(Egn) - Handbook of Wood Engraving(1)

8/3/2019 (Egn) - Handbook of Wood Engraving(1)

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I'.lGT.

LIST ORILLUSTRATIONS

,

..

,

.3

INTRODUC~TON . . . . . . ,

t

Woon ENGRAVINC~ . . . . , . Q

OriginandHistory. . . . . . Q

Tlie Process Defined . . . . . . 27

Kind of Wood used, and how to prepare it , . ?S

Tools and Appliances usecl . , . . . 31

Drawing on the Block ., . . . . 37

Transfers . . . . , . . . 42

Engraving . . . . . . . 45

LessonsinEngraving. . . , . . 4S

Diagrams and Proof-taking . . . 4s

F i g ~ l ~ eutlines . . . . . . 50

Xngmving T i~ lt s, nd Plugging . . 53

Portraits . . . . . . . 50

Landscapes, Foliage, etc. G 2

Flowcrs, 'Vegetables, etc. . . . . G5

Effective Designs- ilver Warc, Jcwelry,

etc. . . . . . . . . 09

Pac-simile Pen Wodc . . . . 13

Nonograms an11 Initinl Lcttcrs . . . $3

Labels and C'r~rds . .,

.,

70

Buildings . + . , . . . $2

Comnplicatcd Machinery . . . , S4

Birds and Animals . . . . . S7

ColorEngraving . . . . . . SS

Electrotyping . . . . . . . 93

Conclusion . . . . . . . 94

?



LIST OF ILLUSTRATIONS.FIG SUBJECT. PAGE. . . . . . .Egyptian Stamp 10. . .. Monogram of Charlemagne 11. . . .Knave of Bells 12

4. St. Chistopher . . . 3

5. St. John . . 15. . . . .. David and Solomon 15

7. Isaiali and Ezekiel . . . 6. . . . .. The Prodigal's Rettlrn 10

D. Armed Knight . . 7

10. Tail-piece by Bewick . . . . . 20. . . .1. Superstitious Dog, by Bewick 22

12. Drawing on the Block . . . . . 28

13. Block Engraved . . . . . . 8

. . . .4 Boxwood Log in Sections 29. . . .5 Back View of Bolted Block 29. . . . .0 Section showing Bolts 29. . . . . .7 Dowelled Block 30. . . . .8 Amalgamated Bloclc 30. . . . . . .9 Set of Gravers 31. . . . .0 SetofTint-tools ; 32. . . . . .1 Set of Scoopers 38. . . . . .2 Set of Chisels 32. . . . .3 Graver ready for USG 33

4



LIST OF ILLUSTRATIONS. 5

StrDJECT. PAGE

Cut engravcd with Onc Tool . , , 33

Engraving-pad ,. . , . , , , 35

Shade for the Eyes . , , , . 35

Eye-glass ancl Stand . . . , . 55

Angle at which Tools should be Ground . 36

Ink-dabber . . . . . . . 36

Oil-stone . . . . . .. , 36

Burnisher . . . . . . . . 36

Chip Brush . . . . , , . 37

Saw for cutting off Plugs , . , . 37

Pumice-stone . . . . . . 3 s

ChineseWhite . . . . . . . 36

Indian In k . . . . . . . 40

Tracing-point . . . . . . . 40

Pencil-dividers . . . . . . 40T Square . . . . . . . . 41Parallel Rulc . . . . . . . . 41

TransferMaterial . , , . . . 42P a n t o g r a p h . . . . . , , 4

Engraver a t Work . . . , , . 45

Manner of holding Block . . . . 46

Manner of llolding Block . , , . 46

Apparatus wecl for Night Work . , , .17Diagrams . . . , . , . , 49

Diagrams . . . , . , , 49FigweOutlined . . , . . . 50

FigureFinished . . , . . , 50

OutlineofFnce . . . . . . bl

O u t l i n e o f F i g ~ ~ r e . , , . , , 62

Light Tint . . . . , . . . 64

DarlcTint . . . . . . . 54

GradnatedTint . , . . , . 55

Cloud Tint . . . . . . . 55

Section of Block, showing Plug . , , 56



G LIST OF ILLUSTICATIONS .BIG. $UUJ&C'I ' . PAGE

58. BIetl~od f lowering fl ug . 58

59. FortraitofdInn . . . . 0

GO. PortraitofGirl . . . 1

61. Woocl Scene . . . . . . . 3

62. RocksandWater . . 4

63. Bouquet of Flowers . . . 6

04. Basket of Flowers . 67

6.5. Squash . . S

66. Ear of Corn . . . 8

67.. Design in White . . . . 9

68. Design in Black . 69

69. EffectiveDesign . 70

70. Effective Design . 70

71. Effective Design in Silver . . . . 1

72.

Effective Design in Silver . 7173. Effective Design in Jewelry . 72

74. Pen Work. Design . 74

75. Fine Autograph . . 4

. . . . .6. Coarse A~~t og ra ph 74

. . . .7-86. Monograms and Initials 75

S6. Label . . . . . . . . 76

. . . . . . . .7 Sho~v-card 77,

SS. Cooking Stove . 78

S9. Parlor Stove . . 9

90. Furniture . 80

91 Organ . . . . . . . . 0

. . . . . . .2 Building 83

. . .3 Engine S5

. . . .4 RIachiie Broken Away SO. . .5 Bird S7. .6 Animals 88

97. The Color Circle . . . 1

98. Tail-piece . . . 3



OT many books have been written

on the subject of Wood Wzgruu-

i77g, and these chiefly relate to the

history of the art, being of little

practical value to persons wishing

to learn to engrave.

The nn~zsual avor with which the first eclition

of this work was receivecl by amateurs encour-

ages the belief that a more complete ancl en-

larged work might not be unacceptable, ancl it

is with this belief that this book i u presented totllc public.

In its preparation great pains have bccn t d ccn

both by explanation ancl illustration to makc the

subject clear and comprehensive, ancl to give

directions for the practice of the a rt so that a be-

ginner may be enable3 to learn the first principles.



8 INTRODUCTION.

It is not reasonable to suppose that a boolr of

this kincl, however full ancl coml~lete,will take

th e place of a good teache r, but, if for any reason

a person desires to make a beginning without a

master, he will be enabled to do so by heeding

its clisections.

N ot only is it inte nd ed for such as ~voiilcl ain

a livelil~oocl y engraving, but also for those who

~voulcl employ th e h time in a clelightful an d

profitable m an ne r in th e service of art. T h at

this work m ay be more clesirable for those who

wish to make themselves familiar with the EIis-

tor y of the ar t as well as its practice, a sho rt

epitom e of it s histo ry is introducec l accompanied

by fctc simile i l l ~ ~ s t r a t i o n sf ear ly wood engrav-

ings.



I

WOOD ENGRAVING.

O R I G I N AND H I S T O R Y .

HE art of wood engraving is of

p e a t antiquity, and was practisccla t an e&rlyperiod, althoug-11 in a

crucle state. It is snpposecl tohave originated w ith t h e Chinese,

who made iq~ re s s io n s n pa lle r

from moocl blocks, as early as 1120 B. C.

Wood s tamps , wi th engravecl l~ ierogl~q~hic

characters, were also used by t he early Egyp tians,

for making impressions on bricks and other al..

ticles ma de of clay. Th is fac t wa s establisheclbeyoncl cloubt by t h e discove ry of stanlps of th is

character in tile tombs at Thebes, Mcroc, and

o th er ~ ~ l a c e s .

T he following cut rel~res entshe face of ono of

those stamps, which was foullcl in a tomb atThebes. It has an arched hanclle at the back,

and is of an oblong figwe, with th e ends rounded



10 \l'OOD ENGRAVING.

off. I t is fiye inches long ancl two nncl a quarter

broad.The figures are cut in, so that their impression

on clay woulcl procluce raised characters on a

flat ground.

Fig. 1.

