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HOW TO MAKE ETCHINGS
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HOW TO MAKE
ETCHINGS
By JOHN J. BARRY
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BRIDGMAN PUBLISHERS
PELHAM, NEW YORK
244
ARCH
NE
2130
•B28
COPYRIGHT
JANUARY 1929
RIGHTS
ALL
RESERVED
BRIDG MAN
PUBLISHERS
PEL
EL HAM
NEW
YORK
PRINTED IN THE
UNITED STATES
OF AMERICA
Architratus
Wal
22305
FOREWORD
In the following pages I have embraced all of
the essentials of the etcher's art and have
endeavored to make the various phases of the
process easy to follow. The initial results are
always uncertain. Hammerton said that etching
was always a chemical experiment, but Sir Frank
Short, counters with, "Where there is copper
there is hope," hence its fascination. The two
principal processes, etching and dry-point, have
been treated. In this short treatise it has not
been possible to touch upon many of the minor
points such as the perchloride of iron bath, which
is rarely used nowadays, the space being used to
describe the manner of handling nitric acid and
the methods in vogue among the majority of the
etchers. As a word of encouragement to be-
ginners I may say that even experienced etchers
rarely evolve a satisfactory plate at the first bit-
ing. The plate will stand a remarkably great
amount of correcting and be left in a fresh state
for another attempt nor will it lose in spontaneity
if the eradications be carefully done. It is taken
for granted that the student of etching has some
knowledge of drawing for, to quote Hammerton
again, "He who cannot sketch cannot etch."
To the various etchers, Messrs. John Taylor
Arms, Ernest Roth, Alfred C. Hutty, Anton
Schutz, Ivan Summers and Carl J. Nordell, who
lent their work to the illustration of this volume
I desire to express my deep gratitude.
JOHN J. BARRY
New York City, Jan. 3rd, 1929
We shall consider etching proper in contradis-
tinction to dry-point, taking up the latter herein-
after. Etching is the process by which the line
is bitten into the plate by means of nitric acid
and will be treated under the following heads—
Chapter 1-Grounding the plate.
Chapter 2-Transferring the drawing
to the grounded plate.
Chapter 3-Drawing with the needle.
Chapter 4-Biting the plate.
Chapter 5-Printing.
Chapter 6-Correcting the plate.
The materials to be used in the successive.
operations will be described in their correspond-
ing chapters. A complete list will, however, be
found at the back of the volume.
CHAPTER I-Grounding the Plate-Arrange-
ment of Heater, etc. How to Make a
Ground Dabber - Smoking the Plate. Page 9
TABLE OF CONTENTS
CHAPTER II-Transferring the Drawing to
the Plate-Two Methods Described. Page 13
CHAPTER III-Drawing with the Needle
Etching Needles - Sharpening the Needle
Technique, Initial
Plate
g
Errors
•
CHAPTER IV-Biting the Plate
Methods Described
Stopping Out Varnish
Acid
Etching
Etching
Bitten Lines
Back of Plate
Correcting
Page 16
Two
Acid Proportions
Action of the Nitric
CHAPTER V-Printing Inks - Making an
Ink Dabber Wiping Muslins - Etching
Presses How to Make a Wooden Press
Blankets Printing Papers Pulling a
Trial Proof Methods of Wiping
Retroussage
Page 24
CHAPTER VI
Correcting the Plate
Burnisher and Scraper Reducing Over
Callipers
Knocking Up
Rebiting Ground Re-
Sketching for
Page 21
Use of Zinc
Subjects for Etching
.. Page 34
CHAPTER VII-Drypoint-Drypoint Needles
Shape of Point - Manner of Holding the
Needle The Burr - Technique Quality
Yielded by Drypoint Steel Facing the
Plate Inking and Wiping the Plate .. Page 41
CHAPTER VIII-Pressing and Matting
Cutting the Aperture in
Preparing Print
Matt - Color of Mat
Page 45
LIST OF Materials
.. Page 63
A
CHAPTER I.
GROUNDING THE PLATE
Materials required-Copper plate (polished),
silver polish, or whiting, ball-ground, hand-vise,
ground roller or dabber, gas-lighting tapers,
heating device for plate, and "jigger."
The plate should be thoroughly cleaned with
silver polish and very soft rags. Whiting and
water may be used letting it dry and wiping the
powder carefully from surface, edges and back
as it would cause trouble if some of it got mixed
in with the "ground". The plate must be free
from grease; do not touch its surface after
polishing.

Hand-Vise
Fig. 1
Having cleaned the plate it is then heated.
A hand-vise must be used. One without a
[9]
wooden handle can be purchased cheaply. A
small strip of blotter should be glued to under
side of one jaw, to prevent its scratching surface
of copper. The kind of heater will depend on
the monetary outlay. The ideal arrangement for
heater, jigger and ink slab is shown in figure 2.

