CHAPTER V.
THE NEW HOME PRINTING PROCESS.
There is a method of making reproductions from photographs without any photographing process further than that required to supply the print. Any good photograph with a matt surface may be traced over with the ink supplied for the purpose by the inventor of the process, or with the ordinary lithographic autographic ink, which comes in sticks like India-ink, and then the superfluous portions faded away (or not) as directed on a preceding page. From that or from a crayon sketch, music, a written letter, plans, or circulars, in fact, from anything written with the proper ink with a pen or printed, reproductions may be made. The principal appliances needed are the “Universal Copying Machine” and its accessories.
Where the results desired need not be of as high a grade as those made by the Collotype processes, or where there is not time to make a zinc etching, this method will serve a good purpose and produce satisfactory results. The zinc plates used for etching will serve to hold the transfers. The methods for cleaning the plates, already given, will serve here also. The machine should be securely fastened to a table and _the bearings must be kept well oiled_.
Write, draw, or trace the original with a steel pen and the ink, on well calendered paper, not too thick. For drawing, a fine pen is the best. Then lay it, written side up, in a shallow dish, cover the paper with the transfer solution, leave it from four to five minutes. If the writing is several days old, leave it longer—about ten minutes. Lay it between blotting paper and dry gently by rubbing with the hand or a cloth. Then lay it, written side down, upon the polished plate, pass it from four to six times under the iron roller, having first placed a pasteboard over it. To prevent slipping, it is well to cover the original with a sheet of blotting paper before putting the pasteboard |179| over it. If you are not sure your press is screwed up evenly, run the plate through two or three times, then turn it end for end and pass it through as many times the other way.
Place upon the small distributing roller as much printer’s ink as will go upon the point of a knife, then holding the handle with the left hand, press it upon the inking roller, and turn the crank, moving the distributing roller from side to side, until the ink is evenly distributed.
See that the rollers are an equal distance apart at each end, so as to print evenly. The original is now carefully removed.
After washing the plate gently with a sponge and water and drying it, also gently, with a clean cloth, rub the whole printed or written side of the plate, by means of a cloth or sponge, with mixture No. 1, not pouring the mixture directly upon the writing, but upon an unprinted place upon the surface and rubbing over the whole plate. Wash off immediately with sponge and water, and dry gently; then pour about twenty drops of No. 2 upon the plate, not directly upon the print, and rub over the whole surface, so that there is a thin coating of it over the whole surface. This prevents the ink from sticking to the part of the plate not covered with writing or print. If there is too much, the paper of the copies will be yellow, and the negative may be injured.
Now lay the plate upon the pasteboard and pass it under the inking roller (the pressure does not need to be strong); it falls before the iron roller; place a sheet of clean paper upon the negative, lay a pasteboard over it, and pass it under the roller. For the first impression it is well to pass it under several times, until the negative comes out clearly and distinctly. From time to time, after every ten or twelve impressions, apply No. 2; if the paper used for printing is very coarse or porous, it may be necessary to apply No. 2 oftener.
As soon as the impressions become faint, apply a little more ink in the manner described. After applying fresh ink, apply No. 2. Only when too much ink is put on or unevenly distributed, or when the plate is not covered with the thin coating of No. 2, or not properly cleaned, can the negative or plate become soiled. If this should happen from any of these causes, remove the spots carefully by means of a cloth wet with preparation No. 2.
If the ink hardens on the rollers remove it with lye or washing soda.
If you wish to interrupt the work, the plate must be washed with a wet sponge, to remove the preparation, and then dried with a cloth. On using again, apply No. 2, as before. If the plate has not been used for several days, apply both No. 1 and No. 2. Do not use woollen cloths.