Several bricks are on exhibition in the BritishMuseum, which $ere found on the site of ancientBabylon, bearing impressions of characters or

marks made while in a soft state by the use ofstamps. Various clonlestic utensils ancl orna-

mental articles made of clay, and of Roman

workmanship, have also been found impressedwith characters supposed to indicate the potter'sname, or that of the owner.

Von Murr, in his Joza.nnl on the Art of Wood

Engraving, in speaking of the Romans, says:"Letters cut on woocl they certainly had, andvery likely grotesques ancl figm.cs also, the hintof which their artists might reaclily obtain from



ORIGIN AND HISTORY. 11

thc colorecl stuffs which wcrc frequently prcscntcd

by Inclian amba,ssadors to the emperors."

Impressions, from wood ancl metal stamps,

of monograms, signatures, etc., for signing docn-

ments, impressecl in a manner similar to that inwhich letters are postmarkecl at the present clay,

me in existence. Among the first of these are

the monogranls nsecl for this pnrposc by POPE

ADRUN I. and CIIARLIZMAGNE.

Fig. 2. MONOGRAN OF CEULLEELIAGNE.

The ~rincipleupon which ,the ar t of wood

engraving is founded, that of taking impressionson paper wit11 inlr from cngmvccl bloclc~,wn8

ltnown anrl practised i n attesting cloc~trncnts l l

the tllirteentll ancl fourteenth centurics; ant1

about the beginning of the fifteenth century the

principle was acloptecl by German card-makers

for printing outline figures on their cards. Fig 3

is a fuc simile spechen,






It was ne xt allplied t o religious subjects. T he

monlrs availed thhmselves of th e sam e principle

t o represen t th e figures of saints. On e of th e

earliest of thes e is in th e collection of E a rl Spe n-

cer, an d was discovered in one of th e m ost ancie ntconvents of German y, pastecl w ithin th e cover of

a L atin mannscript. It represents St. Christopher

carrying th e infant Saviour across the sea, and is

da ted 1423. Fig. 4 is a recluced fac simile copy

Fig. . ST.C H R I B T O P ~ ~ .



14 ljToon ENGRAVING.

of this curious engraving. An engraved inscrip-

tion accompanying it is thus translated :

'1 In whichever day thou seest the likeness of St. Christopher,

In that same day thou milt, a t least from death, no evil blom

incur:- 423."

Thus we see the earliest wood-cuts are awarded

to Germany, lnost of them being on religious

subjects, and engraved before the discovery of

printing by Gutenberg. They mere executed in

a rough style, and many of them colored.

The next step was the application of the art to

what is known as block-books, consisting princi-

pally of devotional subjects, with short engravedinscriptions on the same block. Of these The

Apocalypsis," The Historia Virginis," ancl

('The =blia Pauperum," are the most celebrated.

An interesting account of these is given in The

History and Practice of Wood Engraving," a -valuable standard work by John Jackson.

The illustrations, of which Mr. Jackson givesan elaborate aocount and several specimens, seem

to be drawn with a supreme contempt for per-spective ancl proportion, but bear evidence of the

clraperies and hancls and faces having been care-

fully studied. Fig. 5 is a copy of one of the

cuts in the A23ocalypsis. It represents St. John

preaching to three men and a woman, with the

inscription, Conuersi a6 idolis, per predicadio-

7zem beati Jolohunnis, Brusiann et ceteri." (By



ORIGIN AND EIISTORY. 15

the preaching of St. ~ o h n , rusiana ancl others

are withclra~vn rom their idols.)

Fig. .

Figs. G, 7, and 8 are from an eclition of tlie

L'Poor Preachers Bible," the last morlr, in nvolume printed in three parts, by Pfister about

Fig. 6.

the year 1462, and kno~vnas the "Biblia P+u-

perum."



1 6 WOOD ENGRAVING.

They are f c ~ c i.nziles of those given b y Camus.

I n F ig . G the heads are intenclecl to represent

Fig. 7.

Davicl ancl Solomon; in Fig . 7 Isaiah and Eze-

E e l ; i n F i g . 8 the subject represented is the

Pro diga l receivecl b y his father.



QRIGTN AND HISTORY. 1 7

Previous to that time whole books of text were

engraved on ~vood. But the ar t was to undergo

a change. The invention of movable metal type,

~veclged ogether in ap iron frame, was to super-

sede the engraved type-l~loclcs; and the impres-

sion, instencl of being tnlren by the tcclious process

of bnrnishing, was to be more speedily accom-

plished by the operation of the printing-press.



For a few years after the introduction of ty-

pography the art suffered a temporary decline.

But it soon revived again. Under the stimulat-

ing influence of the press engravings.mnltipliecl,

until, from being confined to a few towns, theywere introduced throughout Europe.

The ~ublicationof illustrated books then be-

came general in G e r m a ~ y nd Italy, reaching

England in 1476.

Fig. 9 is interesting, as it represents one of the

first of the English engravings, from a second

edition of "The Game and Playe of the Chesse,"

published the same year by Caxton. The en-

gravings mere quite rude, compared with theearlier German works.

About the beginning of the sixteenth century

a coml~lete evolution in wood engraving was

accomplished by the genius of Albert Dtirer.

His proclnctions exhibit correct ckawing, a linowl-

edge of composition, light and shade, and atten-

tion to the rnles of perspective, which elevate

them to the rank of finishecl pictures.

It is thought by the best authorities that there

is little probability of Dtirer having cng~~nvccl~ i s

own designs, for, in most of the wooQcuts sup-

posecl to have been engraved by him, me find

cross-hatching freely introclnced-easily produced

by the artist in clraming, but attended with con-

siderable labor to the engraver. Hxcl he engraved



O~EIGINAND HISTORY. 1 9

his clrawings 11e \voulcl, no cloubt, have usecl

means to produce effect which woulcl hnve

been easier of esecution. His illustrations were

equallecl by none of his conteml~orary rtists.

During the first half of the sixteenth ccntnrythe publication of boolrs illustrated by wood

engravings increased, ancl prevailecl to a greater

extent tl ~a n t any other t h e , with the excel~tion

of the present clay.Fro111 the beginning of the seventeenth century

the decline of voocl engraving lnay be dntccl ;

Germany, the cradle of the art, being the first to

forsalce it. From this time the ar t snfferecl

great neglect.I n 1765 John Michael Pal~illon, n enthusiastic

pofessor of the ar t in France, lnadc an unsuc-

cessful attempt to restore it to its foriner iinl~or-

tance. It was not nntil 1790 that the genius of

Thomas Belviclc gave it the impulse which nlacle

i t ~vhatt now i;.

Be~viclc's most important works are his ?FIis-

tories of British Qnndrupcils "(1700) :mcl "131.i isl~

Birds" (1804). Many of tlic figures welac ( I ~ : L \ ~ J ~ Iancl cllgrnveil Ly llirt~sclf. TIICbirds cspeci:lllyare executed with a truthfulness and skill which

have rarely, if ever, been eq~~alled.These

works are also famous for their collections of

tail-pieces, which clisplay an infinite amount of

humor and pathos. Fig. 10 is a recluced copy



20 WOOD ENGRAVING.

of one of them-a poor ewe, in the starvation of

winter, picldng at an old broom in front of a

ruined cot, a scene which tells a ~voful ale of

s~fiering.

I n none of the cuts by Bewick do we findcross-hatching introclucecl. He consiclered it nwaste of time, contencling that every desirecl

effect coulcl be much easier obtained by plain

parallel lines. .

Big. 10. ,

I never coulcl cliscover," he says in his me-

moir, any nclclitiol~albeauty or color that thecrossed strokes gave to the i~nl)l.cssion beyond

the effect proclucccl by l~lnili :u-:illcl lincs. 'l'l~itl

is very apparent when, to a certainty, the pIain

surface of the ~vooclwill print as black as inlc

and balls can make it, without any further labor

at all; ancl it luay easily be seen that the thinnest

strokes, cut upon the surface, will throw some



ORIG IN AND HISTOlW. 2 1

light on the subject or design. And if these

strokes, ' again, are macle still micler, or eqnnl in

thickness to the blaclc lines, the color tllese pro-duce will bc a gray; ancl the more the nrhite

strokes are thickened the nearer will they, intheir varied shadings, ap,l3proacl1 to white ; and,

if quite taken away, then a perfect white is ob-

tainqcl. The met'tlods I have pursued apl~ear o

me to be t l ~ cimple and easy perfcction of ~voocl

engraving for boolr printing, and, no doubt, will

appear better or worse according to the ability

of the artist who execntes them."

