Engraving

Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it with a burin. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called "engravings". Engraving is one of the oldest and most important techniques in printmaking. Wood engraving is a form of relief printing and is not covered in this article.

Engraving was a historically important method of producing images on paper in artistic printmaking, in mapmaking, and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by various photographic processes in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques.

"Engraving" is also loosely but incorrectly used for any old black and white print; it requires a degree of expertise to distinguish engravings from prints using other techniques such as etching in particular, but also mezzotint and other techniques. Many old master prints also combine techniques on the same plate, further confusing matters. Line engraving and steel engraving cover use for reproductive prints, illustrations in books and magazines, and similar uses, mostly in the 19th century, and often not actually using engraving.

Traditional engraving, by burin or with the use of machines, continues to be practised by goldsmiths, glass engravers, gunsmiths and others, while modern industrial techniques such as photoengraving and laser engraving have many important applications. Engraved gems were an important art in the ancient world, revived at the Renaissance, although the term traditionally covers relief as well as intaglio carvings, and is essentially a branch of sculpture rather than engraving, as drills were the usual tools.

Engraving
Artist and engraver Chaim Goldberg at work

Terms

Gravers
An assortment of hand engraving tools

Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving. Steel engraving is the same technique, on steel or steel-faced plates, and was mostly used for banknotes, illustrations for books, magazines and reproductive prints, letterheads and similar uses from about 1790 to the early 20th century, when the technique became less popular, except for banknotes and other forms of security printing. Especially in the past, "engraving" was often used very loosely to cover several printmaking techniques, so that many so-called engravings were in fact produced by totally different techniques, such as etching or mezzotint. "Hand engraving" is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also "hand engraved", using just the same techniques to make the lines in the plate.

Process

Louis George Gravur 1
At an engravers workshop: Miniature engraving on a Louis George watch movement: Smallest engraving of the royal Prussian eagle on a watch movement. It takes about 100 passes to create the figure.

Ecce Homo by Jan Norblin, original print (left) and copper plate (right) with composition reversed (National Museum in Warsaw).

Norblin Ecce Homo 02
Norblin Ecce Homo 01

Each graver is different and has its own use. Engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate.[1] However, modern hand engraving artists use burins or gravers to cut a variety of metals such as silver, nickel, steel, brass, gold, titanium, and more, in applications from weaponry to jewellery to motorcycles to found objects. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes and scrollwork. Dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers.

In addition to hand engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system. There are versions for the insides of rings and also the outsides of larger pieces. Such machines are commonly used for inscriptions on rings, lockets and presentation pieces.

Tools and gravers or burins

Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a slightly curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, used to do fill work on larger areas or to create uniform shade lines that are fast to execute. Ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for fill work on letters, as well as "wriggle" cuts on most musical instrument engraving work, remove background, or create bright cuts. Knife gravers are for line engraving and very deep cuts. Round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts (also called bright-cut engraving), as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines. V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points. Other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for certain stone setting techniques.

Musical instrument engraving on American-made brass instruments flourished in the 1920s and utilizes a specialized engraving technique where a flat graver is "walked" across the surface of the instrument to make zig-zag lines and patterns. The method for "walking" the graver may also be referred to as "wriggle" or "wiggle" cuts. This technique is necessary due to the thinness of metal used to make musical instruments versus firearms or jewelry. Wriggle cuts are commonly found on silver Western jewelry and other Western metal work.

Tool geometry

2008-engraving
Stone engraving

Tool geometry is extremely important for accuracy in hand engraving. When sharpened for most applications, a graver has a "face", which is the top of the graver, and a "heel", which is the bottom of the graver; not all tools or application require a heel. These two surfaces meet to form a point that cuts the metal. The geometry and length of the heel helps to guide the graver smoothly as it cuts the surface of the metal. When the tool's point breaks or chips, even on a microscopic level, the graver can become hard to control and produces unexpected results. Modern innovations have brought about new types of carbide that resist chipping and breakage, which hold a very sharp point longer between resharpening than traditional metal tools.

Tool sharpening

Sharpening a graver or burin requires either a sharpening stone or wheel. Harder carbide and steel gravers require diamond-grade sharpening wheels; these gravers can be polished to a mirror finish using a ceramic or cast iron lap, which is essential in creating bright cuts. Several low-speed, reversible sharpening system made specifically for hand engravers are available that reduce sharpening time. Fixtures that secure the tool in place at certain angles and geometries are also available to take the guesswork from sharpening to produce accurate points. Very few master engravers exist today who rely solely on "feel" and muscle memory to sharpen tools. These master engravers typically worked for many years as an apprentice, most often learning techniques decades before modern machinery was available for hand engravers. These engravers typically trained in such countries as Italy and Belgium, where hand engraving has a rich and long heritage of masters.

