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John Beedham</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is + for the use of anyone anywhere at no cost and with almost no + restrictions whatsoever. You may copy it, give it away or re-use + it under the terms of the Project Gutenberg License <a href= + "#pglicense" class="tei tei-ref">included with this eBook</a> or + online at <a href="http://www.gutenberg.org/license" class= + "tei tei-xref">http://www.gutenberg.org/license</a></p> + </div> + <pre class="pre tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> +Title: Wood Engraving + +Author: R. John Beedham + +Release Date: January 6, 2014 [Ebook #44606] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK WOOD ENGRAVING*** +</pre> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"></div> + <hr class="doublepage" /> + + <div class="tei tei-titlePage" style="text-align: center"> + <span class="tei tei-docTitle" style= + "text-align: center"><span class="tei tei-titlePart" style= + "text-align: center"><span style="font-size: 144%">WOOD + ENGRAVING</span></span><br /> + <br /></span> + + <div class="tei tei-byline" style="text-align: center"> + <br /> + By <span class="tei tei-docAuthor" style="text-align: center">R. + JOHN BEEDHAM</span><br /> + WITH INTRODUCTION AND APPENDIX<br /> + BY ERIC GILL<br /> + <br /> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/titlepag.jpg" alt="" title="" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + </div> + </div><span class="tei tei-docImprint" style= + "text-align: center">FABER AND FABER LIMITED<br /> + 24 RUSSELL SQUARE<br /> + LONDON.</span> <span class="tei tei-docDate" style= + "text-align: center">1921</span> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="pdf1" id="pdf1"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">Contents</span></h1> + + <ul class="tei tei-index tei-index-toc"> + <li><a href="#toc2">INTRODUCTION TO SECOND EDITION</a></li> + + <li><a href="#toc4">WOOD-ENGRAVING PAST AND PRESENT</a></li> + + <li><a href="#toc6">WOOD ENGRAVING</a></li> + + <li><a href="#toc8">THE WOOD</a></li> + + <li><a href="#toc10">DRAWING</a></li> + + <li><a href="#toc12">ENGRAVING</a></li> + + <li><a href="#toc14">PROOF TAKING</a></li> + + <li><a href="#toc16">PREPARING BLOCK FOR PRINTER</a></li> + + <li><a href="#toc19">PLUGGING</a></li> + + <li><a href="#toc21">APPENDIX</a></li> + </ul> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">Illustrations</span></h1> + + <ul class="tei tei-index tei-index-fig"> + <li><a href="#fig18">Wood-cut from The Decameron, Venice, 1492. + Re-engraved by R. J. Beedham. By permission of The Shakespeare Head + Press</a></li> + + <li><a href="#fig23">Alphabet, by Reynolds Stone <span style= + "font-style: italic">(By permission of Burns, Gates & + Washbourne, Ltd.)</span></a></li> + + <li><a href="#fig24"><span style="font-style: italic">From</span> + Forrest Reid's Apostate, by Reynolds Stone <span style= + "font-style: italic">(By permission of Faber & Faber, + Ltd.)</span></a></li> + + <li><a href="#fig25">Winter, from a sketch by Verrall, by R. J. + Beedham</a></li> + + <li><a href="#fig26">Strawberry Picking, by Claire Leighton + <span style="font-style: italic">(By permission of Victor + Gollancz)</span></a></li> + + <li><a href="#fig27">March, by Mrs. G. Raverat</a></li> + + <li><a href="#fig28">“Miss Jenkyns reading Rasselas,” by Joan + Hassall <span style="font-style: italic">(By permission of George + G. Harrap & Co., Ltd.)</span></a></li> + + <li><a href="#fig29">The Cottage, by Robert Gibbings</a></li> + </ul> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc2" id="toc2"></a> <a name="pdf3" id="pdf3"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">INTRODUCTION TO SECOND + EDITION</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This book is not a + treatise upon the <em class="tei tei-emph"><span style= + "font-style: italic">art</span></em> of wood-engraving. It is simply + a description of the tools and materials required by a beginner and + the method of using them. It is not intended to assist anyone to + become a commercial engraver, for that trade requires a long and + specialized training. It is intended rather for those who have + occasion or opportunity or inclination to make illustrations or + ornaments for books and who are revolted by the degradation to which + the art of formal drawing has been brought by photographic + <span class="tei tei-q">“process”</span> reproduction.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The <span class= + "tei tei-q">“line”</span> block and the <span class= + "tei tei-q">“half-tone”</span> have one clear claim to usefulness: + viz. when an exact facsimile is required. It is doubtful, however, + whether process reproduction would have been developed very far if + its use had been confined to those occasions, and those only, when + exact facsimile was of vital importance. Process reproduction owes + its success to its commercial possibilities more than to its real + merits, for, in spite of the frequently reiterated boast of those + engaged in business that nothing can be a commercial success that + does not <span class="tei tei-pb" id="page8">[pg 8]</span> + <span class="tei tei-q">“supply a want,”</span> by photographic + reproduction a speed and cheapness have been obtained which have + seduced both artists and the public. A <span class= + "tei tei-q">“want”</span> has certainly been supplied, but it is a + want of quantity rather than of quality, and, as in all cases where + quantitative ideas are the motive force, quality has inevitably + deteriorated so that book production has become a mere business and + with no criterion save that of a commercial success.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is of course + impossible to stem the tide of commercial degradation until Poverty, + Chastity, and Obedience take the place of Riches, Pleasure, and + <em class="tei tei-emph"><span style= + "font-style: italic">Laisser-faire</span></em> as personal and + national ideals. Such a change of heart cannot occur merely as the + result of economic or social or philosophical propaganda; the matter + is more fundamental than that. The modern world is founded upon a + denial of absolute values, a denial of religion, a denial of God; + upon such denials nothing can be built. Goodness becomes what the + police will allow or can enforce. Beauty becomes what pleases the + senses and Truth becomes what will pay.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Meanwhile it is + possible for any individual that wills to do so to go out into the + wilderness and to live and work in a manner more in harmony with the + nature of man and the will of God. For it is in accord neither with + the will of <span class="tei tei-pb" id="page9">[pg 9]</span> God nor + the nature of man that any one should love himself more than his + neighbour or his neighbour more than God. The present state of + affairs is an unnatural and abnormal thing. It is a disease. And any + one can by the grace of God cure at least himself and put his own + affairs in order.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the domain of + art the remedy is the same as in any other. The thing good in itself + must be found and loved. Relative values must give place to absolute, + the lovely and lovable to the beautiful. <span class= + "tei tei-q">“Does it pay?”</span> is not the question. Is it good in + itself?—That is the important thing. And the more you apply that + standard to your own work and to that of others, the more you will + find the necessity of personal responsibility.