The practical good sense thns expressed fincls

its confirmation not only in the cuts of Bewick,which are bea~~tifulsamples of effect, hut also

i n thc hcst engl.nvings of to-rlny, i n whir11 c.l.nhs-llatohiug is cliscarded for the si~nplera ~ ~ dllore

effective methods.

The largest cut engraved by Bewick<was eleven

ancl f ive-eigllths inches ~vicleby eight and tl11-ee-

fourths inches high. It is entitled Waiting for

Deatli," nnrl was left mifinisl~cdwl~cliIC! rliril. 'I'11o

o~~tsirlc~ I I I C I I H ~ O I I Rf 11iu ~ t ~ l ~ ( l r* I I ~ ,N~ ~ n t * o l yIS-

ccoclcil tllrcc by sis inches, the vignettes generally

falling short of three inclies sqnare. One pecnliar-

ity which distingnishes the work of Bemick and his

pupil from that of the draughtsmen and engrnv-

ers of the present day, may be esl~ressed n the

statement tha t modern draughtsnlen regard the



block upon which they clraw as a white surface ;

Ecnricl; regnrclccl i t as blaclc ; clepencling largely

for his effect upon the strength ancl meaning of

the white lines. (See Fig. 11.)

Althougll not an imaginative artist he wasq~rick o detect tlia huinorous side of ~vl~ateve:~

came under his observation, ancl what he ~ CGWe

Fig. 11.

corrlcl reproduce with rare fidelity. I n his hnmor-

011s pieces he clis~lays fonclness for plncing his

figures in anrlc~vnrclor nll1)leasant sitnations ; as

when he represents a horseman entanglecl in a kite

string, ~vliicll l ~ coy w11o lloltls must let go or bc:

clragged into the stream; or ~vhenlc represents nn

old nlan carrying his young wife across a stream,

the complaisant look of the sharp-nosecl wife, ar-

rayed in a shott petticoat, slipsl~od,ncl with her

heels staring through her stockings, evidently cli-




joying the sitnation, ~vllile er husband pntiently

bears his double barclen, ancl with his right hand

keeps n fihn grip on his better-llalf to prevent her

from slipping of€ and into the water ;a keen satirc

on those olcl men who marry young wives, sub-mitting to every indignity to please their yontl~ful

spouses, ancl reconcile them to their state.It is clifficdt to estimate the nnmber of cuts

engravecl by Bemick ; but they may be countecl

by thousands. c c The British Bircls" alone con-

tain more than five hunarecl, and ((The Quaclru-

peck " mofe than three hunclrecl.

The cuts for the latter merc cngrnvcil nt thc

rate of more than one per week, ancl chiefly by

night after the clay's WO& in the sl~opwas over.

He was led to nndertake this work from tlle clis-

satisfaction he hacl felt as a chilcl wit11 the mretch-

edly executecl illnstrations in a sixpenny I-Iistory

of Birds and Beasts, and a publication kilo~vn s

the History of Three I-I~ulclreclAnimals."

In spite of the confiiieincnt incident to his

calling, Bewick livecl to the age of seventy-five,occnpiccl up to thc very last npon n ~vol.lc in-

tcnclcd to bc a IIistory of British I~'is11~s.'~

Jtlckson in liis villuaLlc trci~tisc, ~ll cr ~ l l ~ ~ ( l i r ~ g

to several illostrations in tl-ic "Britisli Birds"

"as the very best of Bewick's cuts," says : "The

tail-pieces in the first edition of the 'Birds,' are,

taken all together, the best that are to be found



in all of Bewick's morks, but althougll it is not

unliliely he suggestecl the subjects, there is rea-

son to believe that many of then1 were drawn by

Robert Jolmson, nncl there cannot be a clo~~bt

that the greater ~mnlberof these containecl inthe secol~d ol~unewere engravecl by Luke Clen-

nell ; both mere Be~vick'sal~prentices, ncl it is

more than probable that in the drawing ancl ell-

graving he receirecl consiclerable assistance from

these pupils, who afterwards became clistin-

gnishecl.

Johnson Tvas a clraughtsman of great promise,

bnt livecl only a short time after the expiration of

his al~l~renticeship.

Clennell's cnts are notecl for the freedom wit11

which they are execntecl, although many of them

are rather coarsely engra~recl. His largest cut

was engravecl for the cliplolnn of the Highland

Society. I t was ten allcl a half by thirteen ancl

a half illclles in size. The bloclr upon mllich he

first began to engrave this cnt consistecl of a sur-

face of 1~osmooc1,vencerecl upon becch. Aftcrhaving spent two months' tilnc on thc engraving,

the bloclc suclclenly split in sncll a mmncr as to

be mortldess. After a few clays, however, he llacl

a solid block of boxwood prepared, the design

redrawn, ancl pushecl the ~vor li n to completion.

For this cngrnving lle rcceivccl a hunclrccl ancl

fifty guineas ancl a gold meclal from the Society



for the Encouragement of Arts and i7Innnfac-

tures.

Clennell's fellov-pnpils were Henry IInlc nncl

Eclwarcl Willis. Anlong the pro~nin nt engrnv-

ers of tllat tinle, ~ 1 1 0 ere nlso under Cewic1;'sinstruction, may be mentionecl Willianl I-Inrvey,

who was a great favorite of Be~viclc John Ee-

wick, a yonnger brotller of Thomas; Charlton

Nesbit ;IT.W. Temple, ancl others of less note.

John Bewiclr as R designer ancl engrnvcr was

mucl1 inferior to his brotl~er althongh many of

his cuts possess considerable merit, the greater

part of them aye executed in w Il:crsll, stiff ninnncr,

ancl are easily clistingnishecl from his brother's,on account of the intcnse contrasts of positivc

black with pure white.

Contemporary ~vitll esviclr mns Robcrt Bran-

ston, William IIughes, ancl IIngh I-Ingllcs, all re-

marlrably proficient in the art, yet i t is conccdecl

that his masterpieces have not been snrpassecl

by them nor by any English engravers of n later

date, not cxcc!pting Tliompson, .J:~c.ltsoii,Willi:r~ii~,

IJan~1~l1s,Wl~itcl, I',i~~l~on,k r :~~ . t i ~ t ,~ r l ~ y ~ ~ ~ l ~ c ~ r ,

Powis, :mrl o t l l ~ l ~f e(111al rnl~lc. 'J'llc sc:rvicc

renclcrcrl liis col~ntrym1r1 thc ~vllolcvo1.111 n 1.c-

viving t l ~ c rt of engraving aftcr two ccntnries

of decadence entitle him to tlie distinction of

bcing the fatllcr of ~norlcrn ictorinl illustrntioiis

in books ancl perioclicals, and such is the esteenl



26 WOOD ENGRAVING.

in which he is held, that collections of his books,

blocks, autographs, etc., bring large sums of

~noney he collection of the late Thornas Hugo

realizing over five tl~onsand ollars.

Since the time of Bemick the art has flo~wisheclwithout interrnption, and at the present time it

seems to be at the zenith of snccess, for never

before has there been snch a demand for elab-

orate and costly mood engravings; they are to

be fonnd everywhere- n publications of the

most expensive kind, in magazines, papers, ancl

books. The comparative cheapness and snperi-

ority of this class of engravings for books haslecl largely to their use, to tile exclusion of steel

and copper plates.



THE PROCESS D E FmD .

EFORE explaining the process of

wood engraving, let us first con-

sider what this tcrnl implies, andin what respect i t differs from other

kinds of engraving.

