Drypoint and Mezzotint Engraving Techniques Explained
Drypoint Engraving: A Detailed Look
In drypoint engraving, burrs can be left or removed with a scraper. The most characteristic effect of drypoint is obtained by leaving the filings formed on the sides of the groove. These filings, also known as burrs, hold ink, which gives a print a broad and diffused line, similar in softness to etching.
Another feature of the drypoint impression is the appearance of two white fillets between the two faded marks from the burr and the peaks corresponding to the edges, as they are the first to be cleaned of ink. The burrs have a limitation, as they are fragile and will crush easily (lasting 20 to 30 rolls). Today, they are often reinforced with electrolysis.
The line of drypoint is thin, very black, and freer than that of a burin due to the ease of working with the tool. It can be confused with etching. Drypoint was initially designed as a complement to burin work and used to obtain more precise feathering. It was used in the late Quattrocento and by artists like Dürer and other engravers of the 16th century, but it was initially unattractive due to the issue of the burr. Later, it was revalued by Rembrandt, who appreciated the smooth bill and sometimes used it independently and other times in combination with etching.
After the 17th century, drypoint was used only as a complement to other techniques until the late 19th century when it was revalued again. Examples include works by Munch, the Nabis, the German Expressionists, and others.
Process of Creating a Drypoint Print
Here is a process for making a copper engraving using the drypoint technique.
Mezzotint: The Art of Black Manner
Mezzotint, also known as mezzo ink or black manner, originated in Germany in the mid-17th century and was perfected in the Netherlands in the second half of the 17th century by artists such as C. Dusart and A. Blooteling. From Holland, it went to England, where it achieved great success in the 18th and 19th centuries. It was especially used by engravers of the workshops of Reynolds and Gainsborough.
This technique was mainly used to reproduce paintings and achieve shades and shadows, in contrast to the linear nature of burin and drypoint. It also reflects the 18th-century tendency to overcome the limitations of exclusively linear engraving. It is called “black manner” because a plate prepared with the rocker gives only black. Passing the rocker over the plate produces roughness (grain), which results in a black color in print. The next operation is to crush the grain to create whites and thereby achieve shades and shadows, unlike the linear results of burin and drypoint.
Materials Used in the Mezzotint Process
- Rocker (Berceau): Used to create the initial rough surface.
- Rocker Profile: Shows the lines etched on the rocker to form the tips, with a chamfer on the lines and a small corner for sharpening.
- Small Rocker: Used to add grain.
- Burnisher: Used to smooth the plate and create highlights.
- Scraper: Used to remove burrs and refine the image.
Working with a Rocker
The first step is to prepare the copper plate, ensuring its surface is rough. This is achieved using a rocker (berceau, rocker, Wiegestahl), whose function is to create points on the plate with its crescent-shaped gear. The blade is a thick, semicircular harp that forms thin, parallel grooves in the plate.
This preparation, combined with inking, results in a completely black print, a deep and velvety black.
Method of Work
The rocker is passed over the plate first in one direction, then perpendicularly, and then diagonally. This is repeated about 20 times, representing 60 passes, ensuring the entire surface of the plate is finely granulated. From there, the engraver’s work truly begins, eliminating roughness to create midtones and whites. The image is further refined with a burnisher or scraper. If printed without removing the granules, a textured stain is obtained.