By Douglas Percy Bliss
Housed within the British Museum is a 1300-year-old chinese language manuscript with a dead ringer for Buddha drawn in flowing black traces. This, in keeping with A heritage of wooden Engraving, is the oldest recognized woodcut and the start line for this vigorous heritage of the paintings shape. for centuries, wooden engraving was once the first technique of illustrating books in France, Italy, and the Netherlands. within the 16th century, the German grasp Durer introduced engraving to new inventive heights. in view that then, rankings of precise originals have positioned their very own stamp in this distinct splendidly expressive shape. a typical within the field, A historical past of wooden Engraving offers any paintings lover a trove of eye-catching information—from engraving options, to artist biographies, to private commentary—all expertly defined via Douglas Percy Bliss, a well known painter and engraver in his personal correct. the writer strikes the tale the entire method to sleek instances, with a last bankruptcy on contemporary masters and the way forward for engraving.
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Additional resources for A History of Wood Engraving: The Original Edition
The cut completed. Disengage the saw blade and remove the workpiece. 52 The third flower petal is going to be handled in a slightly different way. I'm going to jump back to the first flower petal and let-in the ebony highlight. Reposition the pattern on the background veneer and transfer the highlights or "veins" of both petals . Turn the background veneer over and place the ebony in position over the flower petal. Tape in place. Notice that much of the waste piece (in the tweezers) is cut away in the saw kerf while the ebony insert piece is finely pointed.
The color and texture of the rosewood helps me determine the other woods to use in the design. Since the top of the leaf is going to be fairly dark, I chose a lighter wood , mahogany, for the underside of the leaf. The red-brown of the mahogany, shown on the left, compliments the rosewood and will help create the illusion of the underside of the leaf curling up. The figured makore has a slightly finer texture than the rosewood and the mahogany and will make a nice stem. This extra layer, which is called a "waster" veneer, supports the insert veneer and prevents the fragile piece from breaking or splintering when being cut.
Ughtly tap with a small hammer for a snug fit. This flowerpetal is drawn behind the adjacent petal. It needs to be the next step so that the adjacent petal can overlap. Press the insert piece into place. Wipe off excess glue. Tape the veneers together. Draw a dotted line to overlap into the smaller petal as well as the adjacent petal. 51 Drill a hole through both veneers along the dotted line. Turn the workpiece over and countersink the hole. This area of the petal bordering the adjacent petal will be shaded to suggest a shadow.
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