Stipple engraving is a technique used to create tone in an intaglio print by distributing a pattern of dots of various sizes and densities across the image. The pattern is created on the printing plate either in engraving by gouging out the dots with a burin, or through an etching process.Stippling was used as an adjunct to conventional line engraving and etching for over two centuries, before being developed as a distinct technique in the mid-18th century.
The technique allows for subtle tonal variations and is especially suitable for reproducing chalk drawings.
Early history
Stipple effects were used in conjunction with other engraving techniques by artists as early as Giulio Campagnola (c.1482 – c. 1515) and Ottavio Leoni (1578 – 1630), although some of Campagnola's small prints were almost entirely in stipple. In Holland in the seventeenth century, the printmaker and goldsmith Jan Lutma developed an engraving technique, known as opus mallei, in which the dots are punched into the plate by an awl struck with a hammer, while in England the faces of portraits were engraved with stippled dots by William Rogers in the sixteenth century and Lucas Vorsterman in the seventeenth.
Engraving is the practice of incising a design onto a hard, usually flat surface, by cutting grooves into it. 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 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 It has long been replaced by various photographic processes in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in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.
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.
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").
Traditional engraving techniques
Elements of music engraving style
Mechanical music engraving began in the middle of the fifteenth century. As musical composition increased in complexity, so too did the technology required to produce accurate musical scores. Unlike literary printing, which mainly contains printed words, music engraving communicates several different types of information simultaneously. To be clear to musicians, it is imperative that engraving techniques allow absolute precision. Notes of chords, dynamic markings, and other notation line up with vertical accuracy. If text is included, each syllable matches vertically with its assigned melody. Horizontally, subdivisions of beats are marked not only by their flags and beams, but also by the relative space between them on the page. The logistics of creating such precise copies posed several problems for early music engravers, and have resulted in the development of several music engraving technologies.