KUDAIPURtg" & "fuZE CURRURYRES
Jigger, Heater and Ink Slab
Fig. 2
The jigger is simply a wooden box, bottom up,
or other like scheme. For warming the plate, a
gas plate, electric plate stove or even a Sterno
heater may be used. The best heater is a gas
burner placed beneath a sheet of iron. The sheet
of iron should not rest on the stove; allow a
space of about four or six inches to intervene.
The stove should be placed under one end so that
the farther end is somewhat cooler. After the
plate is warm enough to melt the ball of ground
it can be slid to the cooler end and rolled or
dabbed with the ground. Furthermore the gas
heater can be adjusted minimizing the danger of
burning the ground. For convenience try to have
the heater and jigger about the same height. An
[10]
electric plate is satisfactory if provided with a
switch adjustable to three degrees of heat. If a
Sterno is used remove the plate from it a few
moments after the ground melts freely and roll it
up on the jigger.
The ball of ground is composed of bitumin,
Egyptian asphaltum, Burgundy pitch and bee's
wax but it is advisable to buy it already prepared
as it is difficult to make.
Securing the plate in the hand-vise, with the
blotter-covered jaw resting on the polished sur-
face hold the plate upon the heater. In a moment
try the ball of ground on the plate. When it
commences to melt freely make a few strokes
with the ground across the plate and proceed to
roll it with the roller or dab it with the dabber.
If the heater is very hot do this work on the
jigger seeing that the copper is thoroughly sur-
faced with the ground. Beware of specks of dirt
in the ground. Keep the dabber or roller clean.
The acid eats readily through such specks.
For a small plate a dabber may be used and
this is easily made. Cut out a circular piece of
cardboard about two and a half inches in


Thur
Ground Dabber and Roller
Fig. 3
[11]
diameter and place upon it a bunch of cotton
wadding or soft rags. Have it free of lumps.
Cover this with a piece of smooth silk or other
smooth cloth and pull up around back of the disc
of cardboard and tie tightly at the back leaving
a length for a hand grip. This should form a
smooth, firm pad. The roller is made of rubber
and is regularly sold in various sizes at etchers'
supply houses.
Clean the roller with kerosene occasionally
after using.
When the ground is dabbed or rolled uniformly
it must be smoked as at present needle lines would
not show plainly. After smoking, the lines made
by the needle show golden against an ebony back-
ground. Lighted tapers, such as were formerly
used for lighting gas jets, are held or twisted
together. Three or four are sufficient. Holding
the grounded plate face down above the level of
the eyes pass the flame all over the grounded
surface. Keep the flame moving to avoid burn-
ing the ground or it will chip off under the needle
while etching. The surface of the plate will grow
shiny and black. When it is fairly blackened rest
it on the marble slab or other cool surface.
[12]
CHAPTER II.
TRANSFERRING THE DRAWING TO THE PLATE.
Materials used-Tracing paper, red chalk or
soft pencil, and glue.
There are different ways of transferring the
drawing to the grounded plate. The two most
popular methods will be described.
In the first the press is used and some labor
is saved. Another advantage is that the drawing
will reverse on the plate resulting in a positive
position in the final print. Make a tracing of the
drawing with an "f" or "hb" pencil. Place it in
a tray of cold water until it becomes flat and
thoroughly wet. Next reduce pressure of the
press by removing heavy blanket. Provide
a blotter larger than the plate. Remove the
wet tracing and press between other blotters
or old newspapers until it is free of surplus
moisture. Place the grounded side of the plate
down over the pencilled side of the tracing. Fold
the margins of the tracing over the back of the
plate and carefully lay tracing uppermost upon
the moving bed of the press. After placing the
blotter over this to prevent the edges of the plate
cutting the blanket cover all with the blanket and
run it through the press. The grounded side of
the plate with its tracing on top must, of course,
be uppermost. In folding the dampened tracing's
edges over the back of the plate fold back two
[13]
parallel sides only and keep these edges parallel
with the press roller when running it through the
press. Do not omit to draw a border around the
tracing the exact size of the plate and use it as a
guide for placing the plate over the tracing else
the tracing will come off crookedly on the plate.
The tracing will be found to have enlarged in
the bath.
The second method also requires a tracing un-
less the original be made on thin paper such as
Bond. First a sheet of tracing paper about twice
the size of the copper plate is marked in the
centre with a frame the exact size of the plate and
this is chalked or graphited with a soft pencil.
Rub afterwards with the finger and blow off sur-
plus chalk dust. This is folded over the grounded
side of the plate, chalked side to the grounded
surface.
Draw the edges of the paper over the back of
the plate and glue tightly. The tracing of the
drawing is spread face down over the chalked
sheet of tracing paper and folded and glued in
the same manner as the first sheet. If the drawing
is but faintly discernible it should be inked or if
reversal in the etching is of no moment fold the
tracing over the plate tracing uppermost. Draw
over this with a sharp "two h" pencil, or harder.
Keep the pencil well pointed to make a sharp
transfer with delicate lines. When finished re-
move the tracing sheets and dust off the surface
of the plate with a soft cloth to remove surplus
chalk dust.
Some etchers prefer to work on the plate di-
[14]
rectly out of doors but it is sometimes difficult
especially in warm weather when the ground
tends to soften.
[15]
财
​CHAPTER III.
DRAWING WITH THE NEEDLE.
Materials used-Tracing paper screen, etching
needles, ball ground, turpentine, and camel's hair
brush.
When etching indoors where the light will
emanate from one or two sources it is rather
difficult to see the lines made with the needle and
a screen should be made. It should be about the
size of the lower half of the window in front of
the artist's table. The screen is simply a frame
over which a sheet of tracing paper has been
drawn taut and glued.
Chall
CARRARA