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">But personal + responsibility for work done is, from the point of view of commercial + success, actually an evil! Make men responsible for their work and + not merely for doing what they are told; make their own consciences + their masters and the whole of our modern factory system will come + tumbling down like a house of cards. For the factory system is a + servile system in which personal responsibility is denied and of no + factory article may you say: this is the work of such an one—he made + it. In the matter of drawing and <span class="tei tei-pb" id= + "page10">[pg 10]</span> illustration and engraving, degradation is + inevitable when one man draws, another touches up the drawing, + another photographs, another touches up the negative, another prints + it on the metal, another etches, another touches up the etching, + another routs it, another mounts it, another proves it and another + keeps the accounts and to crown all, another takes the profits. This + excessive sub-division is inevitable where profit making is the + motive power. It is, however, the artist and the workman who are to + be blamed, not the man of business. (The man of business does his job + very well. Certainly he has no right to be ruler, as he is at + present, but it is <em class="tei tei-emph"><span style= + "font-style: italic">our</span></em> fault for allowing him to rule.) + And as good men must precede good law, and not <em class= + "tei tei-emph"><span style="font-style: italic">vice + versa,</span></em> so the individual must revolt against the evil + system and not wait until the many are prepared to revolt with him. + Wood-engraving and wood-cutting have gone out of general use not + because photographic process reproduction is better, or even because + it is cheaper and quicker, but simply because larger profits can be + made by employing many persons under a system of divided labour than + by working in a small workshop and putting the quality of the work + before the quantity of the output. The consumer or customer is + flattered and his grosser appetites <span class="tei tei-pb" id= + "page11">[pg 11]</span> appealed to. The merchant does not ask + himself what good thing he can supply but what he can supply at a + good profit. The whole trouble is that the responsibility for the + making of things is not in the hands of the workman but in those of + the man of business—and this is hell.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The advantage of + wood-engraving then is that it does away with several sets of middle + men and places responsibility upon the shoulders of the workman. The + workman who draws, engraves and prints his own blocks is master of + the situation. He can blame nobody but himself if his work goes + wrong. Whether it goes right or wrong depends upon his notions of + right and wrong. The first thing is that he should be free to satisfy + his own conscience and not be a mere tool in the hands of another. + <span lang="la" class="tei tei-foreign" xml:lang="la"><span class= + "tei tei-q">Liber est causa sui, servus autem ordinatur ad + alium</span></span> (i.e. The freeman is responsible to himself—but + for the slave someone else is responsible. Saint Thomas Aquinas, + <em class="tei tei-emph"><span style="font-style: italic">Summa + Theologica).</span></em></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Another advantage + of wood-engraving is that it forces upon the workman some respect for + the thing in itself and makes it impossible for him to place a merely + relative value upon the art of drawing. Mere likeness to nature is + much more easily achieved by drawing, <span class="tei tei-pb" id= + "page12">[pg 12]</span> whether in line or wash, upon paper. The + graver and the wood both of them make their own demands and make mere + imitation of nature almost impossible. The workman is compelled to + consider his work primarily as an engraving and only secondarily as a + representation. This is a good thing, for a work of art is primarily + a thing of Beauty in itself and not a representation of something + else, however beautiful that other thing may be. This the public does + not understand. Hence the absurdity of allowing the public to be + supplied by persons who are not workmen and who have no knowledge of + the implications of good workmanship but are simply men of business + out to supply whatever is most profitable to themselves.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">He who would be an + engraver must therefore start with a clear understanding that there + is <span class="tei tei-q">“no money in it”</span>; though if he be + patient and devoted he may make a living or a part of a living by it. + Further, he must be prepared to start with the wood and the graver + and his sense of what is beautiful in itself and not strain after + effects. He should take it for granted that a zig-zag pattern such as + a child would engrave is better than the most expert imitation of a + sunset. In fact he must be pre pared to begin at the beginning and to + put the first things first.</p> + + <div class="tei tei-signed" style="text-align: right"> + E. G. + </div> + </div> + </div> + + <div class="tei tei-body" style= + "margin-bottom: 6.00em; margin-top: 6.00em"> + <span class="tei tei-pb" id="page13">[pg 13]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc4" id="toc4"></a> <a name="pdf5" id="pdf5"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">WOOD-ENGRAVING PAST AND + PRESENT</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Although Mr. Eric + Gill in his introduction has explained that this book is not a + treatise on the art of wood-engraving, I feel constrained to add a + chapter to the present edition of the work, chiefly on the past and + modern styles of wood engraving; also to give some information to the + younger craftsmen, some of whom, having lived only in an age of + photo-mechanical reproduction, are quite unaware of the important + part that wood engraving has had in the past for the purposes of + book-illustration.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is a very old + craft, older than book-printing from type. It quickly became the + chief means of decorating and illustrating books, and continued to be + so until the invention of photographic processes, which, for general + purposes have supplanted it. Some of the old blocks, cut in simple + outline, fit the printed page in a most admirable manner; in their + particular style they have not been surpassed. An example of this is + the re-cut from <span class="tei tei-title"><span style= + "font-style: italic">The Decameron</span></span> 1492 on page 47. + These early blocks were all cut on the long grain of the wood, a + method that continued until it was discovered that the <span class= + "tei tei-pb" id="page14">[pg 14]</span> end grain was a better medium + for cutting of fine lines for shading or outline.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is a disputed + point whether artists like Dürer or Holbein engraved their own work. + It was probably left to the expert to cut in faithful facsimile the + drawings done by the artist on wood. With a few notable exceptions, + this method of the division of labour, the artist being one person + and the engraver another, continued until wood-engraving was + supplanted by process. For reproductive purposes it was a natural + division. After that a completely new style of engraving, that of the + present day, came into being.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Thomas Bewick was + one of the great exceptions to this division of artist and engraver. + Not only did he engrave his own drawings, but he evolved a completely + new style. He abandoned elaborate cross hatching, and for the most + part cut in the most direct and simple way. Nevertheless, for + ordinary reproductive purposes the artist and engraver continued to + be different persons; the artist continued to draw on the wood, + filling the shading with a wash of Indian ink and finishing by means + of pen or pencil lines, or perhaps using the pen alone, but whether + drawn by pen or pencil the engraver <span class="tei tei-pb" id= + "page15">[pg 15]</span> faithfully reproduced it, line by line. This + necessitated great skill on the part of the engraver, for the merest + thickening or thinning of the lines altered the effect of the + drawing. But sometimes the drawing was done by wash only, in which + case the engraver kept as nearly as he could to the shade or tone of + the original without the aid of cross-hatching.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This continued + until photography made itself felt. It is remarkable that a vast + industry, of which the cinema is the latest development, should have + arisen as the result of the discovery that certain substances changed + their colour and character in the presence of light. It first greatly + influenced wood-engraving and finally ousted it as a means of + reproduction. Photographers found a way of photographing on to the + wood not only drawings but other photographs, and the engraver had to + adjust his style to the new medium, for to cut direct from a + photograph was very different from cutting facsimile from a drawing. + The black lines of cross-hatching disappeared and white lines took + their place. Whenever possible a white line was cut and + cross-hatching, where it was necessary, consisted of white lines + crossing each other. Not only so but a method of cutting short white + lines or dots, known <span class="tei tei-pb" id="page16">[pg + 16]</span> generally as stippling, came to be used. Reproductive + engraving speeded up and became a miracle of skill. The use of + stipple reached its outstanding development in the work of the + American, Timothy Cole. In his engravings of the Old Masters he got + amazing effects of atmosphere by means of stippling alone.