THE
ETCHER'S GUIDE
BY
THOMAS BISHOPTHE
Etchers Guide
IT
Thomas Bishop.
PHILADELPHIA :
Janentzky & Co., 1125 Chestnut Street. 1879.Entered according to Act of Congress, in the office of the Librarian of Congress, at Washington, D. C., 1879, by Janentzky & Co.THE OBJECT OF THIS WORK, is to guide the Artist and the Amateur in the very interesting process of Etching, premising, that any one who can make a fair pen and ink, or pencil drawing, will meet but little difficulties to overcome in the manipulations of Etching; success, being in proportion to excellence in drawing; yet, much is left to perseverance of the Etcher, who, with a true love of Art, will experience a certain amount of gratification, mastering the mishaps that may occur in the course of his work.
For beginners, it is well to make a pen and ink or pencil drawing of the proposed etching; the mind becomes thus familiar with the subject, and the etching point free in the hand; for it must be remembered, that a line or dot once made, there it must remain; unless stopped out, and re-etched; which may be done by an experienced hand only, and is seldom resorted to.Tools and Materials.
 
ETCHING POINTS.
Common large sewing needles in thin handles of wood, brought down to within an inch of the point, may be used, but small rat-tail files make good points. The manner of sharpening a dull point will be explained hereafter.
BURNISHER.
An oval polished steel tool, for reducing the strength of tints and removing scratches that may occur during the work.
SCRAPER.
A three-edged tool, to remove the bur or rough edges of lines produced by the dry point or rocker, and for scraping out.
HAND VISE.
To hold the plate while laying the ground; the handle should be of wood (a non-conductor of heat).
PARALLEL RULER.
Upon which the hand rests during the Etching, and for the purpose of ruling straight lines when required.DABBER OR ROLLER,
to lay the ground on the plate. The Dabber is in general use. The Roller gives a fine but solid ground for rebiting when the surface of the plate is perfectly fiat.
BORDERING WAX.
A border of which is put on the plate to hold the nitric acid mixture during the process of biting the etching.
TRACING PAPER AND GELATINE SHEETS
may be procured at the artists’ color stores.
NITRIC ACID,
in stopper bottles.
TURPENTINE,
in tin cans.
ROCKER AND ROULETTE,
to produce mezzo or middle tints.
STOPPING-OUT VARNISH.
In Europe an article called Brunswick Black is used to stop out or paint over parts of the etching considered corroded or bitten enough by the acid mixture. Some etchers use sealing wax* dissolved in alcohol. The best stopping-out varnish is shellac varnish, to which is added enough vermilion or lampblack to give it color; it dries sufficiently in five to ten minutes to admit of a continuation of the biting.
* Sealing wax, so called, is shellac, with coloring ma'ter.CHLOROFORM,
in stopper bottles, for cleaning the plate.
STEEL DIVIDERS OR COMPASSES. SABLE AND CAMEL HAIR BRUSHES, in quills,
to stop out and remove the bubbles that form on the plate during the action of biting.
GROUND.
A couch or covering of which is dabbed or rolled on the plate, upon and through which the etching is made on the metal; the lines or marks being thus exposed to the action of the acid mixture, while the general surface is protected.
It is better to purchase the ground, a ball of which, costing 50 cents to $1, will last a long time.
WHITE GROUND
for rebiting.
LIQUID GROUNDS
are made from the before named grounds dissolved in turpentine and allowed to settle two or three weeks before using.
To lay a liquid ground, pour a little into a saucer, then with a wide Hat camel hair brush paint the surface of the plate; the brush being only slightly charged with the mixture. Allow twenty-four hours to dry. Liquid grounds are employed for sky and other delicate tints.No. i, the Roller, is a tool recently introduced for laying the ground on the plate; it is excellent for laying a delicate re-biting ground, or for skies, otherwise, it is not so good as the silk dabber in general use.
EXPLANATION OF PLATE 1.
BORDER WAX
is made thus:
Asphaltum.............................y	lb.
Beeswax,..............................y	lb.
Linseed oil, one to two table spoonfuls.
