The Art of Etching: A Complete & Fully Illustrated Description of Etching, Drypoint, Soft-ground Etching, Aquatint & Their Allied Arts, Together with Technical Notes Upon Their Own Work by Many of the Leading Etchers of the Present TimeJ.B. Lippincott Company, 1925 - 376 pages |
Table des matières
| 209 | |
| 223 | |
| 226 | |
| 229 | |
| 242 | |
| 251 | |
| 255 | |
| 257 | |
| 263 | |
| 272 | |
| 273 | |
| 279 | |
| 287 | |
| 288 | |
| 293 | |
| 299 | |
| 305 | |
| 308 | |
| 309 | |
| 313 | |
| 319 | |
| 320 | |
| 325 | |
| 326 | |
| 333 | |
| 344 | |
| 362 | |
| 369 | |
Autres éditions - Tout afficher
The Art of Etching: A Complete & Fully Illustrated Description of Etching ... Ernest S. Lumsden Affichage du livre entier - 1926 |
Expressions et termes fréquents
acetic acetic acid acid aquatint artist asphaltum bath beautiful biting bitten line blankets blotting-paper British Museum burin burnisher burr Callot Chapter chemist clean colour copper crease dabber damp delicate drawing drawn drypoint Drysalter Dürer Dutch easily edge employed engraver equally Etcher's dealer etchers etching fibre flat flattened foul-biting Goya graver ground Haden hand Hosho hydrochloric hydrochloric acid ILLUSTRATING inch iron Joseph Pennell landscape less LUCAS VAN LEYDEN means medium Meryon metal method Methylated spirit mezzotint mildew modern mordant mount Muirhead Bone nearly necessary needle never nitric nitric acid obtained ordinary passage perchloride plate polished portrait possible powder pressure probably proof re-grounding Rembrandt removed resin result roller rubbed scraper seen sheet shows soft soft-ground steel stopping-out varnish student sufficient surface thin tone tool usually Whistler whole wiping zinc
Fréquemment cités
Page 50 - ... but which has leaves like the " elder," extract its juice, and when your iron is properly heated quench and temper it in this. 63. To make a water which corrodes iron. — Take 1 oz. of sal ammoniac, 1 oz. of roche alum, 1 oz. of sublimed silver, and 1 oz. of Roman vitriol, pound them well, take a glazed earthen vase, pour into it equal parts of vinegar and water, then throw in the above-mentioned articles. Boil the whole until reduced to half a cup or a cup, apply it to such parts of the iron...
Page 276 - The brilliance, strength and dignity of Meryon's first great plate—doubly wonderful when one remembers that he was the pioneer in treating architecture in such a manner: a manner which suggests the very soul of a building —have rarely, if ever, been equalled even by the splendid draughtsmen who have founded themselves upon their great forerunner.
Page 328 - Birds were the passion of my youth, and I drew them until I was middleaged, and with no thought that they might prove interesting to others than my sportsmen friends. . . . My pictures of wild-fowl are entirely the result of things seen in nature and drawn from memory.
Page 360 - The line-work was first bitten with nitric on a liquid ground. After this the plate was prepared for aquatint with a resin dust-ground sprinkled through several thicknesses of muslin stretched across a common sugarbox which had had the top and one side knocked out.
Page 24 - It will be seen that in etching, where a blunt instrument is employed to skate over the surface of the plate, removing the covering of the ground but not penetrating the metal below, there can be no emphasis from the action of the hand in drawing. Provided that the touch be firm enough to remove all the wax, so that the acid may reach the metal at all, the strength...
Page 156 - Formaldehyde (formalin) would no doubt act, but, from its constitution and chemical activity, can hardly come under the category of undoubtedly ' safe ' reagents for this purpose until it has been very carefully tested.
Page 143 - Ay according to their composition and hardness of surface. In preparing them, therefore, for printing they must be treated accordingly. A firm-surfaced paper, old or modern, can be sponged as vigorously as possible without any danger of the fibre lifting ; but a soft paper, and particularly Japanese, cannot be touched directly with anything damp without being spoiled. The aim in every case is the same : to make the paper as pliable as possible without excess moisture remaining on the surface.
Page 186 - In England the only etcher who merits any attention at this period is William Hogarth. He was one — the greatest — of a group of satirists and cartoonists who used etching amongst other mediums to express their comments on the life of their time. Hogarth, however, being a great portrait painter, produced a few plates of importance artistically, notably the " Lord Lovat " (Plate 41), but even here the work suggests the outlook of the engraver more than a little.
Page 360 - I have not been doing this work very long, but all the plates have been done from drawings or jottings on the spot. This particular one was made from a note, but I had a pretty clear idea of what I wanted to do. There was a little burnishing on the trousers of the dancer ; otherwise the plate was untouched.
Page 155 - ... the stains were at once removed by applying a solution of sodium hydrosulphite ("Hydros") or by rubbing a little of the powder on the stain, then washing thoroughly and giving a single treatment of the bleaching agents followed by a thorough final washing. The thickness of the paper and also the methods and materials employed in mounting the pictures may render it inadvisable to expose them to the very moist atmosphere arising from the plaster of Paris block moistened with solution of hydrogen...