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The same + photographic influence made itself felt amongst the commercial + engravers of machinery. The black outlines of the machine became + altered to white lines whenever possible, and as in the pictorial + field, the style became completely altered. Here let me say that the + engraving of machinery for commercial catalogues is one of the most + exacting forms of engraving that I know. As a means of showing the + object perfectly it holds its own to the present day. There are a + rapidly dwindling few who still manage to get a living from it.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The great skill of + the reproductive engraver was amazing. On the staff of some of the + periodicals, where speed joined to excellence of cutting was + essential, there were engravers who could cut a good portrait in two + hours, and this in the style just described, line upon line in the + perfectly free precision of the time. But this skill of the old + reproductive <span class="tei tei-pb" id="page17">[pg 17]</span> + engraver, skill largely for its own sake I fear, made more easy his + undoing. Individuality became partly lost in the skill of technique. + It sometimes seemed as if he were imitating his great competitor, the + process block. The Americans were, I think, great offenders in this. + Though a most lovely craft, wood-engraving, just before it was + superseded by process, had not within it sufficient originality and + power to hold its own. It was largely reproductive only: the real + artist was too often left out. Process developed rapidly as the more + effective way of reproducing originals of one sort or another, and + the reproductive engraver was bereft of his craft. The output of + engravings had been enormous. Some of the old-established printing + and publishing firms cherish their old wood blocks: they belong to + the furniture of the past. Others sold their blocks to the boxwood + merchant, not by the block but by the ton!</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The period just + preceding the influence of photography was one, in the writer's + opinion, when reproductive engraving reached its highest level for + book illustration. The engravings of this period, if properly + printed, appeal for the quality of their softness, their skill, and a + sweetness of effect seldom <span class="tei tei-pb" id="page18">[pg + 18]</span> accomplished by the modern style. In many of the volumes + of this period are wood-engravings unequalled in their fidelity to + the objects shown, and that have a beauty not surpassed by modern or + any other engraving. But the days when they were engraved are long + since past. We wait again for their revival, which I believe will + come, for it is too good a thing to be entirely lost. But it cannot + come as it came before: that never happens. The difference will be + that the artist will do his own engraving. There are engravers of the + present time, who, almost unconsciously, are doing work much in the + style of this period.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The modern revival + of wood-engraving, which came just after the war, is quite different + in style from any that preceded it. The artist and engraver are now + one, as they should be where original work is to be done, and every + exponent of the craft expresses his or her own individuality. The + technique of the old school was swept completely away. <span class= + "tei tei-q">“Start engraving with an axe”</span> was an exhortation + overheard, and some of the earliest examples, with their masses of + unrelieved black, rather look as if they had been engraved by that + implement. Design is the outstanding quality of the <span class= + "tei tei-pb" id="page19">[pg 19]</span> present style. Twenty years + has brought command of the engraving tool and now most excellent work + is produced with the originality of the artist-craftsman upon it. The + early crudeness having gone, the modern engraver brings to the + printed page a decoration outstanding in effect. Amongst the mass of + process reproduction is the Wood-engraver, engraving his own designs, + thereby expressing an originality which will most certainly mark the + present age of book-production as something well worth examination. + It is therefore essential that the modern engraver design his own + engravings and he will select the kind of tools which will best + express his own individuality, for it is this individuality of the + artist which alone amongst all its competitors will keep alive + Wood-engraving as a vital craft.</p> + </div><span class="tei tei-pb" id="page20">[pg 20]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc6" id="toc6"></a> <a name="pdf7" id="pdf7"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">WOOD ENGRAVING</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Ten engraving + tools are as many as will be required for ordinary purposes. The + beginner can start with five, but labour is often saved by having a + sufficient number. They should be about 3½ inches in length, + according to the size of the worker's hand, and when held in correct + position the point of the tool should not extend beyond the end of + the thumb more than half an inch. In practice the greatest freedom is + obtained when the point extends but little beyond the thumb, but as + some allowance must be made for repeated sharpening away on the + oilstone, the half-inch extension is recommended. When purchased they + are generally much longer, 6 inches, but this length is much too + great to allow the tool to be used with ease. The makers will + generally grind them down to the required length for the purchaser, + an ink mark or piece of stamp paper stuck to the tool indicating + exactly the amount to be taken off. One side of the handle is flat, + and the tool, as it enters the handle, is slightly curved upwards. + This is to allow for free passage of the hand and tool over the + surface of the wood, and though tools may be without this + <span class="tei tei-pb" id="page21">[pg 21]</span> upward curve they + lose freedom of action by being so.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/tinttool.jpg" alt="Fig. 1" title="Fig. 1" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 1 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/cutsize.jpg" alt="Fig. 2" title="Fig. 2" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 2 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Of the ten tools, + six will be known as tint-tools, three as spit-sticks, one as + scauper. The tint-tools cut lines of uniform width from extreme + fineness (No. 1) to much greater width (No. 6). They are used for + tinting, that is, cutting a series of lines to produce a tint or + shade; for outlining, especially lettering; and for scauping. The + numbers used here are for descriptive convenience only. When + ordering, the actual width of cut required should be given, otherwise + the purchaser may receive something very different from what was + expected.</p><span class="tei tei-pb" id="page22">[pg 22]</span> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/cutspit.jpg" alt="Fig. 3" title="Fig. 3" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 3 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The spit-sticks + (Nos. 1 to 3) are tools by which the cut can be easily broadened by + gradually pressing the point deeper into the wood. By keeping to one + depth they can also be used in the same manner as tint-rounded sides + and cut through the wood with smooth ease. Instead of spit-sticks, + tools known as gravers are often used. They are flat-sided, as + tint-tools are, but the spread is much greater. The cut made is the + same as that made with spit-sticks but a much greater spread is + possible. The finest is known as the lozenge graver, the broadest as + the square graver. They are used in the same manner as spit-sticks + and often preferred to them, but they lack the smooth ease of cutting + which is the special feature of spit-sticks.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/cutgrave.jpg" alt="Fig. 4" title="Fig. 4" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 4 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The scauper, the + tool of greatest width, is used for clearing away the wood round the + engraving. It is desirable that the belly part <span class= + "tei tei-pb" id="page23">[pg 23]</span> of this tool should be + sufficiently rounded: a point too square will not cut through the + wood easily. An extra tool with a square point, about the size of the + largest tint-tool, may be found useful for taking out corners.