Artwork design

Design or artwork is generally prepared in advance, although some professional and highly experienced hand engravers are able to draw out minimal outlines either on paper or directly on the metal surface just prior to engraving. The work to be engraved may be lightly scribed on the surface with a sharp point, laser marked, drawn with a fine permanent marker (removable with acetone) or pencil, transferred using various chemicals in conjunction with inkjet or laser printouts, or stippled. Engraving artists may rely on hand drawing skills, copyright-free designs and images, computer-generated artwork, or common design elements when creating artwork.

Handpieces

Originally, handpieces varied little in design as the common use was to push with the handle placed firmly in the center of the palm. With modern pneumatic engraving systems, handpieces are designed and created in a variety of shapes and power ranges. Handpieces are made using various methods and materials. Knobs may be handmade from wood, molded and engineered from plastic, or machine-made from brass, steel, or other metals. The most widely known hand engraving tool maker, GRS Tools in Kansas is an American-owned and operated company that manufacture handpieces as well as many other tools for various applications in metal engraving.

Cutting the surface

Louis George Meistergraveurin 2
Master engraver ennobling a watch movement. Top level engravers work under a stereo microscope.

The actual engraving is traditionally done by a combination of pressure and manipulating the work-piece. The traditional "hand push" process is still practiced today, but modern technology has brought various mechanically assisted engraving systems. Most pneumatic engraving systems require an air source that drives air through a hose into a handpiece, which resembles a traditional engraving handle in many cases, that powers a mechanism (usually a piston). The air is actuated by either a foot control (like a gas pedal or sewing machine) or newer palm / hand control. This mechanism replaces either the "hand push" effort or the effects of a hammer. The internal mechanisms move at speeds up to 15,000 strokes per minute, thereby greatly reducing the effort needed in traditional hand engraving. These types of pneumatic systems are used for power assistance only and do not guide or control the engraving artist. One of the major benefits of using a pneumatic system for hand engraving is the reduction of fatigue and decrease in time spent working.

Hand engraving artists today employ a combination of hand push, pneumatic, rotary, or hammer and chisel methods. Hand push is still commonly used by modern hand engraving artists who create "bulino" style work, which is highly detailed and delicate, fine work; a great majority, if not all, traditional printmakers today rely solely upon hand push methods. Pneumatic systems greatly reduce the effort required for removing large amounts of metal, such as in deep relief engraving or Western bright cut techniques.

Finishing

Finishing the work is often necessary when working in metal that may rust or where a colored finish is desirable, such as a firearm. A variety of spray lacquers and finishing techniques exist to seal and protect the work from exposure to the elements and time. Finishing also may include lightly sanding the surface to remove small chips of metal called "burrs" that are very sharp and unsightly. Some engravers prefer high contrast to the work or design, using black paints or inks to darken removed (and lower) areas of exposed metal. The excess paint or ink is wiped away and allowed to dry before lacquering or sealing, which may or may not be desired by the artist.

Modern hand engraving

Hand engraving tool
Hand Engraving Tool Example

Because of the high level of microscopic detail that can be achieved by a master engraver, counterfeiting of engraved designs is well-nigh impossible, and modern banknotes are almost always engraved, as are plates for printing money, checks, bonds and other security-sensitive papers. The engraving is so fine that a normal printer cannot recreate the detail of hand engraved images, nor can it be scanned. In the Bureau of Engraving and Printing, more than one hand engraver will work on the same plate, making it nearly impossible for one person to duplicate all the engraving on a particular banknote or document.

The modern discipline of hand engraving, as it is called in a metalworking context, survives largely in a few specialized fields. The highest levels of the art are found on firearms and other metal weaponry, jewellery, and musical instruments.

In most commercial markets today, hand engraving has been replaced with milling using CNC engraving or milling machines. Still, there are certain applications where use of hand engraving tools cannot be replaced.

Machine engraving

1847Colt Walker
1847 Colt Walker pistol with roll engraved cylinder

In some instances, images or designs can be transferred to metal surfaces via mechanical process. One such process is roll stamping or roller-die engraving. In this process, a hardened image die is pressed against the destination surface using extreme pressure to impart the image. In the 1800s pistol cylinders were often decorated via this process to impart a continuous scene around its surface.

Computer-aided machine engraving

Engraving on Corian
Computerized engraving on Corian.