The mixtures No. 1 and No. 2 are supplied with the press. |180|
Thus it will be seen that photographs may be reproduced by many processes and in quantities to accommodate all sorts of demands. As an averment of what the future holds, our book is brought to a close by the following quotation from a recent issue of a daily newspaper:
“Some time ago the _Evening Post_ gave an account of a new process by which books were being reproduced in this country directly from photographic plates, and it was said that the field for such business would probably grow in proportion to the ease and certainty with which this kind of work could be done. Under this process the most important work issued so far has been seventeen volumes of the _Encyclopædia Britannica_, this production being sold at half the price asked for an American reprint already in the market, and at one-third of the price of the imported book. In order to make this reproduction, the sheets of the English volume are carefully photographed, and the glass negative placed over a thick sheet of specially prepared gelatine and exposed to the sun. Wherever the dark film upon the glass negative prevents the light from reaching the surface of the gelatine, this substance remains insoluble in water. Wherever the light penetrates, the gelatine undergoes a chemical change which makes it soluble. After an exposure to the sun or electric light for some minutes, the gelatine sheet is washed with water and the result is a plate in relief, every black line upon the glass negative being in high relief, and everything else washing away under the sponge.
“Until the last few years, it had been very difficult to get this relief sufficient to print from, but by improvements in the process effected by a number of different inventors, this result has been obtained. The gelatine sheet having been hardened, an electrotype is made from it which is put into the printing press. Owing to chance, the gelatine sheet itself was used one day for printing from directly, and it was found that a larger number of good copies could be made from the gelatine direct than from the hardest electrotype. The only drawback to the use of the gelatine plate itself in the printing press is its liability to crack, for no reason that has as yet been discovered. If some way is found of making the gelatine plate durable, it would be used entirely in place of an electrotype, as it costs almost nothing and can be made quicker than an electrotype.”
The way has been “found” and zinc etching is doing the work.
Finally, the essays of John Burnet, “On the Education of the Eye,” “On Composition,” and “On Light and Shade,” copies of which are hard to get for $100, have recently been reproduced by one of the processes given in this book, full size, and is sold at $4.00. There is a great future ahead for all process work.
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INDEX.
Acid, lateral action of the, 80
Acids, on the use of, 100
Actinometer, to make an, 107
Air brush, grain with the, 100
Albumen, coating the zinc plate with sensitive, 41 ― etching in half tone, 69 ― printing on the zinc in, 45
Albumenized zinc plate, inking the, 46
Albumenizing the glass plate, 21
Alcohol lamp, the, 98
All sources, hints from, 94
Apparatus etching, 97 ― for printing upon zinc, 39
Appliances for making negatives, 9
As to the drawing, 94
Austrian method, etching on, 84 ― middle etching, 87
Bath, the nitrate of silver, 12, 16, 27
Beer, preliminary coating of, 164, 170
Bitumen, printing on zinc in, 48 ― etching in half tone, 70 ― image on zinc, developing the, 50 ― solution, to make the, 48
Black process, Colas’s, 109
Blackening in with a sponge, 78
Block, printing from the half tone, 72
Board, the developing, 141
Box, the best drying, 99
Bridge, the calibre, 93
Calibre-bridge, the, 93
Camera, the enlarging, 67
Carbon printing, 106 ― tissue for reproductions, 32
Chiseling illustrated, 90
Clean etching, 91
Clearing solution, the, 18 ― the glass, 21