Engraving on mood is the pro-cess of cutting away all the parts

that have not been clra~vn upon.V

(Sec Figs. 12 and 13). It does

not inclnclc ornamental carving on ~voocl, ut only

such as is nscd in printing. The lines -~ ll ichn

woocl engraving are left stancling, in coppcrplatc and stccl arc cut in tllc 1)1:~tc,llc ])~.occ~is

being csnctly tllo rovcrsa ; nnil, nfl i L lli~t11l':~lOII -

sequence, the printing ie clonc in a different man-

ner. The plate being warmed, and tlie inli

rnbbecl into the engraved lines or grooves, the

surface 3vipecl and polished, the card or paper is

then laic1 on, ancl presser1 into the inked lines by



28 WOOD ENGRAVING.

llleans of a copper plate press. In printing a

~roocl ut, the surface is inked, the same as orcli-

nary type, by the nse of a roller, and l~rintecl n a

co~nmonype press, usually ~vi th eacling matter

set up in the same form, the moocl being type-I~igll.

Fig. 12. Trrlr DRAWIXG. Big. 13. TIIE Eaanhvrso.

ICIND O F W O O D USED, UTD HOW T O

PEEPARE IT.

Several lrincls of woocl are usecl, box~vood or

all fine work, iherican rocli-nlaple, lndlogany

ancl pine for coarse.

Most of the boswood usecl is imported from

Tnrkeyfor this purpose. It has the closest grainof any wood now Bno~vn,s light-colorecl, ancl mill

holcl a fine, clear line.

The engraving is lnade on the end of the grain.

To prepare the moocl for use, it is samecl from the

log, in pieces an inch in thiclrness, as inclicated in

Fig. 14. The pieces are then made exactly Gyp-



THE P R O CE S S D E F I N E D . 2 f)

high, by the nse of planes 2nd scrzllers, procluc-

ing a smooth, level surface.

Fig. 14. Bosaoon LOG N SECTIONS.

In most of our large cities there are dealers

wvho prepare ancl furnish mood of any size.

Large bloclrs which require much piecing are

usually bolted ancl jointed togethw. Tllese call

be made of any requirecl size, with the additiorlal

aclvantage that different parts of the clravingn ~ a y e silnultaneously engravecl by differellt

engravers, and aftermarcls bolted together. 111

this wvay illustratecl papers aye end led to produce,

in a clay's time, a, picture on wvhicll a single en-

graver might work for weeks.

Figs. 5 a ~ i dG. Bacrr Vmw o r BOLTED LOCK.

Fig. 15 showvs the back viem of a bolted bloclc,

screwved up by means of bolts and nuts. The



30 llrOOD ENGRAVING.

front s~zrfaces, of course, ~11100th ancl even, and

preparecl to receive the drawing.

Fig. 16 shonrs the mode of separating the partswhich are connectecl by bolts. A t the lines A Athe parts are permanently joined with glue, being

either dowellecl or amalganlatecl, as shorn in Figs.

17 ancl 18, ancl are not intenclecl to be separ~tecl.

Fig. 17. DOWELLED. Wg. 18. A~UALGA~UATED.

Care -shollld be taken, in selecting tvood, to

have it free from red streaks and blaclr or ~vllite

spots. The f i ~ s two mentioned are no indication

of poor wood, ancl seldom trouble the engraver,

but they are ~znpleasant o the draughtsman, byreason of the color. The white spots inclicate

rotten wood, which cr~zmblesaway, and cannot

be engraved upon. 111selecting wood, choose a

pale yellow or straw color, free from l~~ernisllcs.



THE PlZOCESS DEFINED. 31

A complete set of tools comprises s i ~ravers,twelve tint-tools, three scoopers and two chisels.

The gravers, or lozenge-shaped tools, aye evenly

graduated from fine to coame, as rel~resented n

Fig. 19. These, being nearly square in shal)e,

enable the engraver to vary the width of the

lines from a very fine one to one quite coarse.

Rg. 1% GRAvsns.

The tint-tools are usecl in cutting tints, su ch

as slcics :mil fiat surf:bces (Fig. 30), t110 fincfit

tool, from \vllicll tllc rest arc grailit:~tc(l, l~ e i~ l g

so thin that the line it malces is scarcely visible

in printing.

Scoopers, or diggingaway tools, are three in

number, a11d are rounded on .the bo tt o~ u see



32 T\~OODENGRAVING.

Fig. 21), No. l1 being a size larger than the

largest tint-tool usecl. They are employecl in

clearilig n\lr:iy nll the ~voocl not drn~vcupon.

Fig. 0. TIST-TOOLS.

Notwithstanding the work to be done with thesetools is coarse rough, yet a good clegree of

skill is requirecl to use them properly, as the dead,

ll l 13 I I1

wood must be removed from the lines without

brnising them, thus securing clear, sharp lines in

printing.



THE PROCESS DEFINED. 33

The two chisels (Fig. 22) are used in cutting

away ancl leveling the surface when necessary.I

I-Ianclles may be nlacle of cork or moocl, nllcl

shonlcl be m3sliec1, for convenience, A, G, C, D,

Fig. 4. E N G R A ~ GXECUTEUVITII ONE TOOL.

E, F ; the tint-tools and scoopers, 1, 2, 3, etc.,

ancl the chisels, I, II.



34 WOOD ENGRAVING.

For beginners only a small nnmber of tools are

necessary, as aclclitions can be made as fast as

needed. The following selection is sufficient to

colnmence with: Three gravers, A, D, ancl F;

five tint-tools, 1,2, 4, G, ancl S ; two scoopers anclone chisel.

A great variety of work may be clone with a

small number of tools. As an illustration, Fig.

24 was engravecl entirely with one medium-sized

graver.

I n ad&tion to the tools, the following articles

are necessary :

1. Engraving-pacl.2. Shade for the eyes.

3. Engraving-glass and standard.

4. Oil stone. ..5. Inlc dabber.

6. Box of wood-cut ink.

7. Burnisher.

8. Small sav.

9. Chip brush.

10. India paper for taking proofs.

The engraving-pad should be of good, smooth

leather, and filled with fine sand. If well filled, the

block can be turned easily upon it, and the longer

it is used, the more readily it will adapt itself to

the block.

A green shade should be worn, to protect the



T B ROCESS DEFINED. 35

eyes from too strong x gla re of ligh t fro m over-

heacl. l

fig. 26. ENGRAVING-PAD.g. 6. SHADE OR THE EYES.

Most engravers use a magnifying-glass of mocl-

erate power; more for relieving the eyes from

th e strain of Ireeping th em fixed on a small object

than for magnifying the work. It should be fro m

an inch ancl a qua rter t o two inches in diameter.

A standard, for holding tlie glass, is made3s

shown in Big. 27, th e base bein g of iron or leacl,

so tha t it ma y not be easily overturned.

Fig. 7. EYE-GLASSm S T ~ .

A n Arkansas oil-stone is sufficient f or keeping

the tools sharp af ter being grou nd on a common





TIT33 PROCESS DEFINED. 37

be used, keeping it in a small box having a close-

fitting cover to, prote ct i t froin t he clnst. Ind ia

paper, ancl a b n r i s h e r for taking the iml~ressions

Pig. 32. Cnm-BRUBE.

of engravings, n soft brush for clearing away

small chips, ancl a fine saw for c utt ing off plugs,

comlllete the list of necessary articles for en-

graving.

Fig. 33 . SAT ron CUTTING OFF PLUGS.

DRAWING O N T m BLOCK.

I n mak ing a draming on th e block, th e following

articles a re used :

1. Piece of pulnicc stone.

'2. Calcc of beeswax.

3. Cak e of Chinese or flake white.

4. Small camel's-hair brush.

5. Transpare nt tracing-paper.

6 . Case of pencils.



