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.