Coating the zinc plate with sensitive albumen, 41
Colas’s black process, 109
Collodion process, the wet, 11 ― film, protecting the, 20 ― ― stripping, 34
Collotype process, the, 163 ― ― sensitizing solution for, 164 ― film, exposure at the back of the, 166 ― ― exposure of the, 165 ― operations, the, 167 ― plate, printing from the, 171 ― ― the finished, 67 ― process, drying oven for the, 167, 174
Copper, mordants for, 112 ― photo-engraving on, 119 ― ― in line, 119 ― relief, mordants for, 113 ― solution, etching with sulphate of, 103
Damping fluids for collotype printing, 173
Dark-room, the, 25
Deep etching, 89
Developer for wet plates, 24 ― for gelatine dry plates, 30
Developing the albumen image on the zinc plate, 42 ― the bitumen image on the zinc plate, 50 ― the paper transfer, 138
Developing-board, the, 141
Difference in processes, the, 117
Direct transfers to zinc, 51
Drawing, transfer of the, 83 ― as to the, 94 ― treatment of the, 73
Drawings, Colas’s process for reproducing, 109 ― for photo-engraving, 51, 73 ― the reversal of, 96
Dry plates in photo-engraving, 29
Drying-box, the best, 99
Drying oven for the collotype process, 167, 174 ― the zinc plate, 42
Dusting-box, the, 124
Dusting sieve, 98 ― the transfers, 54
Electrotype methods for half-tone intaglios, 127
Engraving, photo-, in half tone, 63
Enlarging camera, the, 68
Etching apparatus, 97 ― clean, 91 ― cleaning the, with a scraper, 88 ― deep, 89 ― ― illustrated, 90 ― finishing and mounting the, 92 ― fluids for collotype prints, 173 ― galvanic process of, 101 ― in half-tone (albumen), 69 ― ― ― (bitumen), 70 ― in relief, high, 104 ― intermediate treatment, 79 ― line transfers, 55 ― manipulations of the process of, 93 ― middle, Austrian method, 87 ― ― and deep, illustrated, 88 ― mordants for, 109 ― ― for electric, 113 ― ― for relief, 113 ― ― for tint, 113 ― ― for zinc, 115 ― on copper, 121 ― order of the manipulations, 86 ― round, 88 ― the Austrian method, 84 ― ― illustrated, 88 ― the first zinc, 57 ― the French method of, 76, 80 ― the second zinc, 58 ― with sulphate of copper solution, 103 ― zincographic, 115
Exposed zinc, inking the, 44
Exposure and timing, 43 ― of the collotype film, 166 ― ― ― ― ― at the back, 166
Fading out the photograph, 96
Faults in strengthening, 78
Finishing and mounting the etching, 92
Fixing, solution, the, 18
Fluids, damping, for collotype printing, 173 ― etching, for collotype printing, 173
French method of etching, 76, 80
Further treatment of the transfers, 16
Galvanic process for etching, 102
Gelatine dry plates in photo-engraving, 29
Gillotage (Gillot’s process), 101
Glass, albumenizing the, 22 ― plate, the, 21 ― silvering the, for mirrors, 36
Grain on a negative, to produce, 100
Grained negatives, making, 65 ― ― transparencies for, 66
Graining the zinc plate, 40
Half-tone photo-engraving, 63 ― ― etching in (albumen), 69 ― ― ― ― (bitumen), 70 ― ― block, printing from the, 72 ― ― intaglios, 122, 124 ― photo-lithography in, 143
Heliotype process, the, 152 ― skin, the, 160 ― ― printing the, 158 ― ― mounting on pewter, 159
High etching in relief, 104 ― ― dusting-box for, 124 ― ― electrotype method for, 127
Hints from all sources, 94
Husband’s papyrotint process, 147
Ink for transfers, hard, 55
Inking the exposed zinc, 44 ― transfers, 54
Ink-photos, 144
Intaglios, half-tone, 122, 124 ― dusting-box for, 124 ― electrotype methods for, 127
Intensifier, the, 18
Lamp, the alcohol, 99
Lateral action of the acid, 80
Line, photo-engraving in, 9 ― ― on copper in, 119 ― photo-lithography in, 128
Line transfers, etching, 56 ― ― ink for, 56
Making grained negatives, 65
Manipulations in etching, order of the, 86
Manipulations of the etching process, 93
Manipulations, photographic, 24
Mask, the, 156
Middle etching, Austrian method, 87 ― ― French method, 80
Mirror, the reversing, 10, 35
Mordants for copper, 112 ― for etching, 109
Mounting and finishing the etching, 92 ― the cliché, before, 79 ― the zinc etching, 61
Negative printing, 96 ― ― to produce grain on a, 100 ― transfer process, Toovey’s, 139 ― washing, 19, 28