Engraving machines such as the K500 (packaging) or K6 (publication) by Hell Gravure Systems use a diamond stylus to cut cells. Each cell creates one printing dot later in the process. A K6 can have up to 18 engraving heads each cutting 8.000 cells per second to an accuracy of .1 µm and below. They are fully computer-controlled and the whole process of cylinder-making is fully automated.

It is now common place for retail stores (mostly jewellery, silverware or award stores) to have a small computer controlled engrave on site. This enables them to personalise the products they sell. Retail engraving machines tend to be focused around ease of use for the operator and the ability to do a wide variety of items including flat metal plates, jewelry of different shapes and sizes, as well as cylindrical items such as mugs and tankards. They will typically be equipped with a computer dedicated to graphic design that will enable the operator to easily design a text or picture graphic which the software will translate into digital signals telling the engraver machine what to do. Unlike industrial engravers, retail machines are smaller and only use one diamond head. This is interchangeable so the operator can use differently shaped diamonds for different finishing effects. They will typically be able to do a variety of metals and plastics. Glass and crystal engraving is possible, but the brittle nature of the material makes the process more time consuming.

Retail engravers mainly use two different processes. The first and most common 'Diamond Drag' pushes the diamond cutter through the surface of the material and then pulls to create scratches. These direction and depth are controlled by the computer input. The second is 'Spindle Cutter'. This is similar to Diamond Drag, but the engraving head is shaped in a flat V shape, with a small diamond and the base. The machine uses an electronic spindle to quickly rotate the head as it pushes it into the material, then pulls it along whilst it continues to spin. This creates a much bolder impression than diamond drag. It is used mainly for brass plaques and pet tags.

With state-of-the-art machinery it is easy to have a simple, single item complete in under ten minutes. The engraving process with diamonds is state-of-the-art since the 1960s.

Today laser engraving machines are in development but still mechanical cutting has proven its strength in economical terms and quality. More than 4,000 engravers make approx. 8 Mio printing cylinders worldwide per year.

History

For the printing process, see intaglio (printmaking). For the Western art history of engraved prints, see old master print and line engraving

The first evidence for humans engraving patterns is a chiselled shell, dating back between 540,000 and 430,000 years, from Trinil, in Java, Indonesia, where the first Homo erectus was discovered.[2] Hatched banding upon ostrich eggshells used as water containers found in South Africa in the Diepkloof Rock Shelter and dated to the Middle Stone Age around 60,000 BC are the next documented case of human engraving.[3] Engraving on bone and ivory is an important technique for the Art of the Upper Paleolithic, and larger engraved petroglyphs on rocks are found from many prehistoric periods and cultures around the world.

In antiquity, the only engraving on metal that could be carried out is the shallow grooves found in some jewellery after the beginning of the 1st Millennium B.C. The majority of so-called engraved designs on ancient gold rings or other items were produced by chasing or sometimes a combination of lost-wax casting and chasing. Engraved gem is a term for any carved or engraved semi-precious stone; this was an important small-scale art form in the ancient world, and remained popular until the 19th century.

Battle of Engravers by George Cruikshank 1828
Battle of Engravers, satirical etching by George Cruikshank, showing hypothetical battle between the engravers, including William Hogarth, Antoine Masson, William Woollett, Jean-Joseph Balechou, Albrecht Dürer and Marcantonio Raimondi.

However the use of glass engraving, usually using a wheel, to cut decorative scenes or figures into glass vessels, in imitation of hardstone carvings, appears as early as the first century AD,[4] continuing into the fourth century CE at urban centers such as Cologne and Rome,[5] and appears to have ceased sometime in the fifth century. Decoration was first based on Greek mythology, before hunting and circus scenes became popular, as well as imagery drawn from the Old and New Testament.[5] It appears to have been used to mimic the appearance of precious metal wares during the same period, including the application of gold leaf, and could be cut free-hand or with lathes. As many as twenty separate stylistic workshops have been identified, and it seems likely that the engraver and vessel producer were separate craftsmen.[4]

In the European Middle Ages goldsmiths used engraving to decorate and inscribe metalwork. It is thought that they began to print impressions of their designs to record them. From this grew the engraving of copper printing plates to produce artistic images on paper, known as old master prints, in Germany in the 1430s. Italy soon followed. Many early engravers came from a goldsmithing background. The first and greatest period of the engraving was from about 1470 to 1530, with such masters as Martin Schongauer, Albrecht Dürer, and Lucas van Leiden.

Rembrandt - self portrait etching
Modern impression of Rembrandt's 1639 self-portrait, with the engraving plate.

Thereafter engraving tended to lose ground to etching, which was a much easier technique for the artist to learn. But many prints combined the two techniques: although Rembrandt's prints are generally all called etchings for convenience, many of them have some burin or drypoint work, and some have nothing else. By the nineteenth century, most engraving was for commercial illustration.