First melt the wax with the oil, then add the asphaltum, in powder, and boil. Keep stirring the mixture until it cools to the consistency of gruel, then pour into tepid water and form as required. The best border is made with gutta-percha, found at the India rubber stores, in sheets one-eighth of an inch thick, which answers for a small plate ; for larger work, thicker in proportion. Cut the guttapercha in slips of about an inch wide, put them in water as hot as the hand will bear; they will soon become pliable and can be fashioned into any shape; while warm, place the slips on the margin of the plate, making perfect joints at the corners, pressing down firmly to the plate. At one corner form with the thumb and finger a kind of spout to pour off the biting mixture. Lose no time in putting on the border, because the guttapercha soon hardens. Be careful to absorb all moisture from the slips before they are put on the plate; use blotting paper, or rag that has been washed.No. 2, the Dabber. To make this dabber a circular piece of pasteboard may be used, two to four inches diameter; on the pasteboard place a small quantity of curled horse hair, over this a layer of raw wool, cut from sheets used by dressmakers; cover with a piece of washed muslin, and tie on the pasteboard side, then cover the whole with very fine grain silk, and tie. The dabber is now, in shape, not unlike the puff of a lady’s toilet. It should be kept in a box, perfectly free from dust.
No. 3. A tint produced by the rocker, very useful for a mezzo-tint.
No. 4. Appearance of the bordering to contain the biting mixture.
No. 5. A piece of pointed wood, on the ends of which are glued fine emery and crocus cloth, to remove scratches.
No. 6. Rocker. So called from the rocking motion in using it to produce a mezzo-tint.
To produce this half-tint, some Etchers use sulphur, which corrodes the surface of the plate; the result is very unsatisfactory, presenting a dirty muddy unequal tint; beside, it has no tooth to retain the ink in printing, and soon wears out. Resin, diluted in pure alcohol, poured on the plate, in drying, will granulate; the fine grains of resin so produced resisting the action of the acid. This mixture was formerly used by acqua tinters. Pure nitric acid will corrode or bite the plate, but as the biting is nearly equal, there is no tooth, and wears off after a few impressions are taken.Others look to the printer to produce in some measure, a mixing tint, by leaving in the printing a slight couch of ink on the plate ; here is the same unpleasant, muddy, uneven look.
There is no tint that will last, or that can be modified in strength so well, as that produced by rockers ; they are made from a quarter of an inch to three inches wide, with coarse and fine teeth. The tint No. 3 in plate 1 was made with a coarse rocker.
No. 7. Rubber for removing fine scratches on the margin of the plate ; it must not be applied over the etching as it destroys the sharpness of the work. It is easily made, by rolling fine, clean woolen cloth or fiannel about three inches long, and one inch diameter, tied firmly; it is used with tripoli and oil ; be careful to keep it free from grit or dust.
No. 8. Roulette, a very useful tool for giving tone in small spaces, and may be used in a variety of ways. The tints No. 4 and 5 in plate IV. were produced by the roulette.
THE PLATES,
copper and steel, can be had of any size, prepared, ready to receive the ground.Instructions.
PREPARING THE PLATE FOR THE GROUND.
Fasten the plate to the hand-vise, having a piece of card board between the teeth of the vise and the plate, which should be perfectly clean ; now place it over the spirit lamp, or pocket cooking stove* until it becomes so hot, that a drop of water on the back of the plate will hiss and bubble ; then the plate should be left to cool, and again cleaned with dry tripoli and raw cotton, or washed muslin. The object in thus heating the plate, is to drive to the surface any fine particles of grease that may be in the grain of the metal. With steel, this heating the plate is not required, but with copper or brass it is indispensable for light, delicate, even tints.
LAYING THE GROUND.