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/toolshap.jpg" alt="Fig. 5" title="Fig. 5" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 5 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A good selection + for the beginner starting with five tools only would be two + spit-sticks (1 & 3, Fig. 3), two tint tools (4 & 6, Fig. 2), + and one scauper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It must be clearly + borne in mind that the style or character of the work is greatly + influenced by the shape of the point used. The craftsman will be + able, after a little time, to select the shape of tool which best + suits his work. Once a tool is made up, and found to be good, to + alter it is not desirable. To convert it to its old form is not easy. + Rather keep an old one to experiment with, if needful, and never + chance the spoiling of a proved tool.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For those who find + a difficulty in buying tools and who wish perhaps to have them + <span class="tei tei-pb" id="page24">[pg 24]</span> made locally, a + good plan is to buy one good tool, and have others made to this model + by the blacksmith, carpenter or other handy man. Old files can be + successfully turned into quite good engraving tools. The point to + remember is that the belly or point part of the tool be evenly shaped + on both sides. If this is not attended to, the tool will always have + a tendency to cut too much in one direction, or spring out of the + wood.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/gouge.jpg" alt="Fig. 6" title="Fig. 6" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 6 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A gouge, to be + used as a chisel, that is, with a mallet, is used to carve away all + wood round the engraving, so as to leave only the engraving in + relief. This is always necessary when the printing is done direct + from the wood block. It is not necessary when taking hand-proofs. A + flat tool or small chisel is useful for lowering edges which fade + into white, for preparing small plugs and for trimming straight + edges.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/sandbag.jpg" alt="Fig. 7" title="Fig. 7" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 7 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/magnifie.jpg" alt="Fig. 8" title="Fig. 8" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 8 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The sandbag (Fig. + 7) is made of two circular pieces of leather sewn together and filled + <span class="tei tei-pb" id="page25">[pg 25]</span> with fine sand. + The sand is poured in just before completing the last stitches. Any + other durable substance can be used instead of leather. On this solid + yet easy base the block held by the left hand can be turned about at + will. It should be not less than five inches across. To have it + smaller may mean difficulty when engraving large blocks. A magnifying + glass is not recommended unless the eyesight is defective. When there + is defective vision it is safer and better to use a glass and avoid + strain, so it must be included as a probably necessary thing. A + double lens should be used, and should be large enough to cover a + block of 2 or 3 inches. The stand (Fig. 8) allows the lens to be + turned away, raised or lowered at will. A watchmaker's glass can be + used (for one eye only) held in position over the eye by a piece of + string round the head. It provides only a <span class="tei tei-pb" + id="page26">[pg 26]</span> small field of view.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/globe.jpg" alt="Fig. 9" title="Fig. 9" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 9 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Fig. 9 shows a + globe filled with water, to be used at night to concentrate the light + on to the work. The light of the lamp is directly behind the globe. A + bull's-eye lens can be used as a substitute and is equally good. It + is well to shield away by brown paper fixed to the top of the globe, + or other means, all light that does not fall on the block. It is most + unrestful to look up from work into the direct glare of a lamp; to + work without a globe or bull's-eye with artificial light produces + great eye-strain and bad work. Good light is essential at all + times.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/roller.jpg" alt="Fig. 10" title="Fig. 10" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 10 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Fig. 10 shows the + roller and slab used for inking the engraving when taking a proof. A + <span class="tei tei-pb" id="page27">[pg 27]</span> leather roller is + best but difficult to make; composition is generally used. An old + method, the method of Caxton and quite good, is to use a dabber. The + ink is dabbed on instead of rolled on. It can be easily made, a + covering of thin leather filled with rags for padding, which must be + quite firm, being all that is required (Fig. 11).</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/dabber.jpg" alt="Fig. 11" title="Fig. 11" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 11 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/burnishr.jpg" alt="Fig. 12" title="Fig. 12" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 12 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The burnisher + (Fig. 12) is used for rubbing the proof off after inking the block. + Steel is best, but bone will do, or the back of a teaspoon, using the + bowl as a handle.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A supply of + boxwood, proofing ink, an oilstone for sharpening tools and some + paper for taking proofs will be necessary. The paper must be thin + (India paper being the best) as <span class="tei tei-pb" id= + "page28">[pg 28]</span> it is very difficult to take a proof on thick + paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The table or the + bench where the work is to be done must always be firm. The craftsman + should not be unduly bending over the work, but should be as upright + as possible, the height of bench and chair being adjusted to enable + the worker to see the engraving without either eye-strain or rounding + of the back and shoulders. Be comfortable when at work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">See that the tools + are sharp before commencing work. If sharp the point will always grip + or <span class="tei tei-q">“bite”</span> when loosely <span class= + "tei tei-q">“run”</span> across the wood; if blunt it will slide + over. Always use a spare piece of boxwood when testing tools. The + face of the tool only must be sharpened (see Fig. 1). On no account + must the sharpening be done from the underneath or belly part of the + tool. Avoid bearing too much on the point; it is a quick method of + sharpening, but the angle of the face will gradually become more + upright and the tool will not cut through the wood easily. An angle + of 45° is about right. Sharpen by rubbing the face of the tool up and + down the length of the oilstone. Any lubricating oil will serve for + the stone.</p> + </div><span class="tei tei-pb" id="page29">[pg 29]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc8" id="toc8"></a> <a name="pdf9" id="pdf9"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">THE WOOD</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The wood used is + boxwood and where fineness of work is desired no other wood is + suitable. Dark marks sometimes indicate inferior quality; white marks + are always bad and should be avoided. Many other kinds of wood have + been tried for engraving without success, especially for work of a + moderately fine character. For large work, such as are termed + posters, sycamore and pine are principally used.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The method of + producing these large blocks is called cutting. Knives, <span class= + "tei tei-q">“V”</span> tools and gouges, instead of gravers are used, + and the long grain of the wood is the printing surface of these; + whereas that which is accepted as engraving proper is always on the + end grain of the boxwood. This being the only really reliable wood + for wood engraving, and the engraver's staple material, it deserves + more than a passing notice.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Turkey produces + the finest boxwood though many good samples come from the Crimea and + the Caucasus.