DOI Heft:
No. 164 (November, 1906)
DOI Artikel:Newbolt, Frank: The art of printing etchings
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20716#0159
The Art of Printing Etchings
copying press, and it was not until after the
painter's death that a proper proof was pulled.
The illustration shows what can be done with the
same plate when better ink and paper are used
in a proper press, and by a masterly printer like
Mr. Frederick Goulding.
Mr. Goulding's own plate, etched and printed
by himself, shows that even in the same press the
difference between two "etchings" may be as
great. The plate in question did not " bite " very
well, and when inked and wiped in the ordinary
way of simple printing gave the somewhat thin
result shown. The etcher then produced the
second proof, which owes its difference in richness
and depth entirely to the manipulation of the ink
on the surface of the plate. There are no more
etched lines on the copper than there were before.
However, before discussing the niceties of
wiping, retroussage, and so on, it is necessary to
say a word about ink and paper. Ink consists of
a mixture of powdered carbon and burnt linseed
oil. The carbon used is generally Frankfort
black, French black, or lamp black. It would
be impossible within the limits at our dis-
posal to explain why printers sometimes prefer
"Leger" black, which is French, to the German
variety, or to tell how they blend various kinds
by some instinct born of long experience. The
black, or mixture of blacks, is ground in the oil.
Baltic oil, which is made from linseed grown in
Russia, seems to have the best reputation; but,
whatever kind is used, it must be kept for at least
five years, and carefully burnt for some hours
according to the strength required. Printers make
their own ink, but rarely burn their own oil now.
The black is placed on a polished slab and ground
into the oil with a " muller " : this simple process
requires careful attention, as too much grinding
spoils the ink. Colours, such as umber and sienna,
are sometimes added.
Many kinds of paper are more or less suitable
for 'printing etchings. Generally speaking the
oldest are the best. Old Dutch, French,
Chinese, and Japanese papers are much sought
after, and all old hand-made papers are better than
what is now being produced. The paper chosen
turner's ''temeraire," etched by paul rajon! from a proof showing different results of wiping
(By permission of Messrs. Seeley'& Co.)
139
copying press, and it was not until after the
painter's death that a proper proof was pulled.
The illustration shows what can be done with the
same plate when better ink and paper are used
in a proper press, and by a masterly printer like
Mr. Frederick Goulding.
Mr. Goulding's own plate, etched and printed
by himself, shows that even in the same press the
difference between two "etchings" may be as
great. The plate in question did not " bite " very
well, and when inked and wiped in the ordinary
way of simple printing gave the somewhat thin
result shown. The etcher then produced the
second proof, which owes its difference in richness
and depth entirely to the manipulation of the ink
on the surface of the plate. There are no more
etched lines on the copper than there were before.
However, before discussing the niceties of
wiping, retroussage, and so on, it is necessary to
say a word about ink and paper. Ink consists of
a mixture of powdered carbon and burnt linseed
oil. The carbon used is generally Frankfort
black, French black, or lamp black. It would
be impossible within the limits at our dis-
posal to explain why printers sometimes prefer
"Leger" black, which is French, to the German
variety, or to tell how they blend various kinds
by some instinct born of long experience. The
black, or mixture of blacks, is ground in the oil.
Baltic oil, which is made from linseed grown in
Russia, seems to have the best reputation; but,
whatever kind is used, it must be kept for at least
five years, and carefully burnt for some hours
according to the strength required. Printers make
their own ink, but rarely burn their own oil now.
The black is placed on a polished slab and ground
into the oil with a " muller " : this simple process
requires careful attention, as too much grinding
spoils the ink. Colours, such as umber and sienna,
are sometimes added.
Many kinds of paper are more or less suitable
for 'printing etchings. Generally speaking the
oldest are the best. Old Dutch, French,
Chinese, and Japanese papers are much sought
after, and all old hand-made papers are better than
what is now being produced. The paper chosen
turner's ''temeraire," etched by paul rajon! from a proof showing different results of wiping
(By permission of Messrs. Seeley'& Co.)
139