The
Tools
The box
of Bewick's tools in the Pease collection is in the condition
he left it at the time of his death in 1828. Though used
specifically for engraving on the end-grain of boxwood,
they are in fact very similar to the range of metal cutting
tools used in copper-engraving (at which, of course, Bewick
was also skilled). The large round object on the left of
the photograph is a leather-covered lead casting used as
a rest for the woodblock while cutting.The block needs frequent
turning and angling, controlled by the left hand, while
the right hand holds the burin or graver which makes the
incisions.
Photograph:
The Pease Collection
Click
for larger image
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The
Materials
Bewick
used boxwood cut across the grain (instead of along the grain).
This is a very hard, close-grained wood which allows for fine-detailed
cutting which will survive many impressions without showing
signs of wear. It has the limitation that box does not grow
normally to a great thickness of bole, so when cut across
to make a block it is rare to find one much larger than 6
inches (15 cms) across and normally they are 3 to 4 inches
(9 to 10 cms). Bewick was not the first to use this material
– it had been used by printers for ornamental letters,
etc., since the late 17th century. He was the first to show
the artistic potential of the medium and indeed the commercial
potential in making illustrated books of high quality at relatively
low prices.
Photograph:
T.N. Lawrence & Son
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The
Methods: Drawing
Bewick started by producing a rough sketch of his subject
on paper for the purpose of arranging the composition. This
would then be re-drawn in 'finished' form on another piece
of paper in the exact size for transfer on to the wood surface.
The transfer drawings might be coloured, though this was not
necessary. The process of transfer to the wood was by blacking
the reverse side with a pencil, laying the paper (right side
up) to the block and using a scriber to follow the outlines
of the drawing hard enough to leave a trace of the blacking
on the wood surface, which was sometimes primed with chalk.
This process actually focussed on the outlines and much of
the detail was transferred simply by eye and memory during
the cutting process.
Photograph:
Iain Bain
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The
Methods: Cutting
Most of Bewick's blocks were cut in the white-line method,
i.e. he would cut away the wood where white was to be seen
in the printed image, leaving a raised surface to take the
ink. This enabled him to deal with flaws in the wood by
adjusting the design to ensure that a white area 'removed'
the flawed patch. He also lowered the surface of the block
in certain areas of the image so as to soften the imprint,
de-emphasise elements of the composition, and re-inforce
the distinction between background and foreground.
Careful
comparative scrutiny of images enables us to recognise individual
styles of cutting, and even changes of style in the same
person as time passes. The block could be set into the forme
(with any type required) for placing in the press.
Photograph:
Joicey Museum
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Copper-engraving
This is an entirely different process, known as intaglio,
using a special press to produce the high pressure required.
The image is cut into the metal plate so that the resulting
hollows can be filled with ink and the top surface wiped
clean to print white in the final print. The paper has to
be dampened and put under pressure, via a roller, to suck
the ink out of the hollows – and the deeper the hollow
the more ink can be sucked up. This cannot be done on the
same machine at the same time as the letterpress printing
(as can be done with the wood block). It can, however, achieve
much finer detail than even the best wood-engraving.
Photograph:
Science Museum, London
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