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The photographic news
- Bandzählung
- 27.1883
- Erscheinungsdatum
- 1883
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- urn:nbn:de:bsz:14-db-id1780948042-188300004
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- http://digital.slub-dresden.de/id1780948042-18830000
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- oai:de:slub-dresden:db:id-1780948042-18830000
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- Bandzählung
- No. 1281, March 22, 1883
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The photographic news
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- Titelblatt Titelblatt I
- Register Index III
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8 ce is P h n y 0 .8 0 n t .0 - L- 11 d it d it h 10 0 '0 d 11 f it f. b 1 0 i 0 0 3 r 0 3 o J 9 5 J 0 1 3 I J MARCI 22, 1883.] THE PHOTOGRAPHIC NEWS. 181 may » Several recipes for ink of the same kind will be found a press is available for inking, it is preferable to use If 1 pound 4 ounces 4 8 4 2 5 Chalk litho, ink. ... Middle litho, varnish Burgundy pitch ... Palm oil ... White wax White wax Mastic Shellac Soap Lampblack Asphaltum... Middle varnish Best chalk litho, ink Middle litho, varnish Burgundy pitch Palm oil White wax Bitumen 2 pounds 1 pound 4 ounces 2 „ 2 „ 2 pounds 1 pound 12 ounces 2 ,, 2 „ 2 „ in Richmond’s “ Grammar of Lithography.” Mr. Butter, of the Royal Arsenal, Woolwich, recom mends the use of retransfer ink alone, or of the following, which is similar to the Southampton ink, using less Burgundy pitch, and leaving out the bitumen :— To prepare it, the ink and varnish are first thoroughly ground together with a muller on a stone slab. The Burgundy pitch is melted in an iron saucepan over a clear fire till the water is driven off, the wax is added in small pieces, next the palm oil, and then by degrees the bitumen finely powdered. The mixture is well stirred together and heated till it commences to burn on applying a light. The flame being extinguished with the lid of the saucepan (which should have a long wooden handle fastened to it for this purpose), the printing ink and varnish are added in small quantities at a time, stirring well. When uni formly mixed, the pot is taken off the fire, and the composition is ground in small portions on a hot slab with a stone muller, and may finally be transferred to pots or tins. This ink has been found too soft for use in a hot damp climate, so we now prefer to use a mixture of about 3 parts of the ordinary hard retransfer ink—plate to stone—with 1 part of best chalk litho, printing ink, thinned with turpentine. Similar mixtures are used by other operators with good effect. We shall consider both methods in detail, commencing with the washing-off as being the most usual. The first requirement is suitable transfer ink, for which many different compositions have been proposed. As a rule, they consist of ordinary lithographic printing ink, which is a mixture of lamp-black and linseed oil varnish, mixed with wax, resins, oils, or fats and varnish in such pro portions as to form an ink possessing sufficient toughness and solidity not to be rubbed off the lines when washed with a sponge, and at the same time not so tough as to refuse to wash away at all. It must not be too soft, or it will have a tendency to mass up on to the lines and over charge them with ink, so that when transferred, the ink spreads and makes the lines heavy and unsightly; such ink also clogs the sponge in washing, and makes it difficult to clear the lines. A good ink should lie in a thin coating on the lines, and be hard enough not to spread in transfer, while at the same time fat and thick enough to well penetrate the surface of the stone or zinc, and make a Rood firm transfer. There should, however, be no more ink on the lines than is sufficient to produce the desired effect, and the thinner and closer the lines are, the thinner the coating of ink should be. The composition of the ink to be used will depend on climate and on the mode of working; the choice must be guided by experience. A harder ink will be employed in warm weather than in cold, and, as a general rule, ink applied in the press should be harder than ink applied by hand with a roller, dabber, or brush. . Th e following formula for the transfer ink used at the Ordnance Survey Office, Southampton, is an excellent one for general purposes:— e.whole of the parts unaltered by light are dissolved and washed away, taking the superfluous ink with them, while e lines forming the image are left, with the greasy ink adhering firmly to them. It is evident that when the original is faint in parts, or contains very fine lines, so that the negative is not clear throughout, such parts or lines will be too faintly impressed on the chromo-colloid coating to render it insoluble through out, and consequently they will be liable to be undermined and carried away in the washing, causing the image to appear broken and incomplete. This breaking away of the finer parts of the image is, to a greater extent, obviated in the inking-up methods, in which the collo-chromate print is simply damped with cold water, and then inked-up with a roller or dabber charged with transfer ink, something in the same way as in collotype printing. The lines of the image, being unabsorbent of moisture, take the ink, while the white and moist parts refuse it. In this method, all the lines of the image, even the faintest’ are retained on the colloid surface of the paper, and take a coating of ink more or less thick in proportion to their Strength. Many effectscan thus be produced, especially by the judicious use of soft and hard inks, that would be im possible in the washing-off method. • Some of the “ washing-off ” methods have the further disadvantage that all the colloid coating being removed from the ground of the paper, the transfer print has no “ adhesiveness ” or “ grip ” to the stone, and is liable to slip in repeated passing through the press. This defect is reme died in the “ inking-up ” methods, and, moreover, none of the colloid coating being removed, the ink on the lines of the image is, as it were, embedded in the surrounding gelatine, and is, therefore, better protected from spreading than when lying on the top of the ridge of gelatine, &c., produced in the washing-of methods. The difficulty of the inking-up methods has been to pre vent the paper sticking to the rollers in rolling up; but experience gained since the introduction of the collotype processes has been usefully applied to the production of transfer prints, and with the use of a softish ink and rollers of glue or velvet there need be no difficulty in rolling up transfers in this way. it, because it gives a thinner and more uniform coating with greater cleanliness and certainty than can be obtained in any other way ; but it has the disadvantage, if used with thin negatives or thinly gelatinised paper, of driving the ink too much into the gelatine, and making it harder to clear weak parts than is the case if the ink is laid on by hand. To ink-in the press, an ordinary lithographic press is used, carrying either a polished stone or a zinc plate fastened on a wooden bed of suitable thickness. The room in which the press stands should be darkened during the operation. A small quantity of the transfer ink is taken and worked down with turpentine to the consistence of cream. A lithographic roller is then very evenly charged with the ink by laying a little of it on the roller with a palette knife, and then working it well to and fro in different directions on the inking slab until all inequalities are removed. The stone or zinc plate is then inked up with the roller until covered with a thin uniform coating of ink. The transfer print is then laid face downwards on the inked surface ; a piece of thin backing paper is laid over it to prevent the tympan leather from being soiled, and it is then passed through the press with a moderate pressure. The print is lifted, and if the coating of ink is not even all If hard retransfer ink is not available, the following be substituted:—
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