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The best and most + valuable wood is of very slow growth, hard and heavy, and of a very + fine and close texture. The wood is sent over in logs. Careful + judgment is required in its <span class="tei tei-pb" id="page30">[pg + 30]</span> selection when sent into the market. It must be thoroughly + seasoned before being used by the engraver as new wood retains its + moisture for a long time, is most liable to split and warp, and is + very susceptible to changes of temperature.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The measurement of + the logs is from 7 to 12 inches in diameter and the first process of + blockmaking is to cut these logs into slices crosswise about 1 inch + in thickness. They are then placed singly in racks for many months to + season, and during this time sharp cracks are heard which denote that + the slices of wood are drying and splitting from the core. Owing to + this splitting, only blocks of small size can be obtained from one + piece; where larger blocks are required and also for the sake of + economising wood, it is necessary to join pieces together. The best + and strongest way is to groove and tongue them together. The sides of + the pieces must be planed true, the grooves cut and the tongues (of + some hard wood) glued into the grooves with very thin glue. They are + then pressed very tightly together with clamps and left to dry. + Another way is simply to glue the pieces together without the groove + and tongue. In an even temperature they hold together quite well, and + if the block is for temporary use, little <span class="tei tei-pb" + id="page31">[pg 31]</span> danger need be apprehended of the joint's + opening. Always use very thin glue thinly applied. The block has now + to be planed down to about 7/8 of an inch thickness, which is the + height of type, scraped with a steel scraper until perfectly level + and smooth and finished off with the finest sand or emery paper.</p> + </div><span class="tei tei-pb" id="page32">[pg 32]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc10" id="toc10"></a> <a name="pdf11" id="pdf11"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">DRAWING</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The + highly-polished surface of the wood will not take the pencil or brush + unless prepared, and the best medium for this is flake-white and + finely ground brickdust in equal proportions. An amount sufficient to + cover a threepenny piece is enough for a block of 6 inches by 4 + inches; add one or more drops of water, and rub thinly and evenly + with the fingers until it starts to dry.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Chinese white may + be used in the place of flakewhite. It can be used without the + brick-dust and applied to the wood by the fingers as before or spread + evenly by means of a soft flat brush passing by direct strokes over + the surface. This method will be quite effective, but will not give + such an even appearance as the brick-dust and white.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Indian and Chinese + ink rubbed up in water and a fine camel hair brush are used for + drawing, or a pencil may be used. The best is one of medium hardness. + Too soft a pencil rubs out easily and soon gives a dirty appearance + to the drawing; one too hard is liable to bruise the wood.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">All drawing on the + wood must be reversed. Even in cases where this is not necessary it + is well to remember that the print from the <span class="tei tei-pb" + id="page33">[pg 33]</span> engraving will be a reverse of the + drawing. Make reversing a habit. Much annoyance may thus be avoided, + for it is easy to produce an awkward absurdity, which, though not + apparent to other people, spoils one's own enjoyment of the work. All + lettering must be reversed. A view of the drawing in a mirror before + commencing to engrave will reveal any incorrectness in reversing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The engraver is to + remember that the production is to be an engraving and not a drawing; + that it is to have the character of an engraving—an engraving + manifest and not an imitation of another drawing, half-tone, or any + other process. Let the dependence be on the engraving tools rather + than the pencil. As far as possible draw direct on to the wood. If + this, by the nature of the subject, is impossible, it may be + necessary to trace on to the wood.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Trace the subject + firmly with a soft pencil and by waxing the sides of the block fix + the tracing tightly over it, face down. Affix one side first in + correct position, rubbing the paper on to the waxed side by means of + a tool handle or other suitable instrument, and stretch the tracing + tightly over until fixed in similar manner to the opposite side. In + the absence of beeswax, soap will do, but it is not <span class= + "tei tei-pb" id="page34">[pg 34]</span> nearly so effective, or, + failing both, the paper can be folded to the back of the block in + such manner that movement of the tracing is impossible. Being assured + that there will be no movement of the paper, trace again on to the + wood by means of a hard pencil, or preferably, a steel point. If + either of these is too sharp or pressed on too heavily, it will + scratch or bruise the wood. By detaching the paper from one side the + work can be examined without fear of movement, care being taken to + fix again before continuing to trace. Only a very faint line must be + expected and this is all that is required.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Another method is + to scrape some red chalk finely on to a separate piece of paper (not + too large, as it can be used over and over again) and rub it well on + until the paper is evenly reddened. Place the reddened surface next + the wood underneath the tracing—it need not be fixed—and proceed to + trace as before. This method will produce a faint red line and will + be useful when, as sometimes happens, the subject is to be reversed + in the final print.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These faint + outlines must be made stronger, the drawing completed, by means of + camel hair brush and Indian ink or by pencil. Any shading can be put + into the drawing by means of these, always remembering that it is + <span class="tei tei-pb" id="page35">[pg 35]</span> to be finally + expressed in terms of the engraving tool. To draw on the wood is + awkward without some support; a piece of wood as high as the block + will be necessary on which to rest the hand.</p> + </div><span class="tei tei-pb" id="page36">[pg 36]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc12" id="toc12"></a> <a name="pdf13" id="pdf13"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">ENGRAVING</span></h1> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/toolhold.jpg" alt="Fig. 13" title="Fig. 13" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 13 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The tool has to be + held in such a way that none of the fingers nor the thumb is + underneath it. The handle rests in the lower part of the hand, the + fourth finger in the groove of the inner part of the handle and the + third finger by its side; these two fingers touch the handle and keep + it in position within the hand. Following the third and fourth, the + two forefingers rest on the outer side of the blade while the thumb, + extending beyond the fingers almost to the point, is on the inside. + The thumb is the only part of the right hand that touches the block. + The fingers touch <span class="tei tei-pb" id="page37">[pg 37]</span> + each other in natural order: there need be no space between any. The + tool should be laid flat upon the table, and may be taken up in one + movement (Fig. 14). Seen from below it should then show as Fig. 15. + Held in this way the tool will pass flat over the wood without any + obstruction from any part of the fingers or hand.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/toolhol2.jpg" alt="Fig. 14" title="Fig. 14" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 14 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/toolhol3.jpg" alt="Fig. 15" title="Fig. 15" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 15 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The block is held + on the sandbag by the left hand, generally towards the corners, which + allows the greatest freedom for turning. When cutting straight lines + the block is held stationary, the tool-hand cutting forward; when + cutting curves the block is turned round, the tool-hand remaining in + one position. There is no hard rule in this, the hands acting + flexibly for each other, but it can be seen at once when engraving + that a circle cannot be cut unless the block is turned round in + precise ratio to the cuts of the tool, while to <span class= + "tei tei-pb" id="page38">[pg 38]</span> cut a straight line the wood + cannot advance to the tool's point.