38 VOOD ENGRAVING.

7. Tracing-point.

8. T square.

9. Ruler.

10. Pencil-clividers.

11. Cake of Inclian ink.12. Parallel rule.

Although drawing on the wood and vood

engraving are not commonly clone by the same

person, yet it is very important for the beginner

Fig. 34. P r m n c ~ S ~ o m . Fig. 35. CHINESEWHITE.

to be able to make his own clramings. I t is true

he may secure a better result by employing a

draughtsman, but he shoulcl make it a part of the

instruction in engraving; for, with a knowledgeof drawing, acquired by its practice in connection

with engraving, he will better nnderstand thc

drawings of others, and will more readily give

the. spirit of the artist's meaning.

Wood, as prepared for the engraver, has a

polished surface, too smooth for drawing upon

with a pencil. To give it the required surface,



TEIE PROCESS DEFINED. 39

moisten the face of the block, ancl rub it vitll the

flat surface of a piece of pumice stone, being sure

first that the stone is even ancl free from grit.

When the gloss has thus been removed, ancl the

Little scratches on the surface taken out, brnsll offwith the hand ~vllatever dheres to it, and, wit11 ncamel's-hair brush, moisten the surface mith Chi-

nese or flake-vhite mixed with water, and rub in

briskly with the fingers, trying to secure an even

coating. When it is dry i t forms an excellent

tooth for the pencil. Care should be taken to use

as little water upon the block as possible, as it

may cause i t to warp.

I n orcler to procluce the drawing on the block,

a sketch or design is first macle on paper, unless

you have a photograph or a picture of the exact

size you wish. Place thin tracing-paper over the

copy, fastening it securely at the corners to keep

it in place, ancl mith a soft pencil kept sharp nt

the point, trace a clear outline. Fasten the

tracing-paper to the block, face do~vnmards, y

means of beeswax rubbed on the sides. With a

tracing-point retrace the lines so that they will be

visible on the block. Remove the paper, ancl with

a rr rr r r 11 11 11 pcncil ~trongtlicn lic outlillc, col.-

recting and improving the picture as you l~roccccl.

The drawing may then be shaded in with a soft

'pencil or Indian ink, according to the taste and

skill of the learner.



To pre11a.se the Incliall ink for me, take a

saucer containing a sillall clnantity of water, holcl

the cake in n horizontal position in the saucer,

Fig. 36. CAKE OF INDIAX INIC.

rubbing it briskly until the water assumes the

desired color. I n the drawing, accuracy of ont-

Fig. 7. T ~ a c m ~ P o m - ~ .ig. 39. PENO~DIVIDERY.




line must be observed, for every clefect in the

ontline is more apparent in the engraving when

~rintecl.

In clrawings where c~wvecl ines or circles are

introclucecl, a'l,air of pencil-clividers is necessaryfor drawing. even lines. They +l1 be fo~ulcl se-

fnl not only in describing circles, but for talting

niensurements, ancl for a variety of other nses.I

Fig. 39. T SQUARE.

A snldl T square and a parallel rule are also

needed, for drawing parallel or vertical lines

accurately.

Fig. 40. PAR~UFZLRULI.

I t is usual to aovar the drawing with tissne

paper wllilc tllo cngravi~~gs in I ) I ~O ~ I ' OHN , t,n

prevent i t from being ,roilet1 or tllc sl~nlpncss f

the lines clestroyed. To do this, cut a piece of

paper a little larger than the bloclr, rub tlie



42 WOOD ENGRAVING.

edges of the block with beesmax, cover it with

the paper, drawing it tightly over nncl burnishing

it on the waxed eclges. The covering is then cut

open at the point where the engraver is to com-

mence, and the opening enlarged as fas t as re-quired.

TRANSFERS.

Fig. 41.

In making an exact copy of a moorl-cut, steel

or lithographic print, the labor of drawing' is

saved by transferring it to the block in the fol-

lowing manner: The block is prepared by the

use of the pumice stone and water without being




whitened. Place the print from which the trans-

fer is to be macle in an cnsthen plate, nncl pour

over it a preparation, macle by clissolving cnnstic

potash in aicohol; allow it to remain about a

minute, until the ink is softenecl; rinse the licluicloff by clipping it in clear water; absorb the

water by touching the lower edge of the print

to a piece of blotting-paper ; ay the print on the

block, ancl subject it to the pressure of a print-

ing-press, which will, if properly done, reproduce

the picture.

Photography has of late years been extensively

employecl in producing pictures on the ploclr,where drawings or transfers are impracticable, or

where a photograph answers the purpose equallywell at a much less expense.

A photograph on the wood is engraved in the

same manner as a Ilrawing on Goocl. I n many

of the illustratecl magazines of the present clay

the original designs are first drawn upon paper,

quite large, ancl afterwards photogra11hecl on thc

block reclncecl to the requirecl size. I n the sameway macl~inery, urniture, builclings, Innclscapes,

etc., may be faithfully reprocluced on thc block,

and a more accuratc result securcd tlian if cn-

graved from a drawing, althougll in ~vorlting

from a photograph greater skill and judgment is

requirecl to produce an effective cut.

To put a photograph on wood the assistance of





T I ~ROCESS D E F ~ E D . 45

ENGRAVING.

The drawing, photograph or transfer beingprepared on the block, the nest thing t o be

observecl is the mode of sitting at the tnble ancl

holding the work. The blocli shoulcl rest upon

the pad at such an elevation as to ,zllom the

learner to sit erect while at work. Ilolcl the block,

not too tightly, \vith the thmnb 2nd forefinger

of the left hancl, so i t Inay be easily lnovecl nronncl,

or turned, on the pail. With the 1-ig11thand thes a v e r is held, the handle resting in the pnlm.

The graver is then pusllecl forwarcl ~irith the

thumb and forefinger, guided by the thumb rest-



4 6 WOOD ENGRAVING.

ing on th e surface of th e block, as in F ig . 44, oragainst the side, as in F ig . 45.

Fig.44.

Various contrivances have been devised for

protecting the eyes when working at night bylamplight. One of the best is that which not

only protects th e eyes by softening the light, butshields th e face from the heat of th e lamp. Th is

consists of a large glass globe fiIled with clear

water, an d placed in such a posit ion as to allo ~v

th e light to pass through it and fal l upon the

block, as in Fig. i G .



THE PROCESS DEFINED. 47The German student lamp is best for the pnr-

pose as its light can be regulated according to

the convenience of the engraver, on account of

its being movable on the iron standard.

Big. 40.

Some engravers use the b~d's-eyeens, vh ich is

a goocl reflector, ancl can Be easily adjusted, to an

ordinmy lamp.



'JTrOOD EKGEAVING.

LESSONS IN ENGRAVING.

DIAGRAMS AND PROOF-

TAKING.

OR the &it lesson in engaving a

few cliagrams are given, which

will enable the learner to get the

use of the tools somewhat, beforeattempting more complicatecl OL&.h e uts.

The lines shou~ld b e . carefully

3 outlimecl with a fine tint-tool. After

the outline is finished on the inside take a

mider tool, allcl carefully cut the woocl avay from

the lines; then outline the outside, lewing an

even width of line, ancl cut away as before;

afterwards with a micle scooper clear away the

remaining mood.

TRlen finishcd, a proof may 11c taken, ancl the

lines trimmed np where isl.eg111ar.



LESSONS M E N G R A n T G . 49

To t:xl;e a proof, first put a smzll quantity of

ink on the clabber, ancl beat it upon the slab nrrtil

the inli id evenly clistributecl; the subject en-

grave4 shoulcl then be clabbecl until a sufficient

quantity is left upon its surface;

a piece of Inclinpaper a little larger than the face of the blocl; is

laic1 upon the engraving, n thin card laic1 upon

that, and then burnishecl over with a paper-folder

until a good impression of the cut is taken. The

engraver's prints sl~onld be superior to those

taken by n l~uessmnn. Light nnil t1clin:~tc ] NW -

tiolls of :m c n g ~ . : ~ v i ~ i grl10~li[ J C I L ~ J I J C ~ ~I!L'Y

gently, ancl the daAcr p a t s brougl1t out by n

hczvier pressure.

