PHOTO-LITHOGRAPHY BY THE TRANSFER OF A GREASY PRINT ON TO STONE OR ZINC.
1. THE HOME PREPARATION OF BICHROMATED GELATINE PAPERS.
Photo-lithographic or gelatine papers are articles of commerce and
entirely fulfil their purpose, and must before use be sensitized in a
bichromate bath. In establishments where much photo-lithographic paper
is not used, it is better to obtain it commercially from some reliable
firm and not to make it oneself, as this is somewhat troublesome, and
requires special appliances, some practice and experience, and with
small consumption does not pay.
For those who are interested in the preparation of chromated gelatine
paper I will now give the method, and I would remark that this paper
possesses all the necessary qualities for this process.
A sheet of well-sized paper is soaked in a bath of cold water, or
evenly damped with a clean pad, till it has become slimy. The water
is allowed to drain off, and then the sheet of paper placed on a
plate of glass which has been accurately levelled, and which rests
on a levelling stand with screws, so that it can be easily levelled.
By placing over it a sheet of blotting paper and squeegeeing with an
india-rubber or flannel squeegee the air bells between the paper and
glass are removed and any excess of water pressed out. Then the edges
of the sheet are bent up to about the depth of 2 cm., and wood or iron
rods laid outside, and a warm 1 : 30 gelatine solution poured on to it.
A sheet 70 by 70 cm. will require 305 g., that is 7·5 g. of gelatine
and 297·5 g. of water. The gelatine will set in a few minutes, when the
sheet is removed from the glass and laid on a rack in a place free from
dust to completely dry, and should remain from a day and a half to two
days. Such gelatinized sheets can be kept in stock, and will keep fit
for use in a cool, dry place for from six to eight months. For this
purpose only good pure rag paper should be used, as the ordinary cheap
papers contain many additions which render them unsuitable for this
work.
(A.) THE GELATINE.
The gelatine must possess certain qualities, of which the principal are
as follows. Before all things it must be pure and free from grease, or
else small round pits form on the surface, which give rise to troubles
in developing and printing, and only produce {48} defective transfers.
A large proportion of carbonic acid will produce the same faults, which
may, however, be remedied by a small addition of ammonia shortly before
use.
Gelatine is very hygroscopic, and therefore attracts moisture from
the room where it is kept and dissolves completely in warm water.
Even in very great dilution, _e.g._, 1 : 100, it sets again to a
jelly in the cold, but loses the setting power after being repeatedly
warmed, or if the temperature was raised considerably higher than was
necessary to melt it. Damp gelatine decomposes in the air very soon;
the decomposition, however, can be delayed with salicylic and carbolic
acids and glycerine. Greasy gelatine can be improved by the addition of
5 per cent. of alcohol. Too soft gelatine can be hardened with chrome
alum, and one part of chrome alum may be used to 200 parts of gelatine,
and by this addition the melting point is raised about 7° C. Too hard
gelatine gives rise to the formation of bubbles. If the gelatine
solution is slightly acid it is not a disadvantage.
The gelatine used in our establishment is of French make, and is
known as “transparent white gelatine,” and is also very suitable for
collotype. I mention this because the gelatine frequently gives rise to
failure. For practical work, then, it is advisable to stick to one make
when it has been proved to be absolutely satisfactory.
To those who would study more closely this very important material
for photo-lithography and collotype, I would strongly recommend the
brochure “Ueber die Reactionen der Chromsäuren und der Chromate auf
Gelatine, Gummi, Zucker und audere Substanzen organischen Ursprunges
in ihrer Beziehung zur Chromatphotographie,” by Professor Eder, in
which the most exhaustive information on the application of these two
materials so important in photography, gelatine and the chromate salts,
is given in a concise, popular, and easily understood form.
(B.) THE CHROMATE SALTS.
The sensitiveness to light of the different chromium compounds forms
at present the foundation of several photographic and photo-mechanical
processes.
According to Dr. Eder, Vauquelin discovered in the year 1798 chromium
and chromic acid, and made at the same time the observation that
chromic acid formed with silver a carmine red salt, which became
purple-red by the action of light. In the year 1832 the philosopher Dr.