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Engrave the lines + one under the other, not one above the other; for circles it is much + more easy to start the cut at the top than to start underneath, + though to be able to start underneath is sometimes useful. The flat + part of the handle should be just above the surface of the wood in + cutting lines or tints, but this does not apply to all work; the + angle at which tools are held must be determined by the shapes to be + taken out. Do not attempt to cut a long line with one cut, but with a + succession of short ones, and do not cut too deeply, or the line or + wood on which the belly of the tool presses will be bruised and will + print broken instead of clean and definite. If the tool be sharp the + wood will chip out crisply at each cut; the lines should be cut out, + not pushed or pressed out. Blunt tools are more responsible for slips + than anything else except perhaps a disturbed mind.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Should there be + any danger of rubbing the drawing during engraving, cover the block + with a piece of thin paper after the manner of a tracing, first + making a small hole where work is to commence.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The craftsman is + advised to practise by engraving something definite, something that + <span class="tei tei-pb" id="page39">[pg 39]</span> can be used. + Aimless cutting and digging about on bits of wood leads nowhere, for + it is a very simple matter to cut a line that need not be cut in any + particular place, whereas to cut the lines exactly to the subject, to + produce something that is required is not only getting experience, + but the result is known at once in success or failure.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/g1.jpg" alt="Fig. 16" title="Fig. 16" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 16 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/g2.jpg" alt="Fig. 17" title="Fig. 17" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 17 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Roughly speaking + there are four different kinds of engraving, of which any variations + and combinations can be made. The first and most natural is to cut + white lines on black, and in many cases the subject will be + sufficiently expressed without further work; Fig. 16 is cut in this + way. Fig. 17 shows the background tinted or shaded, that is, lines + cut one under the other. Fig. 18 is the black letter cleared + (scauped) away leaving it white, while Fig. 19 shows all wood cleared + away except outlines. Bold simple lettering is an excellent subject + <span class="tei tei-pb" id="page40">[pg 40]</span> to begin with. + See that the corners are joined cleanly: little jagged bits left in + look slovenly and print in a dirty manner.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/g3.jpg" alt="Fig. 18" title="Fig. 18" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 18 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/g4.jpg" alt="Fig. 19" title="Fig. 19" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 19 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/protwork.jpg" alt="Fig. 20" title="Fig. 20" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 20 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The larger + tint-tools and scaupers are used for scauping or clearing, that is, + for clearing a wide line round the work and cutting away all wood not + wanted. While doing this it is essential to protect the surrounding + work from the belly of the tool by a thin piece of card (Fig. 20). It + must be thin yet of sufficient substance to withstand the pressure of + the tool, for the work is done by levering out the wood as well as + cutting it. Card soon wears out. A thin piece of hard wood or bone + will do well if smoothed and bevelled off a little on the edge to be + used under the tool. The thickness should be about that of a + <span class="tei tei-pb" id="page41">[pg 41]</span> penny. When + scauping start the cut a little away from the work gradually + approaching until the tool has cleared away all unnecessary wood. + Smaller pieces must of course be taken away by the smaller tools. It + is a good plan to extend the first finger of the left hand over the + block until it presses against the end of the thumb of the tool hand. + This position gives great control and prevents much slipping.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/scorpin1.jpg" alt="Fig. 21" title="Fig. 21" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 21 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/scorpin2.jpg" alt="Fig. 22" title="Fig. 22" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 22 + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/scorpin3.jpg" alt="Fig. 23" title="Fig. 23" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 23 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">With the scauper + clear a line round the work a little more than its own width. This is + sufficiently wide to enable a proof to be taken. If all the wood is + taken away it is almost impossible to proof some subjects (thin + lettering, for instance) without a hand-press, for this wood supports + the roller and burnisher and gives protection to the work while + proofing.</p><span class="tei tei-pb" id="page42">[pg 42]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Where a light tint + shades into white as in a sky or light parts of a dress it is + necessary to lower the edges in some way before cutting, otherwise + the hard edge is apt to catch the ink and cause a smudgy + objectionable line instead of running cleanly into the white. To + avoid this, lower or scrape the hard edge into the scauping taking + care not to damage the surrounding wood. It can be done by the sharp + edge of spitstick or tint-tool, or the edge can first be lowered by a + flat scauper and then scraped smoothly into the scauping by the sharp + edge of the engraving tool. The Section Fig. 24 shows the sharp edge + lowered into the scauping.</p> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/loweredg.jpg" alt="Fig. 24" title="Fig. 24" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 24 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The depth of the + clearing indicated in the Section is exaggerated for purposes of + clarity. If the scauping is too deep bruising of the sides is likely; + if too shallow the print will pick up the ink from the ridges at the + bottom of the scauping which have touched the ink roller.</p> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc14" id="toc14"></a> <a name="pdf15" id="pdf15"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">PROOF TAKING</span></h1><span class= + "tei tei-pb" id="page43">[pg 43]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Place a little + printer's ink on a slab (which can be of stone, slate, or even glass) + and spread it out thinly with a knife, then roll until distributed + evenly and thinly. Avoid rolling out too much ink at once; more can + be added easily, but to take away means cleaning the whole with + turpentine and rag, or scraping with a knife. If a dabber be used, + beat the ink, which is placed more in the centre of the slab, until + quite even. The amount to roll or dab on to the block will be + discovered quite easily after a trial or two—too much ink will blur + the work; too little will print grey. Place the paper on the inked + block without slurring it, and on the paper drop a thin piece of + card—a postcard will do—hold down by the left hand and rub on the top + of the card with the burnisher until an impression is taken. The + print can be examined from time to time by lifting a corner, holding + the remaining paper down firmly with the left hand on the card. More + burnishing must be applied to those parts which have not taken the + ink. If the engraved lines be fine, light pressure must be given to + the burnisher lest the lines be bruised, whereas if the parts are + black heavier pressure must be given. A little oil rubbed on + <span class="tei tei-pb" id="page44">[pg 44]</span> one side of the + card—the side on which the burnisher is to be applied—then rubbed off + again, will allow the burnisher to slide over with ease and prevent + sticking; while if the burnisher is applied without the card, + bruising is liable to occur to fine lines. India paper is excellent + on which to take proofs by hand. Other kinds can be used if free from + ridges and not too thick. The thicker the paper the greater will be + the difficulty in getting a print, for the ink does not stick it to + the block, as is the case with thin paper, and any examination of the + print nearly always moves the paper out of position and <span class= + "tei tei-q">“doubling”</span> is the result.