The beginner mill find it pleasant to keep proofs

of 11is work, and, by comparison, observe the

progress made,



WOOD ENGRAVING.

FIGURE OUTLINES.

After engraving the diagrams, each in their

order, a careful drawing may be made of theoutline 'subject, Fig. 50. I n the engraving, com-

mence at the top of the d r a ~ n g , nd outline

vith tint-tool, being carefill to leave as much

surface as the pencil lines cover. a f te r out-

Fig. 49. F I G ~ EUTLINED. Fig. 60. BIGTTREINISHED.

lining, clear mvny the mooil, I ) c i ~ ~ garefill not

to bruise the lines with the uncler part of the

tool. To g11arcl against this, a thick carcl may

be placed under the tool.The next subjects, Figs. 51 ancl 52, introduce

more variety, ancl the learner is now prepared to

bring into use the experience gained in the pre-

vious lesson. The same clirections should be fol-

lowed as in the previotrs cuts, observing the

Werence in the strength of line ancl the variety

of outline.



LESSONS I N ENGRAVING. 51



WOOD ENGRAWG.



LESSONS IN ENGRAVING. 53

Having acquirecl some clegree of fseedom inthe use of the tools, before commencing on shaded

pictures attention shoulcl be given to cutting

tints. The fu~ture nccess of the pupil depencls

very much on his skill in tint cutting; and

although it may a t first seem teclious, yet if

persistently and patiently practised it will result

in great benefit to him. This stage of enpavirig

is so important that it should receive the most

careful attention. A good rule for the learneris to lreep constantly on hand a block on x~rlrhich

to engrave tints, and to give some portion of

cach clay for the practice of this particular stylc

of work.

To engrave a flat t int, take a small piece of bos -

moocl, mash the surface with Indian ink, and ~vlicn

dry dram very light parallel lines about one-

fourth of an inch allart; select a meclinm-sixcrl

t,inbtool; 1)lnc:o t,l~c! ~ l o o l ~I I1110

r:~cl,IH l l

44 ; commence ncar the right-1i:and Ilppcr corllclr,

dircctly uncler thc first pencil line ; guiilc tllc

tool v i th the thumb ancl forefinger, anci cut a

liqe slowly and as straight as possible across the

block, being careful to cut an even deptll of line.

I n cutting the second line, plnce the tool the



miclth of the line to be engravecl below, ancl push

it formarcl slo~vly,n short strolres, until the line

Fig.63. LIGHT TIS'I'.

is kished, aiming to leave the line as wide

throngl~outas at the beginning.

Fig. 54. D ~ L KIST.

It is not probable that the learner will sncceecl

in keeping the tool from going ~q~rnard,hus

making the line thinner, or downward, making it




thicker; bnt by following the clhections closely

he may sucpeed in rndiing n fair line.

55 . G n n n u , ~ ~ ~TIN^'.Cut every line cnrefully, ~vithontminding the

time it takes, giving more attention to quality

Fig. 56. CLOUDTIXT.

than quantity. If the lines commence runningup or down, stop imrneciately, ancl comnlence



56 WOOD ENGRAVING;

again uncler the nest pencil line, iml~rovingby

observing the faults of the previous attempt.

When finished, take the clabber, ancl with a

small quantity of ink, clistributed on the ink-slab

as explained, beat the block liglltly, as in taking

proofs, ~vhicllmill show the qnality of the work;

with a finer tool than before, go over the

work. Where the lines are too thick, take a thin

shaving off the upper or the lower sicle of the

line, or both, in such a way as to leave it straight

and even, being careful not to make the lines too

thin by removing too much. Where the lines

are too thin they cannot be remedied, ancl shouldhe let alone.

By using different sizecl tint-tools a variety of

tints may be cut ; also, with the same tool more

snrface of line may be left, ancl thus a darker

tint p]-oducecl.-After sufficient practice in cutting flat tints

~roceedwith graclnatecl tints, which are pro-

clucecl by varying both the wicltll of line and

the distance apart.Plain tints are used to represent sky and a11

flat surfaces; the graclnatecl tints, for cylinders

and round surfaces. But tints vary, according

to the taste of the engraver ancl the subject to be

engravecl. Especially does this al~ply o skies

and cloud work, an illustration of which is given.

It is formecl of lines carefully blenclecl together




with fine gravers. To do this slcilfnlly, the

tools used 'must be kept sharp, which, x-ith

artistic feeling on the part of the pupil, mill

insure a goocl result; ancl the means by mhicl~

it is ac~omplishedcannot be detected mithont

the closest exanlination.

To make a drawing of the sky tint, trace tllc

clarlrer portions of the cloucl work, ancl offset it

lightly on the block with the burnisher ; then go

over the whole surface with a very light coating

of Indian ink. When dry, go over all the darker

parts with a second coat, repeating the process

if necessary until the light ant1 shade in thc clr:l\v-ing compares mith the copy. Then with a br~isli

wash in the high lights mith Chinese white.In the engraving, first remove the high lights

with a small scooper, then cut the dark parts -\vith

a fine graver, ancl vary the size of the tool ac-

cording to the shacling, the closest attention being

paicl to the copy.

A t this stage of engraving it is well to col~sirlcr

how to remcrly mistnlics, common1y anllcrl slilm,which arc lial~lco 11c mnilc, cspecii:lly l)clh~.clrc

learner acquires tllc usc of the toolr ; ; b u t tl~cay

shoulcl be gnarclccl against until they very 13nrcly

occur.

When it is necessary to plug a block, first

consider how much of the surrounding surface

must be taken out to make a close joint which



58 WOOD ENGRAVING.

will not show -rvhen printed. A hole is then

made in the block with a gimlet, or steel point,

and a rouncl, tapering plug formed, a trifle larger

Fig.67. SECTIOB O F BLOCK,H O T W G PLUG.

than tne hole, and driven like a wedge, so as to

fit closely all arouncl. When this is done, saw

off the plug with a slllall watch-spring saw, having

Fig. 58. NETHOD F L O N E ~ GLUG.

first placed a piece of writing-paper on the block

to protect the work; this being clone, the plug is

shaved clown even with the surface, by the use

of a very harp, wicle chisel, care being talcen not.

to shave it lower than the surface, as it woulcl

then be necessary to re-plug the block.




PORTRAITS.

I n portrait engraving a large alnount of prao

tice is necessary to enable the beginner to pre-

seyve the exl~ressionof the face by leaving n

s~~fficientmount of color in all the principal

features, such as tQe eyes, nose, and the uncler

part of the lips. While engraving, bear in mind

that cutting away ancl weakening the color in the

features cannot be, easily remedied, but if the

parts are too dark they can be readily ligl~tenecl.To be a successful portrait engraver, one's whole

time ancl attention should be given to this branch

of tl1c wt.

I n the two examples given a variety of TTTOI -~

is introclncecl. The flesh tint in Fig. 59 is a goocl

illustration of white cross-lining, which is the

opposite of black cross-lining; or cross-hatcl~ing:

and is proclucecl by cntting orclinary lines, to

conform. to tl-ie surfacc of thc fncc, ~vliichnr.c

aftcl-w:~rrl~rous-lincrl, tlio mlno r111o l~oil~g1)-

served in making the lines conform to tl~e,snr face

of the face, which gives it increased ronnclness

and finish. These rules apply not only to face

tints, but to flesh tints generally. Fig. 60 shoms

the delicacy and roundness of the face and hands,



WOOD ENGRAVING,

Fig. 59.



LESSONS IN ENGRAVLNG.



62 ~ O O D NGRAVING.

the free and wavy character of the hair, and the

variety of drapery.

The methods employed in cutting portraits are

so varied that i t would be advisable to collect apcl

study the different styles, and select the best

subjects for practice.

When the subject is to be copied from .a

l~hotograph r carte-de-visite, the services of the

photographer should be called into use, and the

subject photographed on the block, thus giving

all the features in the minutest detail.

