DOI Page / Citation link:
https://doi.org/10.11588/diglit.73058#0122
Bartolozzi and /ds Works.
CHAPTER XXIII.
Copper- and Steelplate Printing.
IP 'n a 'ew details of minor importance, the process of copperplate
Uprinting has remained unchanged for a very long period. The first
copperplate presses were made entirely of wood, the heavy roller under which
the plate is passed while receiving the impression, being usually of lignum vitae; and
presses of this description may still occasionally be seen doing good service. The more
recent are, however, made entirely of iron, and are much less cumbersome, besides being
easier to handle. In printing, the copperplate is entirely covered over on the engraved
side with an ink composed of burnt linseed oil and German or French black—the latter
is considered the better,—the finest kinds are supposed to be manufactured from the
tendrils of the vine. The colour of the ink varies with its quality, and the charm of
a fine engraving is much enhanced by the tone of the black in which it is printed.*
* Turner was very particular as to the ink used for his Liber plates, as may be gathered from a note on an
engraver's proof: " A fine rich bistre colour is the tint I want."
The sunk or engraved portions of the plate are completely filled with ink, the face
being also necessarily covered by the operation, but to obtain a clear impression from
the plate, line for line, the surface must be carefully cleaned, which is done with a
species of coarse canvas of open texture, made specially in Dundee for the purpose.
The canvas is first washed and dried, so as to render it soft; it is then rolled up into a
ball or pad, and passed over the face of the plate, but across the direction of the lines
as much as possible. That is, if the chief work of the plate runs from top to bottom,
then the dabber would be passed from side to side, otherwise too much of the ink would
be removed. In the first wiping a foul piece of canvas is used—a piece that has before
done duty—and in the next, one that is not quite so dirty, the third rubbing being given
with a perfectly clean pad. The plate then receives a rubbing with a somewhat finer
material, known as leno, subjected before use to washing, so as to render it soft and
pliant. If the plate be a heavy one, a little whiting on the leno greatly facilitates the
cleaning, and the final polish is given with the palm of the hand, to which a little of the
96 same
CHAPTER XXIII.
Copper- and Steelplate Printing.
IP 'n a 'ew details of minor importance, the process of copperplate
Uprinting has remained unchanged for a very long period. The first
copperplate presses were made entirely of wood, the heavy roller under which
the plate is passed while receiving the impression, being usually of lignum vitae; and
presses of this description may still occasionally be seen doing good service. The more
recent are, however, made entirely of iron, and are much less cumbersome, besides being
easier to handle. In printing, the copperplate is entirely covered over on the engraved
side with an ink composed of burnt linseed oil and German or French black—the latter
is considered the better,—the finest kinds are supposed to be manufactured from the
tendrils of the vine. The colour of the ink varies with its quality, and the charm of
a fine engraving is much enhanced by the tone of the black in which it is printed.*
* Turner was very particular as to the ink used for his Liber plates, as may be gathered from a note on an
engraver's proof: " A fine rich bistre colour is the tint I want."
The sunk or engraved portions of the plate are completely filled with ink, the face
being also necessarily covered by the operation, but to obtain a clear impression from
the plate, line for line, the surface must be carefully cleaned, which is done with a
species of coarse canvas of open texture, made specially in Dundee for the purpose.
The canvas is first washed and dried, so as to render it soft; it is then rolled up into a
ball or pad, and passed over the face of the plate, but across the direction of the lines
as much as possible. That is, if the chief work of the plate runs from top to bottom,
then the dabber would be passed from side to side, otherwise too much of the ink would
be removed. In the first wiping a foul piece of canvas is used—a piece that has before
done duty—and in the next, one that is not quite so dirty, the third rubbing being given
with a perfectly clean pad. The plate then receives a rubbing with a somewhat finer
material, known as leno, subjected before use to washing, so as to render it soft and
pliant. If the plate be a heavy one, a little whiting on the leno greatly facilitates the
cleaning, and the final polish is given with the palm of the hand, to which a little of the
96 same