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Apart from his prints, there are two proven examples of his work on armour: a shield from 1536 now in the Real Armeria of Madrid and a sword in the Germanisches Nationalmuseum of Nuremberg.
An Augsburg horse armour in the German Historical Museum, Berlin, dating to between 15, is decorated with motifs from Hopfer's etchings and woodcuts, but this is no evidence that Hopfer himself worked on it, as his decorative prints were largely produced as patterns for other craftsmen in various media.
Callot also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done.
This is the technique of letting the acid bite lightly over the whole plate, then stopping-out those parts of the work which the artist wishes to keep light in tone by covering them with ground before bathing the plate in acid again.
In the 18th century, Piranesi, Tiepolo and Daniel Chodowiecki were the best of a smaller number of fine etchers. Carbograph etching was invented in 2006 and yields an image like that of a charcoal drawing: waxy acid-resist, known as a ground, is applied to a metal plate, most often copper or zinc but steel plate is another medium with different qualities. To apply hard ground of this variety, the plate to be etched is placed upon a hot-plate (set at 70 degrees C), a kind of metal worktop that is heated up.
Most of his prints were relatively small—up to about six inches or 15 cm on their longest dimension, but packed with detail.
The process as applied to printmaking is believed to have been invented by Daniel Hopfer (circa 1470–1536) of Augsburg, Germany.
Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates (many of which still exist).
Callot also appears to have been responsible for an improved, harder, recipe for the etching ground, using lute-makers' varnish rather than a wax-based formula.
This enabled lines to be more deeply bitten, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul-biting", where acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image.
One of his followers, the Parisian Abraham Bosse, spread Callot's innovations all over Europe with the first published manual of etching, which was translated into Italian, Dutch, German and English. However, from 1880–1950 a photo-mechanical ("line-block") variant was the dominant form of commercial printing for images.