Before the advent of photography, engraving was used to reproduce other forms of art, for example paintings. Engravings continued to be common in newspapers and many books into the early 20th century, as they were cheaper to use in printing than photographic images.

Many classic postage stamps were engraved, although the practice is now mostly confined to particular countries, or used when a more "elegant" design is desired and a limited color range is acceptable.

Buffalo nickles
Buffalo nickels, coins customised with engraving tools

Modifying the relief designs on coins is a craft dating back to the 18th century and today modified coins are known colloquially as hobo nickels. In the United States, especially during the Great Depression, coin engraving on the large-faced Indian Head nickel became a way to help make ends meet. The craft continues today, and with modern equipment often produces stunning miniuture sculptural artworks and floral scrollwork.[6]

During the mid-20th century, a renaissance in hand-engraving began to take place. With the inventions of pneumatic hand-engraving systems that aided hand-engravers, the art and techniques of hand-engraving became more accessible.

Music engraving

The first music printed from engraved plates dates from 1446 and most printed music was produced through engraving from roughly 1700–1860. From 1860–1990 most printed music was produced through a combination of engraved master plates reproduced through offset lithography.

The first comprehensive account is given by Mme Delusse in her article "Gravure en lettres, en géographie et en musique" in Diderot's Encyclopedia. The technique involved a five-pointed raster to score staff lines, various punches in the shapes of notes and standard musical symbols, and various burins and scorers for lines and slurs. For correction, the plate was held on a bench by callipers, hit with a dot punch on the opposite side, and burnished to remove any signs of the defective work. The process involved intensive pre-planning of the layout, and many manuscript scores with engraver's planning marks survive from the 18th and 19th centuries.[7]

By 1837 pewter had replaced copper as a medium, and Berthiaud gives an account with an entire chapter devoted to music (Novel manuel complet de l'imprimeur en taille douce, 1837). Printing from such plates required a separate inking to be carried out cold, and the printing press used less pressure. Generally, four pages of music were engraved on a single plate. Because music engraving houses trained engravers through years of apprenticeship, very little is known about the practice. Fewer than one dozen sets of tools survive in libraries and museums.[8] By 1900 music engravers were established in several hundred cities in the world, but the art of storing plates was usually concentrated with publishers. Extensive bombing of Leipzig in 1944, the home of most German engraving and printing firms, destroyed roughly half the world's engraved music plates.

Applications today

Ars moriendi (Meister E.S.), L.181
Ars moriendi engraving by Master ES, circa 1450

Examples of contemporary uses for engraving include creating text on jewellery, such as pendants or on the inside of engagement- and wedding rings to include text such as the name of the partner, or adding a winner's name to a sports trophy. Another application of modern engraving is found in the printing industry. There, every day thousands of pages are mechanically engraved onto rotogravure cylinders, typically a steel base with a copper layer of about 0.1 mm in which the image is transferred. After engraving the image is protected with an approximately 6 µm chrome layer. Using this process the image will survive for over a million copies in high speed printing presses. Engraving machines such as GUN BOW (one of the leading engraving brands) are the best examples of hand engraving tools, although this type of machine is typically not used for fine hand engraving. Some schools throughout the world are renowned for their teaching of engraving, like the École Estienne in Paris.

Creating tone

Claude Mellan - Face of Christ - WGA14764
Sudarium of Saint Veronica by Claude Mellan (1649), a famous showpiece where the image is formed by a single continuous line, starting on the tip of Christ's nose.

In traditional engraving, which is a purely linear medium, the impression of half-tones was created by making many very thin parallel lines, a technique called hatching. When two sets of parallel-line hatchings intersected each other for higher density, the resulting pattern was known as cross-hatching. Patterns of dots were also used in a technique called stippling, first used around 1505 by Giulio Campagnola. Claude Mellan was one of many 17th-century engravers with a very well-developed technique of using parallel lines of varying thickness (known as the "swelling line") to give subtle effects of tone (as was Goltzius) – see picture below. One famous example is his Sudarium of Saint Veronica (1649), an engraving of the face of Jesus made from a single spiraling line that starts at the tip of Jesus's nose.

Biblical references

The earliest allusion to engraving in the Bible may be the reference to Judah's seal ring (Ge 38:18), followed by (Ex 39.30). Engraving was commonly done with pointed tools of iron or even with diamond points. (Jer 17:1).