$6
Etching Needles and Holders
Fig. 4
Needles are made in various styles. Any sort.
of a holder into which may be fastened a darning
needle will do. One may be made by splitting a
lead pencil and removing the lead, inserting the
[16]
needle in the groove and gluing the halves to-
gether.
To sharpen the needle-Rest the needle cross-
wise on the palm of the left hand with the end
of the needle almost flat on the stone, which
should be an Arkansas Hard oil stone. Now place
the right hand crosswise over the left palm with
the fingers pointing downward. Allow the handle
of the needle to protrude through the third and
fourth fingers of the right hand and pressing
down on the stone commence to roll the needle
along the stone, back and forth by rubbing the
right palm on the left which latter should remain
stationary.
When a sharp point has been effected it will
be necessary to reduce it somewhat to prevent its
catching into the copper for the needle should be
capable of free movement in all directions over
the surface of the plate. Before commencing
work on the plate try out the needle on the back
of another piece of copper. The needle must
penetrate the ground completely. A dull needle
fails, in spots, to cut through the grease on the
plate caused by the ground. In these cases the
lines will be broken up and sometimes appear as
a series of dots. On the other hand the surface
should not be deeply scratched or extra vigorous
biting will result in such places. One can feel
when the needle is reaching the "skin" of the
plate. When the needle catches into the copper
too easily round the point slightly thus-Hold the
needle point downwards on a piece of cardboard
and swing wide circles on the cardboard using
[17]
free wrist movement. Let the circles gradually
grow smaller to finish the point.
If the needle catches only occasionally draw its
point a few times over a strip of "two o" emery
cloth.
In drawing with the needle hold it as vertically
as possible so that the lines will be fine. Do not
attempt to regulate values by pressure of the
needle as in other graphic mediums. Values in
etching are achieved through the medium of the
nitric acid and stopping-out varnish.
To the beginner the lines will appear closer
together than they really are owing to the shine.
Strive to make the individual line interesting.
Study the prints of good etchers and note their
handling of the line to keep it from becoming
wiry and monotonous. First attempts will likely
be harsh in effect and lacking in variety of line.
Perhaps the lines will be too far apart and coarse
in quality. Copying the work of good etchers at
least in part is good practice to acquire technique
and control of the acid.
This is the method adopted by Sir Frank Short
with beginners in his class. Reproductions may
be traced and then transferred to the plate and
etched. Many fine books of reproductions are
procurable at a moderate price.
Many etchers favor working out of doors di-
rect from the subject. This was advocated by
the late Mr. Joseph Pennell. However the man-
ner of working from sketches has many devotees
among the foremost etchers. Every student of
[18]
أو
erg should study the works of Rembrandt,
the ther of etching, and Whistler.
r first attempts use a small plate merely to
bone acquainted with the various phases of
the edium. Do not adhere too rigidly to the
exi ients of pen and ink drawing such as mak-
ne lines on distant objects far apart and
nes of foreground parts closely knit. The
ry obtains in etching as the "distance" is
ed out first. After doing a few plates one
be guided to a great extent by discreetly
feeling the bitten lines with the point of the needle
ertain the depth to which they are bitten.
parts of the plate to be more deeply bitten
2300 very acute angles in cross hatching as holes
viesult in the deltas thus formed. In places.
where biting is to be of moderate duration cross
harching may be done in four, five or more di-
rections for the purpose of getting deep shadow
ffres, such as under arches, open doorways and
912 WS. Do not be in too great a hurry to do
huge plates. Some of the greatest plates ever
lone were small ones. Whistler advocated the
wall plate. A suggestion for a first plate would
be one of different kinds of lines variously spaced,
press hatching, and other kinds of technique.
Stop out parts of this plate at various intervals.
Keep the proof and plate for future reference as
much may be learned therefrom. Errors in draw-
ng on the plate may easily be corrected before
biting the plate thus-Dip a camel's hair brush
nurpentine and apply the brush to the ball of
ground until the ground begins to dissolve. When
The
the
CO
j:
[19]
it comes on to the brush thickly enough touch up
the error on the plate and let it dry. when the
correction can be made with the needle.
Sometimes a plate which has stood a long time
between grounding and drawing upon it gets very
cold and the ground flakes off under the needle.
Warm the plate only slightly. If the trouble
continues the ground is burnt. It must then be
re-grounded.
[20]
CHAPTER IV.
BITING THE PLATE
Materials needed Nitric acid, feathers,
stopping-out varnish, blotters, two enamel trays
(one with water) camel's hair brush and am-
monia. The last named is in case of accident.
the fingers or clothes get splashed with acid
se the ammonia as this neutralizes the effect if
pplied quickly.
Biting is the process by which the lines are
bitten into the plate. Nitric acid is used and
.P. (commercially pure) must be specified when
uying. There are two methods commonly used
this process. They are: the bath method and
the feather method.
The former will be first considered. The plate
must be carefully painted all over the back and
iges with stopping-out varnish to protect it from
nitric acid. The time for drying will depend
on the consistency of the varnish; if it is thin
ore time is required. Stopping-out varnish may
be bought from dealers in etchers' supplies but
can also be easily made. Fill a self-sealing fruit
preserve jar with Egyptian asphaltum and tur-
pentine, about half and half. Place it near a
steam radiator or in the sun for a few days oc-
casionally turning it end for end. Stir now and
then too. When dissolved it should easily handle
en the paint brush but should not be too thin and
[21]
watery. If it is too thin dissolve more asphaltum
into it and if it is too heavy use more turpentine.
The stopping-out varnish having dried place
the plate in an enamel or glass tray containing
acid and water mixed in the following propor-
tion
2 parts acid
5 parts water.
If the action is delayed more than five minutes
add a little more acid, first removing the plate
from the bath. Mix thoroughly. When the acid
commences to bite froth will appear on the plate.
This must be cleared away with the feather or
biting will be impeded and specks may result on
the copper. After clearing away this froth per-
mit it to "bubble" a few more times when the
"distance" should be sufficiently bitten. Using a
sliver or wedge of wood lift the plate from the
bath and place it in the tray of water. Wash the
finger tips to prevent burns from the acid. Do
not lean too closely over the acid or inhale it
deeply as its fumes are injurious to the eyes and
throat. In the summer-time the work may be
carried on near an open window so that fumes
may be wafted aside. The action of the acid
will be accelerated in a warm room.
Remove the plate from the water and gently
press blotting paper over it until dry and then
paint out the portions finished with the stopping-
out varnish letting this dry.
In like manner finish the rest of the plate.
Kerosene will get rid of the stopping-out varnish
and ground on the plate.
[22]
The second method may appeal to the student
more strongly than the first. In this it will not
be necessary to paint out the back and edges with
the varnish and no tray is necessary. The acid
is mixed in greater strength. Use the water and
acid in equal proportions to start the plate and
when it is biting all over it may be strengthened
if desired. Too much acid, though, may injure
the ground. As the greasy ground repels the
acid it will be necessary to use saliva to make it
stick. Spread saliva all over the surface of the
plate until it sticks fairly well then take up the
acid on the feather and quickly but gently spread
it over the work. Keep the entire surface covered
as biting must be uniform. Tarrying too long
in one spot will favor that spot in the biting.
If action seems retarded use more pure acid.
It is well to let the plate bite all over in a weaker
acid first and then to increase its strength.
When the lighter values of the compostion are
finished press the blotter over the work and apply
the varnish. Variety of line may be had by
stopping the action of the acid with blotter in
places. On long vertical lines thick and thin
effects of the line may be obtained by applying
the acid to some spots while stopping out others.
Note how this is done in some of the prints
herein reproduced. A curious effect of the acid
upon copper plate is that lines closely grouped
bite more vigorously than isolated ones. Etchers
take cognizance of this idiosyncrasy when draw-
ing upon the plate.
[23]
CHAPTER V.
PRINTING
Materials needed-Etchers' press and blankets,
ink slab (marble or ground glass is best), tarletan,
mosquito netting, ink dabber or roller, palette
knife and black and brown inks. Genuine etching
ink is essential. Glass dishes, such as deep butter
dishes with covers, are suggested as containers in
which to store the ink left over after printing.
Keep the ink under water or it will quickly
harden. The best black ink is imported and can
be purchased in tubes. Some of the domestic
inks sold as etchers' ink for some reason give
much trouble. The ink comes out of the lines
too easily while the surface of the plate cleans
with difficulty. As the ink may be unpleasantly
black warm it up with a little brown or other
warm colored ink.

