The Abbeville press and banner. [volume] (Abbeville, S.C.) 1869-1924, 1886-09-01
THE ETCIER'S ART.


THE TOOLS HE WORKS WITH ANc
THE EFFECTS HE PRODUCES.
An Artist Gives the History or an Etoh'
ins-rrepuring the Ground-DrawinQ
on tho Gelatine Plate-"BItIng In''
the Lines.
"Lct me give you in connected story the
history of an etching from the time tho cop
per plate is placed in position for work until
it leaves the hands of the printer. In the
first place, tho copper plate is thoroughly
washed with turpentine, or, better, with ben.
zinc, for the former is q little too thin. This
is to remove any grease. The plate Is then
heated, commonly by burning under it heavy
etching paper, or, if the plate is large one,
by spirit lamp. 1t is heated to such tenn
perature that water will roll Off in globules.
When the plate is sufficiently heated prcpa-
ration known ns etching ground is applied.
This is a composition which comes prepared
in the shape of round ball, about the size OF
black walnut, and is made of asphalturn,
becswax and oil of lavender This compost
ton is carefully tied up in silk, and through
this silk the etching ground oozes on to the
plate, where it is laid with q roller. After the
ground is applied and has sufficiently cooled,
it is smoked, in order to give the etcher q
black surface on which to work. The slnok-
ing is done with a twisted wax taper, can-
dies, or in fact any substance which will pro-
duce the desired effect. When the plato is
cold the ground is perfectly hard So much
for the first part Of the process, that Of pre-
pairing the plate.
OUTLINE OF TIE DRAWING.
3The etcher is now ready for work In
earnest. He takes drawing, which, of
course, may be original or copy, and etchcs
its fac-simile on the plato before him. II he
wishes to take special pains with his subject,
which is usually the case he does not copy
the drawing directly OIL the plate, but takes
all intermediate step. Over his drawing he
fastens perfectly hard transparent gelatinc
composition, ami with his etching point
ctchcs the drawing OH this, exactly on the
principle of the transparent slate of our nur-
scry days. Tho gclatine plato is removed.
and presents rough and scratched surface.
1t is lightly scrapod, but so lightly that the
indoltcd lines aro not disturbed or effaced
These lines arc filled with rcd chalk. The
gelntinc plato is then reversed and placed on
the etching ground of the copper plate. A
burnisher is applied, which transfers tho
chalk to the etcher's form or upon the plate.
Thus the etcher has q perfect outline of the
drawing on the plate on which he is to work.
In this way he is guided in his task, and his
work is expedited.
sThc ctchcr now begins to use the tools Of
his trade, each of which Is known as an 'etch-
ing point With these instruments the sub
jcct is again etched, this time OH the etcher's
ground. Where the ctchcr wishes to obtain
the darkest effects fewer lines are etched and
aro made further apart to enable them to
stand longer bite by the acid. OF course
the acid bites into the copper plate only where
the etching point has scratched through the
etcher'S ground to the original copper plate.
II the plate OH which the artist is at work is 4
small ono, it is placed il pan and the acid is
than poured on. If, however, it is a large
one, there is put around the edge of the plate
what is known us 'frame of wall wax i'll
one corner of which is placed n spout for con-
venicnce in pouring of the acid.
'BITING IN" THE LINES.
"The first application of the acid is weak.
It bites clean anM dclicately. 1t leaves the
sky lines, the distance lines, and, in general,
the lighter part of the picture. After these
lines are bitten the acid is poured off, and the
ground washed with water Then the parts
which the artist docs not wish to have longer
acted upon by the acid arc covered with a
'stopping-out' varnish. Tho next application
of the acid is stronger, in order to obtain the
heavier effects. So the artist continues stop
ping-out ono place after another until the
plate is sufficiently bitten, and until he has
reached tho foreground. When the entire
plate has bcen sufficiently bitten, or, i'll other
words, when the picture has been etched into
the copper plate by means of the acid, tho
wax wall is removed and the plate thoroughly
cleaned with benzine. Now lie can 60 to the
printer and see what he has. If some of the
lines provo too heavy, little Instrument
known rs the burnisher will reduce them The
lines can even bc run out entirely. If the
lines are not strong enough, a new rebiting
ground can be put on wherever desired and
the changes made.
.Whcn the last touches have been COM
pleted the plate is sent to the publishers. The
publishers send it to an clcctrotyper to havo
a steel face put on. This is dorc to protect
the plate, which would otherwise soon be
worn out on the press. The operation Of
electrotyping the plato is so delicately done
that when stccled the picture which it prints
could not he distinguished from the picture
printed before the operation by the original
copper plate. The finest lines arc coated;
lines which are hardly visible to the naked
eye, and which originally have tho appearance
of hair. New York Commercial Adver-
tiscr.