The plate is again sufficiently heated to melt the ground which has been previously encased in fine, close-grained silk; distribute the ground lightly over the whole surface of the plate ; then equalize the couch with the dabber; be careful not to have the plate too hot, or you will burn the ground; if such a mishap should occur, there is no
* Sold by druggists.THE ETCHER’S GUIDE.	II
help but in removing the ground with turpentine; clean as before, and relay ; while the plate is still warm pass it over a gas light rapidly; the smoke from which will blacken the ground so that the lines or marks made during the etching will be distinctly seen ; but be careful in this smokirtg ; very little is required; too much smoke will overcharge the ground, and make it rotten ; a dark brown color from the smoke is quite enough ; a large wax taper for this purpose is in general use, but it is not so good as the smoke from the gas light, the taper is liable to sputter, and throw up sparks, lodging on and injuring the ground. The plate is now ready for
THE TRACING.
Rembrant, and other old masters, “on dit,” etched immediately on the plate, without any tracing; but, as this work is not for the guidance of Durers and Rembrants, the usual process of tracing will be followed, particularly as most etchings are after other works ; even if the etcher work after his own picture or drawing, he should trace, at least in masses, to produce the form and effect of the original. Proceeding then to the tracing with tracing paper, or what is better, gelatine sheets, cutting with scissors from the sheet of gelatine, a piece rather longer than the drawing, fasten the gelatine over the drawing by means of small tacks, every form or mark of the original will be clearly seen through the gelatine ; now, with a fine etching point or lithographer’s needletrace the forms of the work, do not press too hard on the point or you will cut through the gelatine; a slight scratch is enough. Commence at the top of the work, having the lower part covered with card board, upon which the hand may rest. Bear in mind before you commence the tracing, that one side of the gelatine is comparatively rough;, this side is easily detected by passing a soft black lead pencil over the surface which will show the rough marks ; the tracing must be made on the smooth side. The point in tracing will raise a bur on the gelatine, which must be carefully removed with the scraper, using a light hand ; remove with a camel’s hair brush the dust caused by taking off the bur. Now scrape from a very soft black or red lead pencil enough to slightly cover the whole surface of the tracing; then with a piece of soft paper or camel’s hair brush rub the lead into the lines made with the etching point, wiping away with paper the superfluous lead, being careful that your fingers do not come in direct contact with the gelatine.
TRANSFER TO THE GROUND.
The tracing is put on the plate and held to its position with small pieces of wax ; now with a leather stump used in chalk drawing, rub the surface of the gelatine, following the course of the tracing; the pressure of the stump must not be too hard, but don’t be nervous about the matter; if the ground be good and properly laid, it will not break from the pressure of the stump, whichmust be enough to transfer the traced lines on the ground. If it be proposed to etch direct from nature, the ground must be previously laid and the plate carried in a grooved box for protection. A rough outline may be drawn on the spot with a soft black pencil, on plain paper, then rub on the other side of the paper with a soft black lead pencil, using the finger to make the surface about equal; place this side of the paper on the plate, fasten at the corners with wax ; now with the pencil mark the principal forms on the paper, the marks so made will be transferred to the ground; remove the paper, then make the etching in detail. It must be remembered that the etching thus made, will in the printing, be an entire inversion of the subject before you.
THE ETCHING.
At home, place the plate on a small drawing-board, take slips of wood, thicker than the plate, fasten them to the drawing-board on each side; on these slips of wood may be placed a rest for the hand, so that perfect freedom is obtained without injury to the ground. The tracing, by the transfer being now inverted, the forms seen on the right of the original, will appear left on the plate; to beginners, this inversion is confusing to the eye. On the left side of the etcher, have a small looking-glass resting on the table, leaning toward the plate; now the original drawing, being placed fiat on the table close up to the looking-glass, will lie seen as it appears on the plate.A nervous timidity, inseparable to beginners, will to a great extent cramp the hand; a careful tracing is therefore important for a good copy in etching of the original.
As before stated, a small rat-tail file makes from its temper, a good point; without a certain weight on it to remove the ground, the work will be uneven in the biting; the etching point must fairly penetrate through the ground, leaving a decided mark on the plate; but, too great a pressure will break the point.
To sharpen a broken point, place it in the palm of the left hand, covering it with the palm of the right hand, the end of the point resting on an oil stone; now pass the right hand to and from, which will give a rotary motion to the point resting on the stone, which in a few seconds becomes sharpened; the operation requires a little knack, which is soon obtained The etching finished, now follows
THE BITING.