Gustav Suckow, in his work, “Die chemischen Wirkungen des Lichtes,”
stated that the chromate salts were also sensitive to light in the
absence of silver if an organic substance was added, as in the light
lower (green) oxidation products were formed. In 1839 Ponton added to
Vauquelin’s and Suckow’s discoveries, and discovered the photographic
application of chromate of silver, the light-sensitiveness of potassium
bichromate on paper. The chromates are _per se_ stable in light; in
the {49} presence of organic substances, however, such as gelatine,
albumen, gum, etc., a quick reduction of the same takes place in light.
Talbot finally found that a mixture of gelatine and a chromate became
brown in light, and lost at the same time its solubility in warm
water and its power of swelling up in cold water. According to the
same authority simple potassium chromate is from 20 to 25 times less
sensitive to light than potassium bichromate, and the simple ammonium
chromate shows the same sensitiveness to light as ammonium bichromate.
For photo-lithography the latter salt, potassium bichromate, is very
important, and it has the chemical formula of K_{2}Cr_{2}O_{7}.
(C.) THE GELATINIZING.
The gelatinizing of the paper and the preparation of the gelatine
solution is effected as follows:—
The gelatine, accurately weighed out, is placed in small pieces in
the proper quantity of water, either in a large measure or some other
vessel, and placed in a water bath and immediately heated. It is
advisable to place the vessel containing the gelatine into the water
bath before the latter is heated, so that both may heat together and
fracture of the glass be thus avoided. When the gelatine is completely
dissolved the warm solution is filtered through a linen filter, and so
that it may not be cooled the vessel into which the gelatine solution
is filtered is also placed in the water bath.
Whilst still warm and liquid the gelatine is poured on to the
previously prepared paper, and any bubbles of air brought to the edge
of the sheet with a strip of stiff paper or a feather.
It should be especially noted the gelatine solution should be used up
as quickly as possible or else it will deteriorate. Gelatine which
remains for a long time in a state of solution becomes soft and fluid,
and if the chromate bath is not well cooled a partial or complete
dissolving of the same takes place in sensitizing or later in washing
and developing.
(D.) SENSITIZING.
The first thing to be treated of is the preparation of the bichromate
bath. The necessary quantity of the bichromate of potash is rubbed
up as fine as possible in a porcelain mortar with a little water; it
should then be transferred to a larger flask and the necessary quantity
of water added. When all the bichromate is dissolved the solution
should be filtered, and so much ammonia added as will convert the
orange yellow colour into a straw yellow. This bath can be kept, in a
dark cool room, fit for use for a long time. The proportions for the
solution are—
Potassium bichromate 1 part
Water 15 parts
{50}
and as much ammonia as will make it straw coloured. The bath is
neutralized with ammonia or a soda or potassium salt, because solutions
of the bichromate salts have the property of dissolving gelatine even
in the cold.
The day before being used the sheet of gelatinized paper is placed in
this bichromate bath, which should be as cold as possible; in summer
it should be cooled with ice. It should be completely immersed in this
bath, so that the solution covers every part of the sheet to the depth
of 1–2 cm., and should be left in it about three minutes; care must be
taken that no air bells form on the gelatine. If this should happen
they should be removed with a soft brush, which ought not to be used
for any other purpose. On the places not covered by the bichromate
solution, which has been kept off by the air bells, the paper would not
be sensitive to light.
For ordinary printing the paper may be dried in the air by placing it
on a board, or better on a rack; for better class work, and actually
for all work, it is better to squeegee the paper as soon as it is
removed from the bichromate bath on a sheet of plate glass which has
been well cleaned and polished with talc, the excess of solution
or any air bubbles being removed by squeegeeing thoroughly under
blotting-paper. Many operators slightly grease the glass plate. I have
found that this is not necessary if a sufficiently cold sensitizing
bath is used, the plate glass thoroughly cleaned and well rubbed with
talc, and it is dried in an airy room. It is advisable to see that
there is always ventilation in the drying room, and the more this is
done the better the paper will behave in the subsequent operations.
To completely dry, the paper requires when drying by itself from three
to four hours; from ten to twelve hours when squeegeed to glass. The
best way is to sensitize the paper in the afternoon or the evening,
so that it may be used the next day in the morning. The paper when
sensitized will, when properly kept in a dark cool room, be in a fit
state to use for several days. By squeegeeing on to the plate glass
the paper takes a very high glossy surface, and thus in printing comes
into intimate close contact with the negative. In exposing, therefore,
every fine line appears with greater precision than on paper which has
become wrinkled and uneven, and which has not been previously glazed.