To
Ink Dabber and Roller
Fig. 5
[24]
If the ink is too stiff thin it with plate oil which
is sold by printers' supply houses. Use it very
sparingly and if possible, not at all. The palette
knife should have a long slender blade.
The roller is made of pressed felt with an iron
holder which is removable. An ink dabber suit-
able for small plates is easily made. It should
be more solid than the ground dabber. Make it
in the same manner except for the cardboard
which is not used. Make it hard and smooth.
A stocking darner makes a good base for an ink
dabber. Just pad it over several times. A chamois
skin makes a good outer cover. The best of all
dabbers is the fingers. It is necessary to get the
ink well into the bitten lines of the plate. Kero-
sene and mechanics hand soap used successively
will remove the ink from the fingers. The next
items are the wiping muslins. Mosquito netting
is used and this is followed by tarletan to finish
the wiping. They may be bought at any dry-goods
store.
The mosquito netting is used for the first wip-
ing to remove the superfluous ink, the final wiping
being given with the tarletan. They both contain
much sizing and must be softened a little. Crumple
each between the two fists and rub vigorously
shifting the cloth around. This will prevent their
scratching the polished surface of the plate.
Under no circumstances wash them to soften as
they would then clean the ink out of the lines of
the plate. Tear off enough of each to make a
good handful and spread them out flat. Pull the
corners over to the center and repeat. The re-
[25]