Each of the two onyx stones on the shoulder-pieces of the high priest’s ephod was engraved with the names of six different tribes of Israel, and each of the 12 precious stones that adorned his breastpiece was engraved with the name of one of the tribes. The holy sign of dedication, the shining gold plate on the high priest's turban, was engraved with the words: "Holiness belongs to Adonai." Bezalel, along with Oholiab, was qualified to do this specialized engraving work as well as to train others.—Ex 35:30–35; 28:9–12; 39:6–14, 30.

Noted engravers

WIERIX, Hieronymus St Michael Slaying the Dragon 1584
St Michael Slaying the Dragon, 1584, Hieronymus Wierix

Prints:

Paul Gustave Louis Christophe Doré III
Don Quixote engraving by Paul Gustave Doré

Of gems:

Of guns:

Of coins:

Of postage stamps:

Of pins:

See also

References

  1. ^ "Abraham Bosse". Bibliothèque nationale de France. 1645. Retrieved 15 July 2008.
  2. ^ World's oldest engraving discovered, Australian Geographic, 4 December 2014
  3. ^ Texier PJ, Porraz G, Parkington J, Rigaud JP, Poggenpoel C, Miller C, Tribolo C, Cartwright C, Coudenneau A, Klein R, Steele T, Verna C. (2010). "A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa". Proceedings of the National Academy of Sciences USA. doi:10.1073/pnas.0913047107 PMID 20194764
  4. ^ a b Caron, B., A Roman Figure-Engraved Glass Bowl. Metropolitan Museum Journal, 1993. 28: p. 47–55.
  5. ^ a b Fleming, S.J., Roman Glass; reflections on cultural change. 1999, Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology.
  6. ^ Elaborate Floral Scrollwork Engraved on Coins by Shaun Hughes embellishing existing coin faces with different styles of floral scrollwork (2016). Retrieved May 27 2018
  7. ^ Poole, H. Edmund (1980). Music Printing and Publishing. New York: Norton. pp. 40–54.
  8. ^ Gamble, William (1923). Music Engraving and Printing: Historical and Technical Treatise. London: Pitman.

External links

Bureau of Engraving and Printing

The Bureau of Engraving and Printing (BEP) is a government agency within the United States Department of the Treasury that designs and produces a variety of security products for the United States government, most notable of which is Federal Reserve Notes (paper money) for the Federal Reserve, the nation's central bank. In addition to paper currency, the BEP produces Treasury securities; military commissions and award certificates; invitations and admission cards; and many different types of identification cards, forms, and other special security documents for a variety of government agencies. The BEP does not produce coins; all coinage is produced by the United States Mint. With production facilities in Washington, D.C., and Fort Worth, Texas, the Bureau of Engraving and Printing is the largest producer of government security documents in the United States.

Burin (engraving)

In engraving, a burin (, from the French burin, also used for "cold chisels") is a steel cutting tool which is the essential tool of the form.

Burin (lithic flake)

In the field of lithic reduction, a burin (from the French burin, meaning "cold chisel" or modern engraving burin) is a type of handheld lithic flake with a chisel-like edge which prehistoric humans used for engraving or for carving wood or bone.

Burins exhibit a feature called a "burin spall", in which toolmakers strike a small flake obliquely from the edge of the burin flake in order to form the graving edge.

Drypoint

Drypoint is a printmaking technique of the intaglio family, in which an image is incised into a plate (or "matrix") with a hard-pointed "needle" of sharp metal or diamond point. In principle the method is practically identical to engraving. The difference is in the use of tools, and that the raised ridge along the furrow is not scraped or filed away as in engraving. Traditionally the plate was copper, but now acetate, zinc, or plexiglas are also commonly used. Like etching, drypoint is easier to master than engraving for an artist trained in drawing because the technique of using the needle is closer to using a pencil than the engraver's burin.

The term is also used for inkless scratched inscriptions, such as glosses in manuscripts.

Engraved gem

An engraved gem, frequently referred to as an intaglio, is a small and usually semi-precious gemstone that has been carved, in the Western tradition normally with images or inscriptions only on one face. The engraving of gemstones was a major luxury art form in the Ancient world, and an important one in some later periods.Strictly speaking, engraving means carving in intaglio (with the design cut into the flat background of the stone), but relief carvings (with the design projecting out of the background as in nearly all cameos) are also covered by the term. This article uses cameo in its strict sense, to denote a carving exploiting layers of differently coloured stone. The activity is also called gem carving and the artists gem-cutters. References to antique gems and intaglios in a jewellery context will almost always mean carved gems; when referring to monumental sculpture, counter-relief, meaning the same as intaglio, is more likely to be used. Vessels like the Cup of the Ptolemies and heads or figures carved in the round are also known as hardstone carvings.