By a careful study of engraved portraits the

learner should make himself familiar with the

mode by which the form of the featnres is pre-

served. After this has been done, if prepared to

carry out the instructions with judgment, and

with a definite object in dew, he will, in a meas-

ure, be successful. Bnt if there is any uncertainty

about the proper ~ ~ n yo treat a portrnit, c10 not

attempt i t until by fnrtller observation ancl study

the may is made clear.

LANDSCAPES, FOLIAGE, ETC.

Landscape engraving requires a considerable

amount of artistic skill on the part of the engraver

in order to produce the ever-varying character of

the objects composing the picture.



LESSONS IN ENGRAVING. ' 63

The bcg~nllcr lloulcl stucly each and all of tlie

separate parts, giving them the closest attention

while cutting; for however nicely the mork nlny

be done, if there is no thought expressed, no np-

Big. GI. WOODOPNE.

parent understanding of the character or texture

of the parts, the attempt ~vi ll esult in failure.

It would be much better to leave the engraving

in an unfinished state than to mork upon it with-

out meaning. It would be better still to give the



$1BTq

.

a1

asl

aar-@S

-aca

sJ




will be noticed that the roclts in the distance are

cnt more delicately tliall ill tlie foregrouncl, tlic

same rule being observecl in tlie treatment of the

sky and foliage in contrast with the foreground,

the lines of which have more strength ancl char-

acter.

FLOWERS, VEGETABLES, ETC.

Flowers and leaves are usually replmesented in

delicate tints. I n Figs. 63 and 64 we have two

good subjects for practice,- he one a well-

al ~a ng ed ouquet, made up of a variety of flowersancl leaves, and the other a basket-bouquet. The

cuts of squash and sweet-corn are intended t o

show the difference between qnalities and testnrcs

of articles of this class, ancl the difference of

treatment in cutting.



TT'OOD ENGRAVING.



L E SS O N S I N E N G R A V I N G . 67

1



WOOD ENGRAVING.

Fig. GG.



LESSONS I N ENGIEAVLNG. G9

EFFECTIVE DESIGNS- ILVER WARE,

JEWELRY, ETC.

The exalnples here given (Pigs. 67 ancl 68)

show with what ease effects of light and shr.cle .are procluced in woocl engravings. Figs. 69 and

70 are more elaborate, showing the adaptability

of this style of cutting to ornamental designs.

Big. 07. U ~ s r o a n Wlrlnr. Blg. 08. DERIIINN D L A ~ I C .

A similx cffcct is observable in the cuts of sil-

ver ware and jewelry, Figs. 71,72, and 73. These

mill be found goocl subjects for practice. Bynoticing what produces a good effect, ancl attencl-



WOOD ENGRAVING.

Fig. 69.



SILVER WARE . 71

Fig. :l.



72 VOOD ENGRAVING.



FAG-SIMILE PEN FORK. 73

ing to the faults in his work, the learner will

improve ancl from his experience learn to woicl

futtue mistakes.

FAG-SIMILE PEN WORE

requires the same outlining and cutting away as

in other outline engravings, the greatcst care to

be exercised while removing the wvood to avoid

breaking clown the lines that are to be left in

relief. Figs. 74 and 75 rcquire much grontcr

skill in the cutting than Fig. 76, the clelicate hairlines being as sharp as it is possible to engave

them.

I n reproducing a h e l y written autograph, the

light lines shoulcl be made even lighter than in

the copy, for when subjected to the pressure of

the printing-press they will appear stronger than

in the original. The curves should be free and

natural, ancl the heavy strokes not too heavy.

The original slioulil bc lrel-~t t hnncl for constantreference whilc tlic work is in progress.

Under the lleacl of

MONOGRAMS AND INITIAL LETTERS,

a few samples are given. Fig. 80, composecl

largely of fine lines, ancl 82, heavier in style, are

both suitable for ]]larking clothing, or for orna-



74 WOOD ENGRAVING.

Fig. 74.

Fig. 75.

S L ZR ~ ~ig. '16,



iVIONOGRBMS AND INITIALS. 75

Fig. 77. Fig. 78. Fig. O .

fig. 80. Fig. 81. Fig. R2.

Fig.83,

Fip.65,



75 WOOD ENGRAVING.

mental chapter headings; 78 &nclS4 for hanclker-

chief monograms ; 77, 79, 83, ancl 85 for circular

headings, etc. ; 81 as a seal.

LABELS AND CARDS

should be designed with reference to th e purposeo r use for which they are intencled as well as for

Fig.86.

the manner in which they are to be pr inted. T o

illustrate : Fig . S6 is designed for an axe label,

and in order t o look well should b e p rinted in

bronze on steel-blue paper. Any add itional fine





78 WOOD ENGRAVING.

work on such a label ~&ulcl only detract fromits neatness.

Fig. 87 i s a reduced copy of a large show-carcl.

The appropriateness of the clesignd e readily

Fig. 88.

seen. It appears well either in plain black or in

colors.

By observing the general .design of labels on

the different classes of manufactured goods, some

practical knowledge may be acquired which



ENGRAVING STOVES.



TVOOD ENGRAVING.

Fig. 90.



ENGRAVING STOVES. 81

ell prove usefiil when worlc of this kind is

callecl for.

I n representihg STOVES,f which there are an

infinite variety of patterns, the best ancl surestay is to work from a photograph, either malcing

a careful drawing on the mood from the photo-

graph, or having it photographed directly on the

block. A common fault with enpavers is that

of introducing too much shacling underneath

stoves, as it tends to destroy the sharlmess of

outline, and does not appear well in ordinary

printing. A slight shacle is sufficient in most

cases. Another poin6 shoulld be noticed in theengraving of cootstoves. The stove-lids, or

openings on the top for kettles, boilers, etc.,

which are almost invariably s h o w in perspec-

tive, should be clrawn or engravecl with no per-

ceptible cleviation f r om the copy. Shonlcl these

parts be out of drawing, the stove-top mill appear

warped and distortecl when the cnt is finishecl.

The bocly, or upright snrfaces of stoves, espe-

cially where the form is cylindrical, shoulcl berepresented by vertical lines, ancl the top snrfnccs,

if fist, Ly 1lorizont:~I.

Figs. 88 and 89 arc introilucccl as cxuml~lcs f

this class of work.



I n the engraving of F F I U R N I T ~ ,RGANS, tc.,

the style of mol-k cloes not differ essentially from

that on stoves, the sanle general clirections

may be follomecl to aclvantage.

BUILDINGS

should not be coml~osed oo largely of flat tints.

The parts exposed to the light should be broken

up by introducing the proper amount of effect,

the same principle apl~lying o the cloucl work,

ground, and foliage. This done, and a few figures

introduced -ivill not fail of producing 'a lively

picture. A good idea of the effect desired may

be gained by observing the rule by which the

artist determines the tints of nature. I t may be

that with eyes wide open yon cannot detect color

or shade on the face of a building exposed to a

strong light, but when youulnzost

close your eye-lids the scene changes, the minute detaiI of the

picture is lost, and you have in its place simply

the effect. Such a study of the windows, cor-

nices, and other projections will suggest new

methods of treatment.



ENGRAVING BUILDINGS. 8 3

Correct pers])ect ive is another t l ~ i n g o be oh-

served, fol. if this Le riglltly U I ; U I ~ L ~ C ~ ] ,ven &

2nd uq ~m te nt io us bui ld ing ,nay Le m&a

to aeeume a substantial appearance.



84 WOOD ENGRAVING.

COMPLICATED MACHINERY

should be engraved from a photograph whenever

i t is possible to obtain them. D r a a g s made

from sketches are seldom satisfactory, as the pro-

portions cannot be so accurately preserved, and

the several parts are liable 'to appear clumsy.

Defects of this kind in form OY outline are quickly

detected by mechanics, and a wrong impression

of the merits of the machine sometimes conveyed

when the fault is wholly in the cut.