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This first print + is often called the <span class="tei tei-q">“overlay.”</span> It + shows not only the engraving but all the surrounding wood and pieces + between that have been too large to be cut away by a scauper. To take + a proof of the engraving only, these black pieces on the overlay must + be cut out cleanly with a sharp knife or the point of a tint-tool, + and, after inking the block again, these pieces are placed on their + corresponding parts on the wood. They are thus blocked + out—overlayed—by the pieces of paper cut from the first print. Place + fresh paper on the block and proof as before, greater care however is + necessary to prevent <span class="tei tei-q">“doubling.”</span> Where + plenty of black is in the <span class="tei tei-pb" id="page45">[pg + 45]</span> engraving the process is simple, but if the subject is of + thin lines, such as fine lettering, it is a somewhat delicate + operation. In this case the less it is examined whilst the proof is + being taken the better.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">During the process + of engraving, in order to see exactly what has been done so far, one + may wish to take a proof. But the inking of the block would + obliterate that part of the drawing which has not yet been engraved. + Instead, therefore, of taking a proof with ink the following method + will be found convenient:—Press some <em class= + "tei tei-emph"><span style="font-style: italic">precipitated + chalk</span></em>(obtainable at any chemist's) into the engraved part + and wipe the surface clean with the palm of the hand thus leaving the + chalk in the hollows and incisions only. The block will then appear + exactly as in a print (only not reversed), i.e. the surface of the + wood will show dark against the white chalk.</p> + </div><span class="tei tei-pb" id="page46">[pg 46]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc16" id="toc16"></a> <a name="pdf17" id="pdf17"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">PREPARING BLOCK FOR PRINTER</span></h1> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/forprint.jpg" alt="Fig. 25" title="Fig. 25" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 25 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If the block is to + be sent to the printer all unnecessary wood has to be taken away, and + if there are large surfaces this is best done by gouge and mallet. + First saw the block square to within ¼ of an inch of work, then fix + it in a vice or clamp to a bench. Use the gouge as a chisel, never + forgetting to have the cutting edge pointing towards centre of block. + If used towards the edges pieces of wood will suddenly chip away and + the last stroke of the mallet will, perhaps, ruin the work, though an + experience of this kind is seldom repeated. The block will have to be + turned about in the vice to enable the gouging to be made towards the + centre and care must be taken to hold the gouge high enough just to + clear the work and so prevent bruising. The wood must be taken away + deeply. If cut too shallow, <span class="tei tei-pb" id="page47">[pg + 47]</span> the ridges formed by the gouge will pick up the ink from + the roller which ink again will be picked up by the paper whilst + proofing. Any edges or small pieces that the gouge cannot clear away + must be trimmed off with the scauper, the card being used to protect + the work.</p><a name="fig18" id="fig18"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/decamero.jpg" alt= + "Wood-cut from The Decameron, Venice, 1492. Re-engraved by R. J. Beedham. By permission of The Shakespeare Head Press" + title= + "Wood-cut from The Decameron, Venice, 1492. Re-engraved by R. J. Beedham. By permission of The Shakespeare Head Press" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Wood-cut from The Decameron, Venice, 1492. Re-engraved by R. J. + Beedham. By permission of The Shakespeare Head Press + </div> + </div> + </div><span class="tei tei-pb" id="page48">[pg 48]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc19" id="toc19"></a> <a name="pdf20" id="pdf20"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">PLUGGING</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If some small + mistake has arisen such as a deep bruise, false cut, slip, etc., it + can be made good by plugging, that is, by the insertion of a new + piece of wood where the mistake has occurred. This requires skill and + care, for the new piece of wood must fit in exactly, otherwise a + white line will show all round it. For very small plugs the simplest + method of making a hole is to get a carpenter's nail, round or square + type, according to the shape of the plug required, file the sides to + the right size and flatten the bottom, finally getting the edges and + bottom sharp and smooth on the oil-stone. Drive this into the wood, + about 1/16 to 1/8 of an inch according to the size of the plug. Take + the nail out again by a straight pull to avoid bruising the sides, + and if the nail has been properly shaped, a clean hole with sharp + edges will be the result. Into this hole insert a piece of boxwood, + trimmed to exact size by means of a flat tool or chisel, then gently + hammer with a piece of wood until the bottom of the hole is felt. To + dip the end of the plug into thin glue or gum before insertion will + help to keep it fast, but small plugs accurately trimmed will hold + without glue. For larger plugs glue must be used.</p><span class= + "tei tei-pb" id="page49">[pg 49]</span> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/plug.jpg" alt="Fig. 26" title="Fig. 26" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Fig. 26 + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Through a thin + piece of card cut a hole large enough to allow the head of the plug + to protrude, place it in the block to protect the engraving, then cut + off the projecting head close to the card with a fine saw. By means + of the scauper and card, always cutting towards the centre, lower the + remaining projection until nearly level with surrounding surface, and + finish off with the chisel laid flat on the block. An excellent tool + with which to get the plug level is a fine tint-tool laid on its side + and used as a chisel, chisel or tint-tool being used in a slicing + movement and not driven.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Two or three + plugging nails, made ready and kept for the purpose, will be all that + are required for smaller plugs. The holes can also be made by drills + such as are used for fretwork. Larger plugs must be scauped or + chiselled out, taking care that the sides go straight down and that + the edges are without a bruise. The larger the plug, the deeper must + be the hole, the depth for large plugs being half-way through the + block. Plugs on the extreme edge of the block require more care but + the difficulties can nearly always be <span class="tei tei-pb" id= + "page50">[pg 50]</span> overcome by a little ingenuity. A drop of + water placed on a bruise will often bring it to the surface again. + Hot water is still more effective, while, if the bruising is deep and + general, steaming the whole surface is the best method though it + makes the wood rotten and disagreeable to cut on afterwards.</p> + </div> + </div> + + <div class="tei tei-back" style= + "margin-bottom: 2.00em; margin-top: 6.00em"> + <span class="tei tei-pb" id="page51">[pg 51]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc21" id="toc21"></a> <a name="pdf22" id="pdf22"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">APPENDIX</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beginner + should commence with patterns and pictures of white lines on black. + The normal development of this first method is the silhouette with + white lines upon it. Having attained skill with gravers and scaupers + he may proceed to engrave patterns and pictures of black lines on + white, first in plain outline, and then, last of all, he may attempt + the modelling and elaboration of the general surface.