Glyptics or glyptic art covers the field of small carved stones, including cylinder seals and inscriptions, especially in an archaeological context. Though they were keenly collected in antiquity, most carved gems originally functioned as seals, often mounted in a ring; intaglio designs register most clearly when viewed by the recipient of a letter as an impression in hardened wax. A finely carved seal was practical, as it made forgery more difficult – the distinctive personal signature did not really exist in antiquity.

Gules

In heraldry, gules () is the tincture with the colour red. It is one of the class of five dark tinctures called "colours", the others being

azure (blue), sable (black), vert (green) and purpure (purple).

In engraving, it is sometimes depicted by hatching of vertical lines. In "trick" or "tricking" (abbreviations written in areas to indicate their tinctures) it is marked with gu..

Hatching

Hatching (hachure in French) is an artistic technique used to create tonal or shading effects by drawing (or painting or scribing) closely spaced parallel lines. (It is also used in monochromatic heraldic representations to indicate what the tincture of a "full-colour" emblazon would be.) When lines are placed at an angle to one another, it is called cross-hatching.

Hatching is especially important in essentially linear media, such as drawing, and many forms of printmaking, such as engraving, etching and woodcut. In Western art, hatching originated in the Middle Ages, and developed further into cross-hatching, especially in the old master prints of the fifteenth century. Master ES and Martin Schongauer in engraving and Erhard Reuwich and Michael Wolgemut in woodcut were pioneers of both techniques, and Albrecht Dürer in particular perfected the technique of crosshatching in both media.

Artists use the technique, varying the length, angle, closeness and other qualities of the lines, most commonly in drawing, linear painting and engraving.

Intaglio (printmaking)

Intaglio ( in-TAL-ee-oh; Italian: [inˈtaʎʎo]) is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print.

Normally, copper or zinc plates are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collagraphs may also be printed as intaglio plates.

Laser engraving

Laser engraving, which is a subset of laser marking, is the practice of using lasers to engrave an object. Laser marking, on the other hand, is a broader category of methods to leave marks on an object, which also includes color change due to chemical/molecular alteration, charring, foaming, melting, ablation, and more. The technique does not involve the use of inks, nor does it involve tool bits which contact the engraving surface and wear out, giving it an advantage over alternative engraving or marking technologies where inks or bit heads have to be replaced regularly.

The impact of laser marking has been more pronounced for specially designed "laserable" materials and also for some paints. These include laser-sensitive polymers and novel metal alloys.

The term laser marking is also used as a generic term covering a broad spectrum of surfacing techniques including printing, hot-branding and laser bonding. The machines for laser engraving and laser marking are the same, so that the two terms are sometimes confused by those without knowledge or experience in the practice.

Line engraving

Line engraving is a term for engraved images printed on paper to be used as prints or illustrations. The term is now much less used and when is, it is mainly in connection with 18th or 19th century commercial illustrations for magazines and books, or reproductions of paintings.

Steel engraving is an overlapping term, for images that in fact are often mainly in etching, mostly used for banknotes, illustrations for books, magazines and decorative prints, often reproductive, from about 1820 to the early 20th century, when the technique became less used. Copperplate engraving is another somewhat outdated term for engravings. With photography long established, engravings made today are nearly all artistic ones in printmaking, but the technique is not as common as it used to be; more than other printmaking techniques, engraving requires great skill and much practice, even for an experienced artist.

Music engraving

Music engraving is the art of drawing music notation at high quality for the purpose of mechanical reproduction. The term music copying is almost equivalent—though music engraving implies a higher degree of skill and quality, usually for publication. The name of the process originates in plate engraving, a widely used technique dating from the late sixteenth century. The term engraving is now used to refer to any high-quality method of drawing music notation, particularly on a computer ("computer engraving" or "computer setting") or by hand ("hand engraving").

Old master print

An old master print is a work of art produced by a printing process within the Western tradition. The term remains current in the art trade, and there is no easy alternative in English to distinguish the works of "fine art" produced in printmaking from the vast range of decorative, utilitarian and popular prints that grew rapidly alongside the artistic print from the 15th century onwards. Fifteenth-century prints are sufficiently rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term.

The main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are often combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, old master prints are printed on paper. This article is concerned with the artistic, historical and social aspects of the subject; the article on printmaking summarizes the techniques used in making old master prints, from a modern perspective.

