A
few traditional approaches for representing different fabrics as illustrated in the engraving,
“The Elements of Line Engraving” and discussed in Philip Gilbert Hamerton’s (1892)
“Drawing & Engraving: A Brief Exposition of Technical Principles &
Practice” (London, Adam and Charles Black) pp.169–70.
Note: I have previously
listed a print by Léopold Flameng, "L'Angélique, 1863, after Ingres; see https://www.printsandprinciples.com/2017/04/leopold-flamengs-etching-langelique.html.
1.
Rendering Velvet: “The first lines are heavily engraved … interlined
with finer lines and then crossed with a second shading.” Importantly, “the
first lines follow the folds, and so are explanatory of form … the second
[finer lines] are added for local colour and texture.” As is always the case
when crossing lines, the created lozenge shapes should not too elongated “as elongated
lozenges produce a moiré effect”.
2. Rendering Satin:
“The engraver begins with strong lines following the curves of the material,
and then he engraves lighter lines between them.”
3. Rendering Cotton
(soft cloth): After the first set of lines are drawn showing the contour
form of the fabric, a second set of lines of the same thickness is angled across
to create a pattern of lozenges. For shadows, a third set of angled lines may
be introduced.
4. Rendering Starched
Fabric: Two sets of lines of different strength are drawn crossing at right
angles with the first set drawn with bolder lines.
5. Rendering Linen:
A single set of evenly spaced lines are drawn at the same angle.