It should also be mentioned that this gloss is frequently obtained by
burnishing the sensitized paper when dry.
(E.) THE PRINTING.
After the paper has been sensitized and well dried it is printed.
The negative is first laid in the printing frame film side up. Then the
paper is laid with the sensitive yellow side on the negative, and the
frame closed. Before it is placed in the light, care {51} should be
taken to see that the paper lies closely everywhere on the negative,
otherwise it will in parts be indistinct, and the print be useless. For
estimating the correct exposure a photometer should be used, and I take
as an example Vogel’s Fig. 6.
[Illustration: Fig. 6.]
When beautiful clear negatives are used they should be printed to 14
to 16 degrees Vogel. Obviously no strict instructions can be given for
every case, and it will be dependent on the quality of the negative and
the object.
If the negative has to be covered, or any other dodge used, the time
of exposure must of course be arranged accordingly. As a general guide
it may be stated that the details of the picture should appear brown
and distinct from the ground when the print has been correctly exposed.
This examination of the picture must be done in a dark room, and only
one side of the printing frame should be opened, so that the print
does not shift. If it is over-printed, the picture develops badly, the
lines become broader, the details disappear in the deep shadows, and
the ink adheres to the unexposed parts. If, on the contrary, it is
under-printed, the ink does not adhere well to the exposed places, and
washes off in developing from the fine parts. Practice, as with all
manipulations, is necessary, and therefore one must not be disheartened
by the first failure.
(F.) THE INKING UP AND DEVELOPING.
As soon as one is satisfied that the exposure is sufficient, the print
should be taken from the frame in the dark room. The next process
is inking up and developing. This is effected in various ways; the
ink is either spread on the dry print with a velvet roller or a thin
developing ink is used with a brush, or the bichromate is first washed
out and then the ink spread on. I prefer to ink up the print with a
velvet roller, on which is the developing ink, before washing. By this
method I obtain between ink and gelatine the soluble chromium film.
The print develops then very quickly and well. For this purpose it is
laid on a glass plate, a litho stone or any other flat surface, a small
quantity of good litho transfer ink is distributed on an inking stone
with an ordinary litho roller, and the velvet roller charged with the
ink {52} from the stone by rolling it several times over the stone.
The print is now rolled up with the velvet roller till it appears of
a general grey tone; the details of the picture, however, are still
visible through the ink. With this first inking up, too little rather
than too much ink should be used. When the inking up is finished, the
print should be laid in cold water, care being taken that no air bells
form on the surface, and it is also advisable to frequently turn the
paper over once or twice in the water. After ten or fifteen minutes a
change will be seen on the print, the exposed parts will be somewhat
more depressed than the unexposed, which will have swollen to some
extent in the water. The print is now taken out of the water and spread
out exposed side up on a sheet of glass, very carefully avoiding folds,
and dried with blotting paper, and the water which is on the back of
the print is removed by strong pressure on the print from the front.
The print whilst still damp is again for a second time rolled up with
the velvet roller, by which means the details of the drawing again take
the ink. From the unexposed parts the ink now goes on to the roller,
in exactly the same way as in cleaning the litho stone, and they
appear covered now with a very faint tone. If the first rolling up was
done with too much ink, it will be accompanied by two disadvantages.
Firstly, that too much ink will adhere to the details of the drawing,
and there will be the danger that in transferring the same will appear
thick, and secondly the tint will not be so well removed from the
unprinted parts, which will produce a difficult development. It is
therefore advantageous only to give in the second inking the printed
parts the quantity of ink requisite for transfer.