Many great European artists, such as Albrecht Dürer, Rembrandt, and Francisco Goya, were dedicated printmakers. In their own day, their international reputations largely came from their prints, which were spread far more widely than their paintings. Influences between artists were also mainly transmitted beyond a single city by prints (and sometimes drawings), for the same reason. Prints therefore are frequently brought up in detailed analyses of individual paintings in art history. Today, thanks to colour photo reproductions, and public galleries, their paintings are much better known, whilst their prints are only rarely exhibited, for conservation reasons. But some museum print rooms allow visitors to see their collection, sometimes only by appointment, and large museums now present great numbers of prints online in very high-resolution enlargeable images.

Presidents of the United States on U.S. postage stamps

Presidents of the United States have frequently appeared on U.S. postage stamps since the mid–1800s. The United States Post Office released its first two postage stamps in 1847, featuring George Washington on one, and Benjamin Franklin on the other. The advent of presidents on postage stamps has been definitive to U.S. postage stamp design since the first issues were released and set the precedent that U.S. stamp designs would follow for many generations.

The paper postage stamp itself was born of utility (in England, 1840), as something simple and easy to use was needed to confirm that postage had been paid for an item of mail. People could purchase several stamps at one time and no longer had to make a special trip to pay for postage each time an item was mailed. The postage stamp design was usually printed from a fine engraving and were almost impossible to forge adequately. This is where the appearance of presidents on stamps was introduced. Moreover, the subject theme of a president, along with the honors associated with it, is what began to define the stamp issues in ways that took it beyond the physical postage stamp itself and is why people began to collect them. There exist entire series of stamp issues whose printing was inspired by the subject alone.

The portrayals of Washington and Franklin on U.S. postage are among the most definitive of examples and have appeared on numerous postage stamps. The presidential theme in stamp designs would continue as the decades passed, each period issuing stamps with variations of the same basic presidential-portrait design theme. The portrayals of U.S. presidents on U.S. postage has remained a significant subject and design theme on definitive postage throughout most of U.S. stamp issuance history.Engraved portrayals of U.S. presidents were the only designs found on U.S. postage from 1847 until 1869, with the one exception of Benjamin Franklin, whose historical stature was comparable to that of a president, although his appearance was also an acknowledgement of his role as the first U. S. Postmaster General. During this period, the U.S. Post Office issued various postage stamps bearing the depictions of George Washington foremost, Benjamin Franklin, Thomas Jefferson, Andrew Jackson, and Abraham Lincoln, the last of whom first appeared in 1866, one year after his death. After twenty-two years of issuing stamps with only presidents and Franklin, the Post Office in 1869 issued a series of eleven postage stamps that were generally regarded by the American public as being abruptly different from the previous issues and whose designs were considered at the time to be a break from the tradition of honoring American forefathers on the nation's postage stamps. These new issues had other nonpresidential subjects and a design style that was also different, one issue bearing a horse, another a locomotive, while others were depicted with nonpresidential themes. Washington and Lincoln were to be found only once in this series of eleven stamps, which some considered to be below par in design and image quality. As a result, this pictographic series was met with general disdain and proved so unpopular that the issues were consequently sold for only one year where remaining stocks were pulled from post offices across the United States.In 1870 the Post Office resumed its tradition of printing postage stamps with the portraits of American Presidents and Franklin but now added several other famous Americans, including Henry Clay, Daniel Webster, Alexander Hamilton and General Winfield Scott among other notable Americans. Indeed, the balance had now shifted somewhat; of the ten stamps issued in 1870, only four offered presidential images. Moreover, presidents also appeared on less than half of the denominations in the definitive sets of 1890, 1917, 1954 and 1965, while occupying only a slight majority of values in the definitive issues of 1894–98, 1902 and 1922–25.

Presidential images did, however, overwhelmingly dominate the definitive sets released in 1908 and 1938: on the former, 10 of the 11 stamps offered the same image of Washington, while in the 1938 "prexies" series, 29 of the 32 stamps presented busts of presidents. The 1975 Americana Series marked a clear end to this tradition, being the first U.S. definitive issue on which no presidential portrait appeared; and presidents played only a minor role in the subsequent Great Americans series.

Every U.S. president who was deceased as of 2016 has appeared on at least one U.S. postage stamp, and all but Richard Nixon and Gerald Ford have appeared on at least two. George H. W. Bush, who died November 30, 2018, is the only deceased president to not yet be featured on a U.S. postage stamp.

Printmaking

Printmaking is the process of creating artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a "copy" but rather is considered an "original". This is because typically each print varies to an extent due to variables intrinsic to the printmaking process, and also because the imagery of a print is typically not simply a reproduction of another work but rather is often a unique image designed from the start to be expressed in a particular printmaking technique. A print may be known as an impression. Printmaking (other than monotyping) is not chosen only for its ability to produce multiple impressions, but rather for the unique qualities that each of the printmaking processes lends itself to.

