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Home > Art, Film & Photography > The Art of Etching Explained and Illustrated; With Remarks on the Allied Processes of Drypoint, Mezzotint, and Aquaintint
The Art of Etching Explained and Illustrated; With Remarks on the Allied Processes of Drypoint, Mezzotint, and Aquaintint

The Art of Etching Explained and Illustrated; With Remarks on the Allied Processes of Drypoint, Mezzotint, and Aquaintint


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About the Book

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 edition. Excerpt: ... engravings, and, being very easy to print with, is useful to a beginner; it answers perfectly to show at any time what work is on a plate, but is not suitable for ultimately rendering the best possible effect of an etching. If a hard paper be used, it will print better after the surface has been rubbed smartly with a moderately stiff clothes-brush. This is to be done after it has been well damped and just before it is put through the press. A counterproof or off-track is an impression taken from another impression while the ink is still wet. These counterproofs are taken to enable the etcher to compare the plate with an impression from it without the trouble of using a looking-glass, ordinary impressions being, of course, reversed. The colour of the ink is a matter of similar importance to the selection of the paper: we have purposely contrasted a crude black in the printing of the "first state," with a black to which burnt sienna has been added in our frontispiece. It will be seen that an agreeable warm tone is thus obtained, though at some little expense of brilliancy. Where a plate E has been rather less bitten than was intended, or where brilliancy is particularly needed, it will often be found best to print in a pure black. On the other hand, if a plate is over-bitten, it may be much helped in the printing by the addition of a good deal of bistre or burnt sienna to the black. Burnt linseed oil, thick or thin, as may be required, is used as the medium in which to grind up the black that is supplied in powder for making the ink. There are several kinds of black in use: Frankfort black, lamp black, charcoal, noir leger, and others. Judgment in preparing the ink is half the battle in printing. The black requires a great deal...


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Product Details
  • ISBN-13: 9781234362416
  • Publisher: Rarebooksclub.com
  • Publisher Imprint: Rarebooksclub.com
  • Height: 246 mm
  • No of Pages: 24
  • Spine Width: 1 mm
  • Width: 189 mm
  • ISBN-10: 1234362414
  • Publisher Date: 22 Jan 2013
  • Binding: Paperback
  • Language: English
  • Returnable: N
  • Weight: 64 gr


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The Art of Etching Explained and Illustrated; With Remarks on the Allied Processes of Drypoint, Mezzotint, and Aquaintint
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