The Practice of Wood Engraving in the mid-19th Century

Adapted from an article first published in The Illustrated London News, 1844

In the mid-19th century, wood-engraving experienced a revival in Britain, driven by advances in printing technology and renewed artistic interest in the medium. Publications like The Illustrated London News—the first illustrated weekly newspaper—relied heavily on wood-engraved images to bring stories vividly to life. This article, originally published in 1844, offers a detailed account of the technical and artistic practices of the time. It has been condensed and modernised for clarity.

Materials and Woods Used

Boxwood is the material of choice for modern wood-engraving, valued for its density, fine grain, and durability. In earlier periods, including the time of Albrecht Dürer, engravers often used pearwood. The original blocks for The Triumphs of Maximilian, held in the Imperial Library in Vienna, were cut on pearwood. Papillon, writing in 18th-century France, acknowledged box as superior—especially from Provence, Italy, and Spain—although he still noted the occasional use of apple, pear, and service tree.

Modern engraving is done on the cross-section (end-grain) of the boxwood, offering a hard, stable surface. In Papillon’s day, it was common to work along the grain instead. Because box logs are small (rarely more than 5–6 inches in diameter), larger blocks must be meticulously joined from multiple pieces—a task requiring exceptional skill.

The best boxwood is golden throughout and free from defects like specks or rings. Inferior wood may chip, shrink unevenly, or resist clean cutting. Even high-quality blocks are prone to slight warping, which can usually be corrected by resting them face-down or compensating during printing.

Preparing and Drawing on the Block

To reduce glare and aid drawing, artists may whiten the block with a wash of flake white and gum, or use a fine abrasive like Bath brick. Designs are typically sketched in graphite; skies and atmospheric effects may be washed in ink.

A drawing may be beautiful, yet fail in print if not suited to the mechanical demands of the press. Successful wood engraving requires understanding not only art but also the constraints of relief printing. Engravers are often criticised for altering artist drawings, but they insist these changes are sometimes necessary—or even improvements—especially when artists unfamiliar with printing create unworkable images.

Engraving Techniques and Tools

During work, most of the block is covered with paper to protect the drawing. Engravers wear shades to reduce glare and often a card mask to shield the block from moisture on cold days.

To achieve delicate shading, areas of the block may be "lowered" before drawing—carefully shaved so the pressure during printing is reduced. This technique, known to both Bewick and Papillon, is essential for atmospheric effects. A damaged area can also be repaired by inserting a small wooden plug—a process invisible to casual inspection, though faint outlines may remain visible.

Gravers and tint-tools form the engraver’s primary tools. Gravers create defining lines and textures; tint-tools cut parallel lines for tonal shading. Chisels and gouges clear blank areas. True artistry lies in using these tools not just with precision, but expressively—translating texture, mood, and form.

Blocks are held on either a leather sandbag or a pivoting frame. Both systems allow the block to be rotated during work; the sandbag is simpler and more adaptable. For lighting, a lens or water-filled globe may be used to concentrate lamplight.

Proofing and Printing

Proofs are taken using a dauber and burnisher on fine paper. Some engravers are accused of manipulating ink and pressure to improve proofs—creating effects that can’t be reliably reproduced on a press. Thus, printers are sometimes unfairly blamed for disappointing results when the fault lies in unrealistic expectations.

Wood-Engraving and Mass Communication

The core advantage of wood-engraving lies in its compatibility with letterpress. Unlike copperplate, which requires separate handling, wood blocks print simultaneously with text. This makes illustration vastly more affordable—and scalable. The steam press, then in its ascendancy, allowed engraved images to reach tens of thousands of readers.

A crowning example of this ambition was The Illustrated London News’s panoramic View of London, issued in 1843. Assembled from multiple sections of finely joined boxwood, it was the largest engraved block ever produced and demonstrated the full technical and visual power of the medium.

Such achievements positioned wood-engraving not only as a craft but as a vital tool for public education and aesthetic enjoyment. It democratised access to visual culture, allowing high-quality images to reach a mass readership. Artists increasingly recognised its potential, creating designs that translators of the medium—engravers—could adapt and reproduce on an industrial scale.