]
95. Épreuves Volantes.—On Chinese and Japanese paper, as well as on parchment, so-called épreuves volantes (flying proofs) are printed; that is to say, loose proofs, which are not pasted down on white paper. They are simply attached to Bristol board by the two upper corners, which brings them out perfectly.
96. Proofs before Lettering.—All of these various kinds of paper, each of which has its own claim for excellence, and especially Japanese paper, are by preference used for artists' proofs and proofs before lettering, which are printed before the title is engraved on the plate. It is customary to print a greater or less number of such proofs, which, being struck off when the plate is still quite fresh, show it at its best. After that, the plate is lettered, and an ordinary edition is printed from it.
It follows from this that the possessor of a proof without title has the best the plate can afford to give. But, as the pictures by the masters do not stand in need of a signature to be recognized, so the proofs before lettering may well do without the guaranty which is found in the absence of a title; even without this guaranty an amateur knows how to recognize the virgin freshness of an early impression, which is still further augmented by the extreme care bestowed on the printing of these exceptional proofs, but which cannot be kept up through a long edition.
97. Épreuves de Remarque.—Épreuves de remarque (marked proofs), showing the different states of the plate, and the various modifications which it underwent, are also sought after. Their rarity increases their price.[25]
98. Number of Impressions which a Plate is capable of yielding.—The number of impressions which a plate can yield is not fixed, as the power of resisting the wear and tear of printing depends largely on the delicacy or the strength of the work. The quality of the copper must also be considered, a soft plate giving way much faster than a hard plate which has been well hammered. The plates prepared to-day do not resist as well as those formerly made; and as the popularity of works of art multiplied by the press has considerably increased, it became necessary to look about for means by which the surface of a copper plate may be hardened, and be made to yield a large edition. This has been accomplished by
99. Steel-facing.—Steel-facing, which was invented by Messrs. Salmon and Garnier, and which M. Jacquin undertook to render practicable, consists in depositing a coating of veritable steel, by galvanic action, on the face of the copper plate, or, in other words, by the superposition of a hard metal on a soft metal.
This mode of protection, which perfectly preserves the most delicate passages, even down to the almost invisible scratches of the dry point, not only guarantees the copper against the contact of the hand and the rag, which would tell on it more than the pressure of the rollers, but at the same time makes it possible to print a thousand proofs of equal purity. Certain plates, owing to the manner of wiping used on them, do not reach this figure; others, more simply printed, may yield three to four thousand proofs, and sometimes even a still larger number.
As soon as the plate shows the slightest change, or the copper begins to reappear, the coating of steel is removed by chemical agents, which, acting differently on the two metals, corrode the one, while they leave the other untouched. The plate is thus brought back to its original state, and is therefore in the same condition as before to receive a second steel-facing. In this way plates may be de-steeled and re-steeled a great many times, and the proofs printed from them may be carried up to considerable quantities.
As a rule, the plates are not steel-faced until after the proofs before lettering have been printed.
Soft-ground etchings, the biting of which is quite shallow, must be steel-faced after two to three hundred impressions.
The delicacy of the bur thrown up by the dry point hardly permits the printing of more than twenty or thirty proofs on an average; steel-facing carries this number up to a point which cannot be fixed absolutely, but it is certain that the bur takes the steel quite as well and as solidly as an etched line. Dry points may, therefore, yield long editions; the steel-facing must in that case be renewed whenever necessary.[26]
100. Copper-facing Zink Plates.—Zink plates cannot be steel-faced, but they can be copper-faced.[27] Steel-facing has been adopted by the Chalcographic Office of the Louvre, and by the Gazette des Beaux Arts, that remarkable and unique publication which is an honor to criticism and is found in all art libraries. Steel-facing, in fact, is universally employed; it preserves in good condition the beautiful plates of our engravers, and makes it possible to put within reach of a great many people engravings of a choice kind, which but lately were found only in the salons of the rich and the collections of passionate amateurs.
An Etcher's Studio.
From the Third Edition of Abraham Bosse's “Treatise,” Paris, 1758.
Pl. IX.