EVID
Iron Press
Fig. 6
sultant pad should be free of lumps which might
take ink from the lines. Pull some of the free
ends up between the fingers giving a good grip
upon the pad.
The home-made press may be built for $25.00.
The hardest wood procurable should be used.
As the bed of the press sometimes shows a ten-
dency to sag after a time it should be reinforced
with steel strips beneath. While one may have
his printing done by a professional printer it is
advisable for the student to do this himself as
successive proofs are needed to complete a plate
and much delay is thereby saved.
The blankets are three in number and of two
kinds. The uppermost blanket on the press bed
is the thickest. It is of felt and should be about
[26]
End of
Steel or Iron Pipe Roller
Lathe Work
for gripping
Blankets
Adjusting

13" smooth ends
*A
Greaseged

-12"
-16″
7
Single Hardwood Plank
Make of very hard wood.
Ends of roller must be smooth.
Fig. 7
Nuts
washers
Bolt
Heads
Counter-
SunK
Home-made Press
Travelling bed not shown should be length of press and width
of space between the two side strips on which rests roller
bearing. Measurements merely suggested.
Roller
Bearing
& Bolts
[27]
half as thick as the felt used in lining horse col-
collars. A thinner felt, though, may work al-
right. The nethermost blankets are also of felt
and much thinner. Use any common grade of
felt such as is used for billiard tables, or padding
under table cloths but it must be firm without
lumps. Be sure it is hard and without ridges. Do
not try to put all the blankets through under the
roller at once. Let the edges of the two thin
ones be in advance of the heavy upper one, step-
like. The adjusting screws of the press must give
uniform pressure. Run a plate with a blotter
upon it through the press and examine the imprint
of the plate's edges upon the blotter. This will
show if the pressure is uneven. Of course the
plate must be placed in the middle of the press
bed.
Having removed the ground and stopping-out
varnish from the plate with kerosene or turpen-
tine we are ready to make the print. Holding
the plate with hand-vise place it upon the heater
and let it get warm, not hot. With the dabber or
roller cover it with ink working it well into the
lines then lay it on the marble slab or press bed
to cool. We shall now turn our attention to
printing papers. There are a number. Umbria
is an Italian paper that comes in two tones, cream
and white. This paper should be soaked in water
an hour or two. After the paper is pressed be-
tween dry botters or old newspapers a few times
it is ready for use. No surplus water should
appear on its surface. Japanese Vellum is a
smooth creamy paper with an antique finish and
[28]
it is prepared in the same manner as the Umbria.
Arches and Maidstone (English papers) are
handled differently. The former comes in cream
and white, the latter in cream only. Both contain
much sizing and some of this must be removed so
that it may be forced down in to the lines of the
bitten plate under the pressure of the press. With
a wet sponge moisten one side thoroughly as it is
spread out on some old newspapers and let it
remain thus for a few minutes. Then with a stiff
clothes brush, brush it vigorously a moment or
two until the sizing comes out in pellets. Brush
it lightly to clear the surface and it is ready for
use.
We now return to our plate which should be
cool. If the ink is very thick on its surface use
a card and lightly scrape off some. Then take
the coarse mosquito netting and rub a few times
in different directions. Using the tarletan wipe
with a circular motion turning the plate around
a few times. The first proof (trial proof) should
be cleanly wiped. Hold the plate against the
light and see if any tone remains upon it. When
quite bright it will be ready for the press. Place
a sheet of blotter on the travelling bed of 'the
press and heat the copper plate to thin the ink.
Do not heat it too much for comfortable
handling. Place the plate inked surface upper-
most upon the blotter resting on the press bed
and lay the dampened printing paper over the
plate. If the paper is of the variety that must be
scrubbed the scrubbed side should come next to
the inked surface of the plate. Cover this with
·
[29]

