In Part 1 of this series, we were introduced to the Special Artist whose job it was to sketch the scenes of battle and camp life as history unfolded before their eyes during the American Civil War. Once these sketches were completed by the artist, then what? Thanks to the advent of the telegraph, journalists could send their stories over the wire. Sketches, however, could not. How did these illustrations go from the artist’s sketchbook to being reproduced in the newspapers for the anxiously awaiting public?
Printing block. Camp of the First District Negro Volunteers on Mason’s Island, Opposite Georgetown, D.C. GA*23718.02.
The sketches would be sent back to the newspaper headquarters by the quickest means available. Preferably by railroad, but sometimes by wagon or on horseback. After being approved by the editor, the sketch would be delivered to the staff artists. They would take the field sketch and from it create a detailed drawing, making necessary improvements known as “finishings.”
Printing block. Camp of the First District Negro Volunteers on Mason’s Island, Opposite Georgetown, D.C. GA*23718.02.
Now this detailed drawing was ready for the next step in the printing process known as wood-block engraving. This type of engraving was developed in the 18th century and typically utilized a wood block or blocks made of Turkish Boxwood. This species of wood is very hard and is excellent for engraving. It can also withstand thousands of printings. In order to expedite the process, the block was often made up of ten to twenty (or more) smaller numbered wood blocks bolted together to make one large block the size of the printed illustration. The detailed drawing was then transferred in reverse onto this wood block which had been given a thin coat of Chinese white. The bolts holding the wood block sections together would be removed and each numbered section would be assigned to a particular engraver. Prior to this, a master engraver would make the initial cuts basically as artistic direction for the team of engravers. The engravers would then begin the process of carefully carving away the negative space and leaving the lines of the detailed illustration. When all the engraving was completed, these individual blocks were reassembled like a puzzle, creating the complete finished engraving. The engraved blocks would be loaded onto a cylindrical press along with all the text and the printing of the newspaper or journal would commence. The distribution of the printed news was the next and final step in the process.
Printing block. Camp of the First District Negro Volunteers on Mason’s Island, Opposite Georgetown, D.C. GA*23718.02.
This process, from a field sketch to a printed illustration available for the public to see, could take from one to three weeks. The public could obtain the latest printed news by way of subscription through the Post Office, from a street vender, or from the newspaper office itself. In the army camps, newspaper boys on horseback would bring the latest papers to sell to the soldiers in the field.
Today, many of the sketches made in the field during the Civil War still survive in collections and museums around the country and are well worth viewing.
