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.