Tud
Икрам
www
Plate, Clean Wiped
Fig. 8
M
Min
Plate, Retroussaged
Fig. 9
OC
BAK
John Joldandy
2434
py
TIBANE
yeasy
[30]
another sheet of blotter, to prevent the edges of
the plate cutting the blankets, and spread the
three blankets over all. The ends of the blankets
should always be caught under the roller of the
press. For the trial proof it is not necessary to
clean the edges of the copper plate but for finished
prints this be always done. Laying this proof
aside prepare to make a second one. This is for
two reasons. Firstly The second print may be
stronger owing to the pressure of the press mak-
ing a good ink base down in the lines. Secondly-
It is well to see how the plate retroussages. Of
course if it is feebly bitten do not attempt to
retroussage it.
Moisten the paper with the sponge if it is the
kind that needs scrubbing. If Umbria or Vellum
is used remove it from the tray of water and
place it between several sheets of old newspaper
or blotters and leave it a few minutes. Ink the
plate as before and when cooled wipe it clean.
Turn again to the paper which was left between
blotters and if free of water upon its surface place
it in readiness near the press. The plate is then
retroussaged thus-A piece of cheesecloth that
has previously been washed, rendering it soft,
is used. Make it up into a pad. Heat the plate
and when it gets quite warm, but not too hot,
brush the pad lightly over the plate.
Do not press down upon the pad; its own weight
should suffice. It may also be done this way-
Let a stiff end of the pad project and with this
gently flick the different parts of the plate, the
darkening tones should be discernible upon the
[31]
plate. Do not go over any part the second time.
If the plate is too hot the effect will be a muddy
one. A little experience will be necessary to
judge the amount of warming needed. Re-
troussage when well done is beautiful as it binds
the lines together and softens the effect of hard
lines with out losing the quality of line. Too, one
may make a few lines do a great deal of work
by thus drawing ink out of them and across the
intervening spaces, thus making for "economy of
means," that is working with a sparity of line
which gives a pleasing technique.
Some plates do not require retroussage and
cannot, in fact, be thus treated. The lines may
be too deep and close together in which case
"muddiness" would result. In wiping the plate
do not polish too brightly over its entire surface.
A modicum of tone is desirable as a plate too
cleanly wiped often looks bare and cold. Near
the edges or in the foreground it can be left quite
cloudy. Study the wiping of plates when looking
over the prints of well-known etchers. The por-
tion of the plate around the "interest" is generally
the most cleanly wiped. In the print "Sunrise'
reproduced here the plate was rag-wiped as usual,
then vigorously wiped in the bright corner (from
which the light is emanating) then retroussaged.
Another expedient is cleaning out spots to be very
bright with a burnt match then gently touching
with the finger tip to tone down the effect. A
clean soft rag will be better over large spots.
This can be done in such instances as white boat
sails with the sun on them or any white object
"}
4
[32]
in the sunlight which it is desired to bring out.
Do not over indulge in this as it tends to cheapen
the effect.
After a few wipings the tarletan becomes heavy
with ink or "fat" as the term prevails. It is
really improyed when in this condition. The late
Mr. Joseph Pennell used to say in his class a
"fat rag" was the only one that was any good.
There is not so much danger of cleaning up the
plate too brightly. Very few plates will yield a
pleasant print without tone or retroussage. The
technique would have to be exquisite indeed to
obviate bareness of effect. To make a bright
print without retroussaging (but with tone) this
manner may be employed.
Heat the plate and ink. Wipe as usual but
with a clean piece of tarletan. Take a fat rag
and go over the plate gently letting the weight of
the rag rest on the plate and move it around cir-
cularly. Go very slowly and you can feel the inky
lines of the plate attracting more ink from the
rag. The plate will have a minimum of tone,
being cold.
If the lines of the plate are deep and close
together simply wipe with a fat rag without re-
troussaging.
Armed with the proofs and the plate the stu-
dent will be ready for his corrections. The plate
seldom "comes right" the first time even for
masters of the art, so do not be discouraged. If
one is an enthusiast he will enjoy the entire pro-
cess. The clean proof shows the exact state of
the lines on the plate.
[33]
CHAPTER VI.
CORRECTING THE PLATE.
For this one must be equipped with a burnisher,
a scraper, which is a three edged knife, a stick
of engravers' charcoal, Three-in-One oil, a sheet
of "four o" emery cloth, a few rags and jewellers'
rouge for polishing.
Some parts of the plate will most probably be
over-bitten in places while in other spots the acid
has not acted long enough. We shall care first
for the overbitten spots.


