Materials and Mode of Proceeding
The wood used by engravers is boxwood, on account of its close grain and firm texture; it is principally imported from Turkey, cut transversely or across the grain (so that the engraving is done upon the end way of the wood). It is made seven-eighths of an inch in thickness (type height). It takes a beautifully smooth surface, and cuts under the graver with the utmost clearness and fineness. The polished surface of the wood being unsuitable for drawing on, a slight “tooth” is given to it by a little water-colour white rubbed over the face of the block with the ball of the thumb until nearly dry, when it presents a pleasant surface for the pencil.
The drawing or design having been sketched out and perfected on paper, it is then traced the reverse way upon the wood block, and the drawing then worked out, either in black-line fac-simile or in tints, as may be intended. The black lead pencil, of sufficient hardness of lead to stand the pressure upon the solid surface, is the favourite instrument for drawing. For tinting, either the pencil or the brush with washes of china ink can be used.
The tools used are gravers, tint-tools, and scoopers, or cutting out tools—in all about a dozen different sizes; the several kinds are here indicated. With the gravers the outline and all the details are cut; the tints, by which the proper tones or light and shade are obtained, can best be rendered with tint-tools of various widths of cut. The parts not required to be printed are hollowed out with scoopers. It will be understood that all the blanks or white parts of an engraving have been cut away in the block.
There are several et ceteras also required by the engraver, as, an oil-stone to sharpen his gravers; an eye-glass, when engraving very fine work; a small circular sand-bag, on which the block is held while being engraved; an instrument called a burnisher, with which to take proofs. A glass globe filled with water, to concentrate the light from lamp or gas jet upon the block, is used at night.
The engraving being completed, the surface of the block is inked very lightly with printing ink, and a piece of India paper, or any fine paper of similar quality, being laid upon it, an impression is taken by rubbing the paper with the burnisher until it is fully printed. From this proof the engraver can judge whether any alterations are required and what improvements can be effected.
The revival of wood engraving by Bewick and others, and the high state of perfection to which it had been brought by his immediate successors, to a very great extent superseded copper-plate engraving for book illustrations, though for Ex Libris, copper-plate held, and still holds its place as the chief and deservedly favourite style.