DOI Heft:
No. 218 (May, 1911)
DOI Artikel:Salaman, Malcolm C.: The engraving school at the Royal College of Art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20972#0308
The Royal College of A rt Engraving School
expected flash of intuition, and turning it adroitly student being carried as far as possible, so that
to the illumination of the line of least resistance he may become a complete master of tone-etching,
to the student's individuality. He insists that each and would not be satisfied with an incompleteness
student must work at every form of engraving on which comes from ignorance. At the same time,
copper, though he is allowed to choose his Mr. Short endeavours to bring home to the
favourite method, learning thoroughly all that student that perhaps the most delightful form of
there is to be known about that. However, all etching is that in which a very great deal is
must begin with etching, because it plays so omitted, and a large amount of meaning is put into
frequently a part as an aid to other forms of en- the few lines that are left. "You may leave out
graving. And "the first essential," as Mr. Short much," he will say, "as long as your etching
maintains, " is to understand the quality of a true suggests by line and spaces as much as would be
etched line as understood by Rembrandt—that is, suggested by full tone."
' the free line, instinct with vitality, drawn with an A master who thinks out everything for himself,
upright point truly sharpened, and bitten with the finding new and simpler ways of doing things,
delicacy of a spider's web when necessary, or with inventing or improving the tools, Mr. Short is
the requisite vigour and robustness in other parts, still a great respecter of the true classic traditions,
but not a line such as might have been drawn with "When the student-leaves my class he can play
a pen or lithographic ink ; the line, in fact, that is what tricks he likes with lines or tones, but so
produced by true etching, and by no other means." long as he is here he must use the methods in
The line drawn with an upright point is always the most distinctive form according to the great
distinguishable by its clearness, whereas a slanting traditions. At the same time, I am no purist
point gives a blurred line, which, seen through about methods. I would not hesitate to mix any
a magnifying glass, presents a frayed appearance. if an advantage were to be gained by it."
He insists on a certain number of plates by each The full course of the school is five years.
"ON CASTLETON MOOR, YORKSHIRE BY CONSTANCE M. POTT, R.E.
286
expected flash of intuition, and turning it adroitly student being carried as far as possible, so that
to the illumination of the line of least resistance he may become a complete master of tone-etching,
to the student's individuality. He insists that each and would not be satisfied with an incompleteness
student must work at every form of engraving on which comes from ignorance. At the same time,
copper, though he is allowed to choose his Mr. Short endeavours to bring home to the
favourite method, learning thoroughly all that student that perhaps the most delightful form of
there is to be known about that. However, all etching is that in which a very great deal is
must begin with etching, because it plays so omitted, and a large amount of meaning is put into
frequently a part as an aid to other forms of en- the few lines that are left. "You may leave out
graving. And "the first essential," as Mr. Short much," he will say, "as long as your etching
maintains, " is to understand the quality of a true suggests by line and spaces as much as would be
etched line as understood by Rembrandt—that is, suggested by full tone."
' the free line, instinct with vitality, drawn with an A master who thinks out everything for himself,
upright point truly sharpened, and bitten with the finding new and simpler ways of doing things,
delicacy of a spider's web when necessary, or with inventing or improving the tools, Mr. Short is
the requisite vigour and robustness in other parts, still a great respecter of the true classic traditions,
but not a line such as might have been drawn with "When the student-leaves my class he can play
a pen or lithographic ink ; the line, in fact, that is what tricks he likes with lines or tones, but so
produced by true etching, and by no other means." long as he is here he must use the methods in
The line drawn with an upright point is always the most distinctive form according to the great
distinguishable by its clearness, whereas a slanting traditions. At the same time, I am no purist
point gives a blurred line, which, seen through about methods. I would not hesitate to mix any
a magnifying glass, presents a frayed appearance. if an advantage were to be gained by it."
He insists on a certain number of plates by each The full course of the school is five years.
"ON CASTLETON MOOR, YORKSHIRE BY CONSTANCE M. POTT, R.E.
286