C
Burnisher and Scraper
Fig. 10
If they need reducing but slightly a few rubs
of the burnisher will suffice. Rub across the lines,
using a little oil to prevent bruising of the cop-
per. If the lines are much overbitten it will be
necessary to reduce them with the scraper before
burnishing down. First see that the edges of
the scraper are sharp. Take the oil stone (hard
[34]
Arkansas) and press one flat side down hard
against the stone pushing forward and backward
towards you, not sidewise as in sharpening a pen-
knife. Tilt the scraper for a while to ensure the
end becoming sharp as this is the part used most
often. Sharpen all three sides.
To scrape down the lines of the plate lay the
knife quite flat upon the plate, tilting it slightly
and scrape gently towards you and diagonally
across the line, turning the copper in different
positions to avoid wearing a groove in the plate.
Scrape gently. Do not try to reduce the line
with a few strokes of the scraper. If the plate is
badly scored after this operation spread some oil
over the work and lay the scraper almost flat
and level presenting just enough cutting edge to
scrape the surface of the plate. Go back and
forth and the scoring on the plate will reduce.
It is well to use oil in scraping.
When the lines are somewhat reduced take the
burnisher and oil and proceed to remove the
scratches caused by the scraper. If it is desired
to get rid of certain lines entirely this should be
completed with the scraper and then burnished.
When, however, it is required to reduce them
only, charcoal alone is generally used by good
etchers. Use charcoal and water or oil. This
requires perseverance. It would be well to try
both the charcoal method as well as the scraper
and burnisher. One can
then decide their
preference. The charcoal used for this purpose
is not the regular art school kind but engravers'
charcoal that comes in thick sticks about two inches
[35]
square and six inches long. Keep it free from the
bits of copper turned up under the scraper. Much
trouble comes from them. If they get into the
charcoal or on the inking rag they will scratch
the plate. After scraping the plate wash it
thoroughly under running water, turning the plate
over and edgewise. Also wash the 'hands.
:
After burnishing use the charcoal and oil or
water then polish with jewellers' rouge and oil.
If cloudiness shows on the print in the corrected
area it may be necessary to rub still more with
the charcoal or polish. If the spot be small use
the burnisher and oil rubbing very gently, and in
all directions.
When the overbitten lines have been remedied
the attention will be turned to the underbitten
ones. If they are not too weak the plate may
be grounded in the ordinary manner but not
smoked. Melt the ground well into the deep
lines for protection. The acid sometimes rebites.
these lines if the ground is thin. Over the weak
lines to be corrected run the roller until the
ground is thin and transparent. If the lines are
still difficult to discern it will be necessary to use
a transparent (re-etching) ground. Sometimes
it is well to re-heat the plate after applying re-
etching ground and melt a little ordinary ball-
ground into it to make the lines more distinct.
The re-etching ground is like the ordinary ground
except that the black asphaltum is left out of its
composition. There is, too, a re-biting ground
sold. This ground is applied cold and must be
rolled up thinly and uniformly on the slab of
[36]
marble or glass until the roller has a thin even
layer on its surface. It is then rolled onto the
plate. With this ground no needle work is neces-
sary to re-bite the plate. Simply apply the acid.
Ordinary ground may be used in this way if one
is very careful.
Warm the plate slightly while warming a spare
piece of copper on another part of the heater.
The extra plate used for melting the ground
should be hot but the plate with etching should
be only warm. After rolling up a thin uniform
layer of ground on the roller spread it over the
etched plate in two or three directions but not for
too long a time. The acid may then be applied
with a feather to the weak spots without the in-
tervention of the needle. If it is decided, for
safety, to use a re-etching ground instead of a re-
biting ground sharpen the needle as finely as pos-
sible on the oil stone and go into the weak lines
and re-bite. No stopping out is necessary, simply
blot.
Sometimes after the plate has been wiped for
printing depressions in the plate will be seen and
these will be darker in tone than elsewhere. The
wiping rag has not reached into these hollows.
They may be cleaned out with the index finger
after rubbing the finger across a cloth. Then
follow up lightly with the tarletan. This is known
as "fake wiping". The proper way is to get rid
of the scooped out patch. One way is to scrape
around the rim of the depression cautiously ex-
tending the field of operations on all sides to
lessen the abruptness of its edge and then burnish.
[37]
If the pit thus dug with the scraper is too great
for this treatment it must be knocked up from the
back.
To knock up the plate from the back procure
a jewellers' anvil which is a block of steel with a
polished face, and a pair of callipers. One of the
points of the callipers will have to be sharpened.
A couple of mechanics' punches, one small and one
of moderate size will also be required.