</p> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <h2 class="tei tei-head" style= + "text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">NOTE ON WOOD-CUTS</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The method of + wood-engraving which is described in this book is distinct from + that known properly as <span class= + "tei tei-q">“wood-cutting”</span>. The <span class= + "tei tei-q">“woodcut”</span> is done with a knife on the long grain + of the wood instead of the end grain. It is necessarily done on + soft wood and is therefore less suitable for use in conjunction + with type in a printing press, except for large work. But the + wood-engraver should certainly practise the art of wood-cutting + also and for the purpose he will require, in addition to some + planks of pear wood or a similar fine-grained wood, a knife and + several wood-carver's chisels and <span class="tei tei-pb" id= + "page52">[pg 52]</span> gouges—the first for cutting lines and + edges and the latter for cutting away the background. The knife + (Fig. 27) is the most important of these tools and the best form is + like a very fine carpenter's chisel with a small handle, such as + can be grasped in the fingers, a short blade about one inch long, + three-eighths of an inch wide and as thin as that of a pen-knife, + with the cutting end ground at an angle of about 30° with the upper + edge.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is held very + much as a pen is held for writing and, of course, the cut is made + always in the direction which does not burr the grain of the wood + just as a skewer is sharpened by cutting towards and not away from + its point.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Although in + connection with the printing press the wood-cut has not the same + usefulness as the wood-engraving on account of the soft wood + necessarily used and the impossibility of doing the finest work + with the same degree of precision, nevertheless, as an independent + art that of wood-cutting is on an <span class="tei tei-pb" id= + "page53">[pg 53]</span> equality with any other, and, in one + respect, the fact that only soft wood can be used is an advantage; + for such wood, pine or pear, is more easy to get than a hard + foreign wood like the Turkish box-wood. The wood-cutter may + therefore go into his own back garden for his material and is + independent of the foreign merchant. The difficulty of the + wood-engraver in this matter is, however, not quite insuperable, + for, if properly seasoned and prepared, holly or blackthorn are + quite good for end grain work and, though not as hard as boxwood, + make a very fair substitute.</p> + </div> + </div><span class="tei tei-pb" id="page54">[pg 54]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em"></p><a name= + "fig23" id="fig23"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/alphabet.jpg" alt= + "Alphabet, by Reynolds Stone. (By permission of Burns, Gates & Washbourne, Ltd.)" + title= + "Alphabet, by Reynolds Stone (By permission of Burns, Gates & Washbourne, Ltd.)" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Alphabet, by Reynolds Stone <em class="tei tei-emph" style= + "text-align: center"><span style="font-style: italic">(By + permission of Burns, Gates & Washbourne, Ltd.)</span></em> + </div> + </div><a name="fig24" id="fig24"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/forrreid.jpg" alt= + "From Forrest Reid's Apostate, by Reynolds Stone (By permission of Faber & Faber, Ltd.)" + title= + "From Forrest Reid's Apostate, by Reynolds Stone (By permission of Faber & Faber, Ltd.)" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + <em class="tei tei-emph" style="text-align: center"><span style= + "font-style: italic">From</span></em> Forrest Reid's Apostate, by + Reynolds Stone <em class="tei tei-emph" style= + "text-align: center"><span style="font-style: italic">(By + permission of Faber & Faber, Ltd.)</span></em> + </div> + </div><a name="fig25" id="fig25"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/winter.jpg" alt= + "Winter, from a sketch by Verrall, by R. J. Beedham" title= + "Winter, from a sketch by Verrall, by R. J. Beedham" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Winter, from a sketch by Verrall, by R. J. Beedham + </div> + </div><a name="fig26" id="fig26"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/strawber.jpg" alt= + "Strawberry Picking, by Claire Leighton (By permission of Victor Gollancz)" + title= + "Strawberry Picking, by Claire Leighton (By permission of Victor Gollancz)" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Strawberry Picking, by Claire Leighton <em class="tei tei-emph" + style="text-align: center"><span style="font-style: italic">(By + permission of Victor Gollancz)</span></em> + </div> + </div><a name="fig27" id="fig27"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/march.jpg" alt="March, by Mrs. G. Raverat" title= + "March, by Mrs. G. Raverat" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + March, by Mrs. G. Raverat + </div> + </div><a name="fig28" id="fig28"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/jenkyns.jpg" alt= + "“Miss Jenkyns reading Rasselas,” by Joan Hassal. (By permission of George G. Harrap & Co., Ltd.)" + title= + "“Miss Jenkyns reading Rasselas,” by Joan Hassall (By permission of George G. Harrap & Co., Ltd.)" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + <span class="tei tei-q" style="text-align: center">“Miss Jenkyns + reading Rasselas,”</span> by Joan Hassall <em class= + "tei tei-emph" style="text-align: center"><span style= + "font-style: italic">(By permission of George G. Harrap & + Co., Ltd.)</span></em> + </div> + </div><a name="fig29" id="fig29"></a> + + <div class="tei tei-figure" style="text-align: center"> + <img src="images/cottage.jpg" alt="The Cottage, by Robert Gibbings" + title="The Cottage, by Robert Gibbings" /> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + The Cottage, by Robert Gibbings + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"><img src= + "images/dickinso.jpg" alt= + "John Dickinson and Company advertisement" /></div> + + <div class="tei tei-figure" style="text-align: center"><img src= + "images/spicerad.jpg" alt="Spicers Ltd. advertisement" /></div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <div id="pgfooter" class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <pre class="pre tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> +***END OF THE PROJECT GUTENBERG EBOOK WOOD ENGRAVING*** +</pre> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <a name="rightpageheader30" id="rightpageheader30"></a><a name= + "pgtoc31" id="pgtoc31"></a><a name="pdf32" id="pdf32"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">Credits</span></h1> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr> + <th class="tei tei-label tei-label-gloss">January 6, + 2014 </th> + </tr> + + <tr> + <td class="tei tei-item tei-item-gloss"> + <table summary="This is a list." class="tei tei-list" + style="margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Project Gutenberg edition + 10</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item"><span class= + "tei tei-respStmt"><span class= + "tei tei-name">Martin Schub</span></span></td> + </tr> + </tbody> + </table> + </td> + </tr> + </tbody> + </table> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <a name="rightpageheader33" id="rightpageheader33"></a><a name= + "pgtoc34" id="pgtoc34"></a><a name="pdf35" id="pdf35"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">A Word from Project + Gutenberg</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This file + should be named 44606-h.html or 44606-h.zip.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This and all + associated files of various formats will be found in: <a href= + "http://www.gutenberg.org/dirs/4/4/6/0/44606/" class= + "block tei tei-xref" style= + "margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> + <span style= + "font-size: 90%">http://www.gutenberg.org</span><span style= + "font-size: 90%">/dirs/4/4/6/0/44606/</span></a></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Updated + editions will replace the previous one — the old editions will be + renamed.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Creating the + works from public domain print editions means that no one owns a + United States copyright in these works, so the Foundation (and + you!) can copy and distribute it in the United States without + permission and without paying copyright royalties. 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