Negatives, appliances for making, 9 ― making grained, 65 ― screen for grained, 65 ― the reproduction of, 31 ― transparencies for grained, 66
Nitrate of silver bath, the, 12, 16
Oven for the collotype process, drying, 167, 174 ― using the, 168
Paper transfers, 132, 136 ― ― developing the, 138 ― ― ― ― sensitizing solution for, 137
Papyrotint process, Husband’s, 147
Pewter plate, mounting on the, 159 ― ― the, 156
Photo-engraving, half tone, 63
Photo-engraving in line, 9
Photograph, fading out the, 96
Photographic manipulations, 24 ― negatives, appliances for making, 9
Photo-inks, 144
Photo-lithographic transfers, to develop, 140
Photo-lithography in half-tone, 143 ― in line, 129
Plate, graining the zinc, 40 ― the glass, 21 ― the pewter, 156
Polishing the zinc, 39
Pomatum wax, how to make, 81
Positives for negative reproduction, 31
Preparation of the rollers, 154
Preparing the printing press, 176
Printing, carbon, 106 ― collographic, 172 ― ― damping fluids for, 173 ― ― etching fluids for, 173
Printing frame, the, 43
Printing from the collotype plate, 171 ― from the half-tone block, 72 ― press, preparing etchings for, 102 ― ― preparing the, 176 ― process, the new home, 178 ― the heliotype skin, 160 ― upon zinc, apparatus for, 39 ― ― ― in albumen, 45 ― ― ― in bitumen, 48
Processes, the difference in, 117
Process, the collotype, 163 ― the heliotype, 152 ― the wet collodion, 11
Protecting the collodion film, 20
Relief, high etching in, 104
Reproduction of drawings, Colas’s process, 109
Reproduction of negatives, the, 31 ― with carbon positive, 32
Retrospective, half-tone photo-engraving, 63
Reversal of the drawings, 96
Reversing mirror, the, 10, 35
Rollers, the, 153 ― preparation of the, 154
Room, the dark-, 25
Round etching, 90
Running of a workshop, 104
Screen for grained negatives, the, 65
Sensitometer, to make a, 107
Sensitizing solution, a good, 105
Sensitizing solution for paper transfers, 132 ― ― for the collotype process, 165
Sieve, dusting, 98
Silver bath, the nitrate of, 12, 16
Silvering the glass (for mirrors), 26
Skin, the heliotype, 156 ― mounting on pewter, 159 ― printing from the heliotype, 160 ― printing the heliotype, 158
Solution, clearing the, 18 ― developing the, 17 ― fixing the, 18 ― intensifying the, 18
Sources, hints from all, 94
Stereotyping, zinc etching by, 102
Strengthening, faults in, 78 ― French process, 82
Stripping collodion films, 34
Sulphate of copper solution, etching with, 103
Table, the washing, 98
Timing and exposure, 43
Toovey’s negative transfer process, 139
Transfer process, Toovey’s negative, 139 ― and treatment of the drawing, 73 ― of the drawing, 73, 83 ― paper, 132, 136
Transfers, developing the, 138 ― dusting the, 54 ― etching line, 55 ― further treatment of the, 76 ― ink for line, 56 ― inking the, 54 ― photo-litho, 140 ― to develop, 140
Transfers to zinc, direct, 51
Transparencies for grained negatives, 66
Transparencies, how to make, 30
Transparent positive, making the, 120 ― ― sensitizing the, 137
Treatment before mounting, 78
Washing, Austrian process for, 85 ― French process for, 83
Washing table, the, 98 ― the negative, 19
Wax pomatum, how to make, 81
Whirler, the, 42
Work-shop, running of the, 104
Wrinkles and dodges, 105
Zinc, apparatus for printing upon, 39 ― ― direct transfers to, 51 ― etching the first, 57 ― ― by galvanic means, 102 ― ― by stereotyping, 102 ― ― mounting the, 61 ― ― the second, 58 ― ― the manipulations of, 93 ― in albumen, printing on the, 45 ― in bitumen, printing on the, 48 ― inking the exposed, 44 ― plate, developing the albumen image on the, 47 ― ― ― the bitumen image on the, 50 ― ― ― inking the, 54 ― ― graining the, 40 ― ― coating with sensitive albumen, 41 ― ― drying the, 42 ― ― whirling the, 42 ― ― inking the albumenized, 46 ― ― the, to coat with bitumen, 49 ― polishing the, 39 ― preparing on the press, 102
Zincographic etching, 115 ― printing press, the, 62
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