In order to become a good machine-engraver,

constant practice and a careful study of the work

of fist-class engravers is necessary.

The beginner would do well to make a collec-

tion of machine-prints, preserving them in a

scrapbook for future reference. , Sometimes it is

necessary to break away portions of a machine

where the construction is such asl to hide the

parts to be represented, iawhich case the inter-

vening portions may be shown broken-ol~en,asin Fig. 94.





WOOD ENGRAVING.



ENGRAVING BIRDS AND ANIMALS. 87

BIRDS AND ANIMALS

are bften di£Ecult subjects to represent naturally.

The varied plumage of birds, and-the great dif-ference between qualities and textures in the

Big. 96 .

covering of animals, givo a wido range for the

display of the engraver's skill.

Figs. 95 and 96 are introduced as subjects for

practice.



8 8 WOOD ENGRAVING.

COLOR ENGRAVING.

T he practice of prin ting wood-cuts in colors,

from diEerent bloclrs, originated towards thcclose of the sixteenth century. It was cliscovered

by Albert Dttrer, who found th e ar t of wood-engraving in its infancy.

T he inventionwas used a t that t ime principally

in ornamental designs, b u t has n ow attained a

high degree of perfection, being used no t only in



',X .,.-...:., .*.~L,!. .<y.l-.,.in;,. 'I_ I..

2 .* . .,..h Y

2;.g . ;.z: !.>...

Fig. 88..,

1;:7;"?y 7,. ..

i n - , . -3

., *$B. ' ,"

P- " ., & " , , , -= *: i k t k b k a ~ ~ , Q

' Fig. 100. ' - , ., , . Fig. 101.



COLOR ENGRAVING. 89

common merchandise labels and ornamental de.

signs, but in the finest book illustrations.

Before cbmmencing a color engraving it is

desirable to make a complete design in colors,

from which to copy the engraving. From thisdraw and engrave the principal block ; then take

a proof, and transfer to another block, from

which cut away all except the portions necessary

to print the next color; proceed in the same

manner with the remaining colors, transfers being

taken from the principal block for each color.

- As an illustration, the' blocks used in the accom-

panyihg color design (Fig. 97) are shown sepa-

rately.In printing, the lightest blocks are printed first,

and the principal, or black, last. Each should

register perfectly.

In order to better understand the relation of

one color to another, -rve start out with the sim-

ple theory advanced by Sir Isaac Ne-rvton, that

there are tl~rce olors, and only tlircc. Tlicse nrc

called primary colors, because they are original,

self-existent, ancl cannot he prodncocl by rLnycombinations. Their names are bluc, recl, nnd

yello-rv. Notwithstancling the simplicity and

clearness of this system, it has been attaclred by

scientXc men, and important changes suggestecl;

yet it has been believed in and agreed to by all

painters of all countries.



90 WOOD ENGRAVING.

As m uc h of th e b ea uty of color engra ving de-

pends upon the knowledge an d tas te shomn in

the arrangement of the colors, it is well in this

connection to give considerable attention. to th e

har m ony an d contrafit of colors.A

few hintsmay help the learner in the grouping of his

colors.

F i r s t , l e t it be remembered tha t the three

primary colors cannot be nsed in close proxim ity

with out injurious effects. T he prim ary of first

importance is

Blue. It m ay b e largely nsed i n nice color-

woi~k. I t s most perfect harmonies are those

shad es of itself which ar e producecl by m ixing i twith wh ite or black. I t s contrasting color is

orange.

Red , th e second primary, has green for i ts

contrasting color, and orange ancl crimson for its

harmonies.YeZZozo has purple for i ts contrast , and l ighter

shades of itself an d orange for its most perfect

harmonies.

A word of caution in regard to the use of

green may no t be out of place. I t is often too

freely used w ith oth er colors on acc oun t of its

lighting-up power. It should b e sparingly used

in color-work, and then no t for i ts own vd ue ,

b u t for its effect upon o ther tints.Gold is often used in the place of yellow; and



COLOR ENGRAVING. 91a very common combination is that of blue, red,

and gold.

Gray is in, harmony with brilliant hues of blue

and crimson, and may be introduced into almost

any combination mith safety.

A better idea of the harmony and contrast of

colors may be derived from a stuciy of the Cola?.-

circle Diagram,which will be useful to refer to

from time to time. To illustrate its uae, take



92 WOOD ENGRAVING.

red for an example ; opposed to it -we find green

in contrast. This rule applies to the other pri-

maries, and to the half-way colors as well, their

opposites being a perfect contrast.

To determine harmony, take green as an ex-ample. .Moving along the inner circle on either

side of green, me find the harmonies decrease as

we proceed, until we reach its most imperfect

ones, blue-purple and yellow-orange. Still mov-

ing along both sides of the circle, the colors grow

more and more pleasing, until we reach its most

perfect contrast, red.

The study of colors mill prove a fascinatingone the more the subject is loolced into.

Color designs collected and preserved in a

scrap-book for reference will prove of value to

the learner ; also the habit of experimenting and

noting the combinations which are most pleasing.

In this way he will find pleasant exercise for his

designing powers.



ELECTROTYPING.

The iqvention of Electrotyping, by which

woobcuts and type are reproduced, is compara-

tively recent, although experiments in electro-

plating mere made in Europe from 1801 to 1845

with more or less success.

It is a chemical and mechanical operation com-

bined, and is performed in the following manner :

A mould is made of puwe wax, upon which the

wood-cut is impressed bymeans of a press of suf-

ficient power to bring out even the finest lines ;

the mould is then covered with a fine coating of

plumbago, which is evenly distributed by brushes,

thus giving a conducting medium for the electric

current, which is further strengthened by a mash

of sulphate of copper, thus covering the entire

surface with a thin film, ancl hastening the de-

posit of copper. The wires from an electro-mag-netic battery are attached to the mould, 1~11ich s

then suspended from a metal rod in a trough .containing a solution of acidulated sulphate of

copper; copper plates are suspended in thc solu-tion, which face tlic moulcl but ilo n o t toucll it;

the rods are connected with the battc1.y by ~vi~*cs

and when the circuit of electricity is completed

the copper plate is rapidly decomposed and de-

posited on th e face of the mould; in ten or



94 WOOD ENGRAVING.

twelve hours a copper shell is formed, which, on

being removed from the mould, receives a coab

ing of chloride of zinc ; melted type-metal is then

poured or dipped into the shell, and, after cool-

ing, the face is laid on a perfectly level ironplate, and the superfluous type-metal planed off,

and the plate squared and trimmed up, .and

screwed on blocks of wood, which bring them to

the height of type.

I t is best to have a wood-cut electrotyped be-

fore printing from it, and to preserve the engrav-

ing, from which electrotypes may at any time be

taken.

CONCLUSION.

Having given, in a few lessons, directions as

simple and practical as possible, it now remains

for the learner to make the best nse of the infor-

mation given, and according to his own aptness

and diligent application will he be able to en-

grave well in a longer or shorter time. Perfec-

tion in engraving is never reached, and the best

engravers see higher and better results to be at-

tained. Then set your standard high; let no

opportunity for acquiring information pass unim-

proved; learn something newfrom every attempt;



CONCLUSION. 95

be not easily satisfied with your own engraving,

but strive to remedy its fadts .

With the hope that these suggestions may be

of value, and that the instruction herein con-

tained may serve the purpose intended, we leaveour readers to achieve the success which perse-

verance and a love of the art will insure.



A M A T E U R S

An d others in we d of iooLF and crpplia71ces or Drawitrg or

Engrrruitlg, can or& frotfz Mr. EMERSON, wiUr f J e

assurance of getting wlmf fluy 7eed, as he is a $raclinrl

enpraurr, adcx;dcrienced irr s c& cf i~ ~g7r~mucrs'd $ f s .

Forh. v rwisedpricc-l id, d r e s s

WM. A. EMERSON,

No. 352 Main Street,

WORCESTER, MASS.



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(Egn) - Handbook of Wood Engraving(1)