Round
End?
Sharp'
BENT WIRE
Home-made Callipers
Fig. 11
Small callipers may be fashioned from stiff wire
and will prove serviceable for small plates. The
points of the callipers when closed must come
exactly together.
Place the copper plate, face uppermost, with
the sharp point of the callipers against the under
side and move the point around the area to be
raised. The under point of the callipers should
now have traced a corresponding design on the
back of the plate. Lay the plate face down on
the polished side of the "anvil" and with the
punch and a hammer proceed to punch carefully
stopping frequently to note progress on the face
of the plate. When the depression has been
thoroughly knocked up it will be necessary to re-
[38]
duce the bumps on the other side of the plate.
This should be done with charcoal and water.
Keep the plate covered with water during this
operation. The scraper and burnisher may be
used if desired and finished with the charcoal and
polish.
Zinc may be used for experiments though there
is some difficulty in making the ground adhere to
its surface owing to the zinc being inherently
greasy. Scraps of zinc may be procured from the
scrap heap in any engravers' plant. The acid is
diluted in weaker strength than for copper. Zinc
plates do not yield as many prints as copper but
it should stand up for a dozen or more impres-
sions. It is interesting to note that the nitric
acid acts differently upon the zinc than with the
copper. All lines bite consistently whether
grouped or isolated. Its action with copper has
already been described. Never use the same acid
for copper and zinc.
SKETCHING FOR ETCHING.
Use an "hb", "f" or "b" pencil and keep it .
finely pointed. Whatman's hot pressed paper
commonly used for pen drawing is admirable for
the purpose, making for an incisive and delicate
line. Do not work for heavy shadow effects but
concentrate on the line possibilities. Indicating
the shadows is sufficient. Such a sketch will be
of more use in the studio. Subjects pleasing to
the painter will not necessarily make a good etch-
ing as the needle may be inadequate to the subject.
[39]
The finished print should look as if the artist got
over its surface easily and without straining for
effect.
A good composition is one in which there is
about three quarters white paper and a principal
spot of dark well placed and just enough gray
for a "foil".
Good etchings are made with both coarse and
delicate lines. This will depend mainly on the
subject.
[40]
CHAPTER VII.
THE DRYPOINT
Drypoint will appeal to some for the simplicity
of its modus operandi. Few tools are needed and
no acid is used. Nor need the plate, necessarily,
be grounded, unless it is for transferring the
sketch to the plate as for an etching.
Zinc as well as copper may be used but it will
not stand up for more than three or four
impressions. It is, however, well adapted to
initial attempts as this metal cuts very easily.
Drypoint is a species of free hand engraving
and may be combined with the etched line or for
touching up errors in an etched plate. When the
"burr", later described, is removed from the line
it appears much the same as the bitten line.
The tools needed are, a dry point needle, oil
stone, oil, rags and black oil point.
The drypoint needle is sharpened conically to
cast up a good burr. It is the burr that holds the
ink, depth of line is not considered. In sharpen-
ing the needle hold it at a 45 degree angle. It
is imperative that the needle be kept sharp at all
times during the work. Sharpen frequently. The
cutting of the plate with the needle causes a fur-
row or burr to be thrown up. If the needle is
dull this burr may be "rotten" and crumble under
pressure despite its heaviness. The burr causes
[41]

Dry-Point
Fig. 12
Youn Barry
[42]

L
A

mmune
C
B
A-Dry-Point Needle Sharpened and Burnisher on other End.
B-Double burr resultant from vertical needle.
Single burr made by slanting needle.
C-Burrs inked.
Fig. 13
the beautiful velvety quality characteristic of a
drypoint.
If the needle is held vertically a double burr
is thrown up. If the needle is held at an angle
a single burr is caused. This will be a phase for
experiment.
Another advantage of dry point is that one
may work out of doors directly from the subject
as preliminary sketching may be done with the
needle delicately. These lines are easily eradi-
cated with burnisher and oil. To follow the
progress of the work and note its strength rub
black oil paint into the lines and wipe off. It is
well to spread a film of paint over the entire
surface of the plate before commencing work.
The transfer method as employed in etching
may be used scratching the transferred sketch a
little more deeply. These lines are then used for
a guide after removing the ground with kerosene.
[43]
As to technique,
Little burr is used on the
"distance". It may be removed with the scraper
using it very gently to avoid scratching. Do not
burnish down such lines as the burr crumbles
over into the line causing future trouble. Get rid
of all "scrapings".
Copper plates yield from six to thirty prints
of dry-points depending on the technique em-
ployed. When an edition is to be run off the plate
is steel-faced in an electro-plating bath.
Wiping a drypoint is somewhat different from
the manner of the etched plate. The plate is only
partially wiped with the mosquito netting or
Tarletan and when the ink is fairly well broken
up and is partly clear it is finished by hand.
Proceed as follows-Place a clean cloth over
the knee or left arm and with the base of the
thumb resting on the plate rub lightly and quickly.
Give the hand an upward tendency and wipe away
from you. Occasionally dip the base, or ball of
the thumb, in a pan of whiting and wipe on the
cloth. After every stroke across the plate wipe
the base of the thumb on the smock or piece of
cloth. Turn the plate around occasionally. Ex-
perience will be required to gain deftness. Ham-
merton said it was necessary to have the "arm of
a blacksmith and the palm of a Duchess" for
this operation. Too much rag wiping tends to
break down the burr but if only a few prints are
desired one may use a very clean piece of tarletan
for the finishing process.
[44]
CHAPTER VIII.
PRESSING AND MATTING THE PRINT.
Before pressing the print it is advisable to let
it dry so that the ink may become hard. Subject-
ing a freshly made print to pressure results in a
breaking down of the ridge of ink forming the
lines. These ridges impart a crispness of ap-
pearance to the print.
Place the print in a tray of water and when it
lies flat press it between blotters or old news-
papers to remove surplus moisture, then press
between blotters allowing two or three above and
beneath. After about six or eight hours change
the botters. A flat object such as a sheet of glass
or board with a weight of about ten pounds.
should be used for pressing.
The aperture in the matt should be large enough
to leave a margin outside the plate mark of a
quarter of an inch all around and half an inch
at the bottom to show the pencilled signature on
the print.
Do not use cream or other colored matts as
they rob the print of its interest and make it cold
in appearance. Use white or light gray. Good
matts are formed of two pieces of equal size and
hinged on the inside with a strip of gummed tape.
The print is lightly fastened on the back portion.
Do not gum all over the back of the print; only
two slight dabs at the top. Tacking it down at
all four corners will cause wrinkles later on.
[45]

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