Remove the slips of wood surrounding the plate. Shape bordering wax or gutta-percha, about three-quarters of an inch high, press down on the plate making perfect joints at the corners, one of which should be fashioned like the spout of a jug. Now at that part of the border inside in immediate contact with the ground, put with camel’s hair brush, a little of the stopping out varnish, which will bind the border and the plate together; thus preventing leakage.THE BITING MIXTURE.
For copper or brass, about one part, measure, of nitric acid to three parts water; if the mixture be too strong, it will tear up the ground, before the required strength is obtained; so it is safe to commence with a weak mixture. When small globules or bubbles appear, the biting is goingon, and they must be removed with the camel’s hair brush ; if these bubbles do not appear in from five to ten minutes, the mixture is not strong enough; pour off, and add more acid; but, have simple water on the plate during the time tha't the mixture is being strengthened, otherwise, some parts of the work may be stronger than others. Experience alone can decide when the etching is sufficiently bitten ; then pour off the mixture, wash the plate, and with blotting paper take up the moisture remaining on the ground. Now, those parts considered strong enough, may be stopped out; that is, painted over with the stopping out varnish, using a sable brush; in about ten minutes the varnish will be sufficiently dry to admit of continuation of the biting. This stopping out and biting, may be repeated according to the judgment of the etcher. No fixed time can be given for biting, as so much depends upon the strength of the acid, and the temperature.
For beginners, it is well to have a spare piece of copper or brass, upon which a ground has been laid and bordered ; let the biting of the two plates be the same; when considered strong enough, pour off the mixture from the smaller plate, wash,and dry with blotting paper; then with the scraper remove a small portion of the ground, the depth and width of the lines can then be seen distinctly, and is some guide as to the biting on the larger plate; if not enough, stop out the spot on the spare plate, and continue the biting, removing the bubbles as they appear. The strength of the acid mixture for steel, is about one part nitric acid to ten parts of water.
The biting being finished, pour off; wash and dry as before, warm the plate with spirit lamp, remove the border, and clean the plate with turpentine; the stopping out varnish will remain, this is removed with alcohol; your maiden effort in etching is now before you, with, perhaps a feeling of disappointment, that your conceptions are not all realized. Before further proceeding, it is necessary to have a proof, that the real state of your work may be fairly seen.
THE PROOF.
If a plate printer be not at hand, a proof may be obtained with plaster of Paris, found in most of the drug stores. With printer’s ink, not too thick, fill in all the lines of the etching, using a rag on the end of the finger; then, wipe from the surface the superfluous ink, and polish off with the palm of the hand, which has been slightly rubbed with whiting or chalk. Put the plate so prepared on the drawing-board; with slips of wood, about half an inch thick, make a frame work, enclosing the plate; a teacupful of plaster of Paris is enoughfor a plate five, by eight inches. Take a small jug or vessel having a spout, in which is about half a teacup of water; add the plaster, a teaspoonful at a time; mix well for a few seconds, then, let it rest for about fifteen seconds, stir again ; the mixture soon thickens; when it assumes the consistency of gruel, pour it on the center of the plate; it will run to the frame work, but may require a little aid from the spoon to cover the entire plate. Let it remain about twenty minutes; in the meantime, clean the jug and spoon. Now remove the framework; then take the plate in your left hand, with a knife pare off the rough plaster from the edges; now put the plate fiat on the table, and insert a knife gently at one corner, the plaster, being by that time comparatively hard, will part readily from the plate; you have now a proof, and can judge of what remains to be done, to carry out the effect of the original design. The aboye manner of obtaining proof applies to copper or brass plates only. If some parts of the work are not strong enough, you can resort to a
RE-BITE.
Clean the plate with turpentine, which will leave in the lines a film, to remove this, pour on the plate a little chloroform* which will search every little hole or corner for greasy matter; wipe off quickly, and repeat the operation, the lines and surface are thus made perfectly clean ; very important in re-biting.