Prints are created by transferring ink from a matrix or through a prepared screen to a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screenprinting process. Other types of matrix substrates and related processes are discussed below.

Multiple impressions printed from the same matrix form an edition. Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then destroyed so that no more prints can be produced. Prints may also be printed in book form, such as illustrated books or artist's books.

Seal script

Seal script (Chinese: 篆書; pinyin: zhuànshū) is an ancient style of writing Chinese characters that was common throughout the latter half of the 1st millennium BCE. It evolved organically out of the Zhou dynasty script. The Qin variant of seal script eventually became the standard, and was adopted as the formal script for all of China during the Qin dynasty. It was still widely used for decorative engraving and seals (name chops, or signets) in the Han dynasty. The literal translation of the Chinese name for seal script, 篆書 (zhuànshū), is decorative engraving script, a name coined during the Han dynasty, which reflects the then-reduced role of the script for the writing of ceremonial inscriptions.

Society of Wood Engravers

The Society of Wood Engravers was founded in 1920 by the artists Noel Rooke and Robert Gibbings, who were the driving force behind the society, and Edward Gordon Craig, E.M.O'R. Dickey, Eric Gill, Philip Hagreen, Sydney Lee, John Nash, Lucien Pissarro, and Gwen Raverat. The aim of the society has been to promote original white line wood engravings, designed and engraved by the artist, as opposed to the wood engravings of the nineteenth century, where skilled craftsmen engraved the design of the artist. The impetus behind this new philosophy was Rooke.

The Society went into abeyance during the 1960s, but was revived in 1984 by Hilary Paynter. It publishes a bulletin called Multiples.

The Annual Exhibition of the Society tours the UK. In November and December 2017, the 80th Annual Exhibition is being held in Petworth, West Sussex.

Notable former Members include:

Robert Gibbings

Eric Gill

Philip Hagreen

David Jones

Sydney Lee

John Nash

Paul Nash

Iain Macnab

Gwenda Morgan

Lucien Pissarro

Gwen Raverat

Hester Sainsbury

Leon Underwood

Stationery

Stationery is a mass noun referring to commercially manufactured writing materials, including cut paper, envelopes, writing implements, continuous form paper, and other office supplies. Stationery includes materials to be written on by hand (e.g., letter paper) or by equipment such as computer printers.

Wood engraving

Wood engraving is a printmaking and letterpress printing technique, in which an artist works an image or matrix of images into a block of wood. Functionally a variety of woodcut, it uses relief printing, where the artist applies ink to the face of the block and prints using relatively low pressure. By contrast, ordinary engraving, like etching, uses a metal plate for the matrix, and is printed by the intaglio method, where the ink fills the valleys, the removed areas. As a result, wood engravings deteriorate less quickly than copper-plate engravings, and have a distinctive white-on-black character.

Thomas Bewick developed the wood engraving technique at the end of the 18th century. His work differed from earlier woodcuts in two key ways. First, rather than using woodcarving tools such as knives, Bewick used an engraver's burin (graver). With this, he could create thin delicate lines, often creating large dark areas in the composition. Second, wood engraving traditionally uses the wood's end grain—while the older technique used the softer side grain. The resulting increased hardness and durability facilitated more detailed images.

Wood-engraved blocks could be used on conventional printing presses, which were going through rapid mechanical improvements during the first quarter of the 19th century. The blocks were made the same height as, and composited alongside, movable type in page layouts—so printers could produce thousands of copies of illustrated pages with almost no deterioration. The combination of this new wood engraving method and mechanized printing drove a rapid expansion of illustrations in the 19th century. Further, advances in stereotype let wood-engravings be reproduced onto metal, where they could be mass-produced for sale to printers.

By the mid-19th century, many wood engravings rivaled copperplate engravings. Wood engraving was used to great effect by 19th-century artists such as Edward Calvert, and its heyday lasted until the early and mid-20th century when remarkable achievements were made by Eric Gill, Eric Ravilious and others. Though less used now, the technique is still prized in the early 21st century as a high-quality specialist technique of book illustration, and is promoted, for example, by the Society of Wood Engravers, who hold an annual exhibition in London and other British venues.

Woodcut

Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.

Multiple colors can be printed by keying the paper to a frame around the woodblocks (using a different block for each color). The art of carving the woodcut can be called "xylography", but this is rarely used in English for images alone, although that and "xylographic" are used in connection with block books, which are small books containing text and images in the same block. They became popular in Europe during the latter half of the 15th century. A single-sheet woodcut is a woodcut presented as a single image or print, as opposed to a book illustration.

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