Daily Yellowstone journal. [volume] (Miles City, Mont.) 1882-1893, 1889-05-15
HOW eTcHINes ARE MADE.
The Process Briefly Described-Tbe Best
Etcbings Now Before the Public.

The Process Briefly Described-The Best
Etcbings Now Before the Public
The art OF etching is as distinct
from that Of engraving as its results
are, though certain Of the methods OF
engraving are employed.
A polished copper plate is covered
with ground Of varnish prepared for
the purpose, and upon il the design is
drawn, line for line, as il is intended
TO appear on paper. with sharp nee
die, which scratches through the var
nish to the plate and leaves the metal
here. II is exactly like making pen
drawing, save that needle is en-
ployed instead of pen.
When the design is completed the
surface of the plate is flooded with
aquafortis. This attacks the spots laid
bare by the needle, without penetrat-
ing where the varnish is untouched,
and bites into the copper. When the
finer lines are deep enough the acid is
poured off, and they are covered or
stopped out with varnish. The acid is
applied again and again IN this way,
biting the lines 10 the depth required,
the heaviest and strongest lines natu-
rally receiving the most biting. The
etcher's eye and his knowledge are his
only guides in this process, and mis-
calculation in the strength of the acid
or the time il is permitted 10 remain on
the plate often ruins fine work.
After being bitten in, etchings usu-
ally receive some finish with the dry
point. This is needle, which is used
to scratch supplementary lines upon
the plate, strengthening parts which
are not bitten deep enough. Some et-
chings are made almost entirely with
the dry point like those of James lis
sot. The effect is wonderfully power
full and rich. In simple etching the ef
feet is produced by u line in the plate
but in dry point it comes not only
from the line, but from a ridge o.
metal, or bur as il is called, which il
plowed up by the needle and which
catches the ink and gives softness Il
the edge of the line.
The bur is produced in all engrav
ings, whether on steel or copper, bu
in line engravings il is scraped anc
FURNISHED away: rs the chief beauty o.
work Of that sort is its cleanliness ol
line. In the etching, on the contrary,
where a general richness OF effect u
desired, il is often powerful assist
ance TO the artist.
There are two classes OF etchings IN
the trade-painter and reproductive
etchipQs The first named are the
original works Of the artists, the last
copies by artists Or engravers from the
works OF others
Painter etchings have the value Of
original works. They are esteemed a.
showing the methods and spirit OF thu
artist lust as sketch by him would
The fine etchings by A. +. Bellows an
examples. Those who own an etching
by this master really own an origina
drawing by him. The only difference
is that L is drawn on metal instead o
paper and can be mechanically repro
duced.
The etchings OF such painters a
Kruseman, Van Elten, Henry Farrer
Hamilton Hamilton, w. II. Shelton
J. Wells Champney, G. A. Plat, j. A
8. Monks and other well known ~
lists have achieved a popularity viii
the public second only TO that OF thei
pictures themselves
Good painter ctchings always IN
crease In value IN proportion 10 tn
reputation Of the artist and the nun
Der printed Large editions are, how
ever, very rarely made.
Reproductive etchings are copies {
pictures. Many artists OF distii
ruished merit who produce the fine
original work, are also reproduced,
etchers Witness, for instance, Walt
shirlaw, Stephen j. Ferris, Siephs
= Parrish. Hamilton Hamilton a.