* Potash was formerly used for this purpose.The endeavor is to put a thin couch or covering of ground on the surface of the plate, without . filling up the lines, that should remain exposed to the action of the acid. The roller,* a recent appliance, is an excellent adjunct in laying a re-biting ground ; but neither the dabber nor roller should be highly charged with the ground; heat your spare plate, charge it with ground, taking a small portion of it on the dabber or roller, transferring the same to your plate intended to re-bite. Use the hand-vise, and proceed in the manner already described in laying the first ground. Stop out the parts considered strong enough, put on the border, taking precaution as before described against leakage. Your judgment and experience will suggest when to stop the re-bite.
THE DRY POINT.
The dry point should be much thicker than the usual etching needle, or the point will snap from the greater pressure that it receives, being used on the bare surface of the plate. The dry point is very useful in producing very delicate tints, but a finely bitten line is at all times preferable to the dry point, from the fact that a bitten line, however fine, has a grain in it which retains the ink better than the comparatively smooth line of the dry point. A bur is raised in using the dry point; remove it carefully with the scraper without scratching the plate. .
* The roller can only be used for laying a ground when the plate is
pfrfedly flat.A MEZZO OR HALF TINT.
is sometimes desirable; this is produced with the rocker passed over the whole etching, in from ten to twenty different directions, until an even grain is produced ; a bur is raised, which is removed with the scraper; burnishing down the light parts and margin of the plate.MANIPULATION OF THE ILLUSTRATIONS.
Plate i. Tools. Page 4.
Plate 2. The Eagles Nest. Page 10. No. 1 of this plate etched with re-bite ; the sky, dry point only.
No. 2. Same as No. 1, with the rocker passed over the whole work, the bur removed with the scraper, the lights burnished down.
Plate 3. Old Age. Page 14.—The head .etched in dots; after the biting, a new ground laid filling the dots; fine lines ruled over the entire work and bitten in the usual way, stopping out the lights. The rocker firmly passed over the back ground and west.
Plate 4. Page 20.—Same subject treated differently. No. 1 with dots only, there are no lines. No. 2 all lines. No. 3 is an engraving, that is, cut with the graver, except the border ruled, it was on the plate when the heads were etched, and is allowed to remain if only to show the difference between etching and engraving. Nos. 4 and 5 tints produced by the roulette.
Engravings (landscapes) are but etchings, mended and sharpened up with the graver.
Plate 5. Frontispiece. Page 1.—This subject had a re-bite, then the rocker and roulette freely used. A middle tint by the printer’s aid, who, instead of wiping the plate clean, left a slight couch of ink over the whole work.CONCLUSION.
Let not the young etcher be discouraged; persevere, each new etching will be an improvement on the preceding one; confidence is gained by the continued handling of the tools, and the difficulties, mostly presumptive, overcome by perseverance.
“ The labor we delight in, physicks pain.”
THOMAS BISHOP.
Philadelphia, 1879.TOOLS AND MATERIALS REQUIRED IN ETCHING.
Etching points.
Burnisher.
Scraper.
Hand-vise.
Parallel ruler.
Dabber or roller.
Border wax or gutta-percha.
Tracing paper and gelatine sheets.
Nitric acid in stopper bottles.
Rocker and roulette.
Stopping out varish.
Chloroform in stopper bottles.
Small camel’s hair and sable brushes.
Ground, brown and white.
Liquid ground.
Copper plates.
Coarse and fine emery and crocus cloth. Rubber-cloth or flannel.
Dividers.
Blotting paper, lard oil and bil stone.
All the tools enumerated herein, may be procured from Janentzky & Co.Introduction,		Pack.
Tools and Materials		4-7
Explanation of Plate I,		. 7-9
Instructions,		10-19
Preparing the Plate		10
Laying the Ground		10, 11
The Tracing,		11,12
Transfer to the Ground		12
The Etching,		
The Biting		
The Biting Mixture		
'rlie Proof,		16
	
The Dry Point,		18
Mezzo or Half Tint,		
Manipulation of the Illustrations,	20,21
List of Tools and Materials,	
Plate I, Tools,		
“ 11, Eagle’s Nest. ....	
" III, Old Age		14
" IV, " " 		
" V, Waterfall		. 1
Index.