After being inked up a second time the print is again placed for a
short time in the water, then taken out, spread out on the sheet of
glass, and now completely developed with a pad or a tuft of cotton
wool. This is effected by going over all the print with light pressure
and not too quickly with a circular movement, till the drawing appears
quite clear and clean on a white ground. In this operation it is
advisable to use as much water as possible, in order to remove all the
bichromate from the print, which might be troublesome in the subsequent
operations. The washing should not therefore be stopped till the
unexposed parts have lost all yellow tinge and appear nearly white. If
the bichromate remains in the unexposed parts, the process continues
during the drying of the print; these places then become hardened, and
are frequently the cause of an unsatisfactory transfer. _One of the
chief requisites is, however, that too much ink should not be used in
inking up. The developed drawing should not appear deep black, but
grey, yet covered in all places._ The developing ink contains so large
a quantity of grease that the least quantity is sufficient to form the
combination previously described on the stone. {53}
The developed print is freed from all adhering water by pressure with
half-damp blotting-paper, and then fastened on to a board with drawing
pins to completely dry.
The room where the development is carried on should be well ventilated,
and not be heated too much, as the latter makes the work more
difficult. The drying ought not to be forced and should be allowed to
take place spontaneously at the ordinary temperature of the room.
For transfer to zinc and for sending photo-lithographic prints it is
advisable to bathe them in a 10 per cent. solution of alum for about
five minutes, so that the gelatine film is hardened. When the prints
are to be used or to be transferred to stone immediately this treatment
may be omitted without harm.
2. VARIOUS OTHER PHOTO-LITHOGRAPHIC PAPERS.
The paper described above is a pure gelatine paper, and although this
has proved in practice to be satisfactory for all work that may arise,
still I will describe some other papers, which have been also used in
practice with good results, and for those who do not care to prepare
their own paper they have the advantage that they may be obtained
commercially.
Albumen was used first instead of gelatine and rendered sensitive by
the addition of a chromium salt. This paper had the disadvantage that
it could not be kept, and only sufficient paper and albumen solution
for one day’s work could be prepared. A much greater disadvantage,
however, was that in developing, the albumen film was rubbed off with
the pad, and the paper was more or less rubbed up. A tint was produced
through this which transferred to the stone, and thus gave rise to
considerable troublesome and tedious retouching. This is not the
case, however, with the gelatine coating, which is comparatively more
resistant.
(A.) HUSNIK’S PHOTO-LITHOGRAPHIC PAPER.
Prof. Husnik has combined these two processes for the production
of his papers, as he gives a coating of albumen to a paper coated
with gelatine, which should be rendered sensitive with ammonium
bichromate. By this means is, on the one hand, the rubbing up of the
paper prevented and damage to the image not easily possible; on the
other hand, the development takes place very quickly, as the albumen
film dissolves and can be easily removed with the greasy ink. Husnik
specially contends that with the use of these papers he obtains
extraordinarily sharp images without any tint. The sheets thus prepared
will only keep, however, one or two days, and this inconvenient
operation has to be repeated every time before using the paper. This
applies also to the albumen solution, so Husnik has come to the
conclusion that it is better and more practical to use plain gelatine
paper; but {54} when trouble, time, and cost are not of such great
consideration, then it is better to use the paper with the compound
coating, as it enables less experienced operators to produce good work.
The paper more recently produced by Husnik is a pure gelatine paper,
which is rendered sensitive to light in—
Ammonium bichromate 1 part
Water 15 parts
Alcohol (ordinary) 4 parts
As much ammonia is added to the bichromate solution as will convert the
reddish colour into yellow, and the bath smells of ammonia. The bathing
of the paper must be done as quickly as possible, and the sheet should
only be drawn through the solution. The exposure for this paper is
from one to three minutes in the sun, or from ten to thirty minutes in
diffused light.
The inking up of the print should be done with a greasy transfer ink,
to which one-sixth part of wax has been added, and the whole dissolved
in turpentine to the consistence of oil. The print is inked up with
this thin ink, and then gone over with a pad of cotton wool till it has
taken an even gray tint.
When the turpentine has evaporated the print is laid in cold water,
and, after about ten minutes, developed with a soft thick pad with
a continuous circular movement and quite light pressure. After
development all adhering water is removed from the print with damp
blotting-paper, and the transfer can be effected after from fifteen to
twenty minutes.
Husnik, however, did not rest, and soon prepared a still better paper,
which is known at the present time commercially as “Husnik’s Autotypic
Paper.” He produces this paper in large quantities, the coating of the
gelatine being effected by machines, which certainly tends to ensure
equality.
Husnik found that by the use of less concentrated bichromate baths
the fine lines were stronger after printing than from the nature of
the negative they should be. From one and the same negative there was
obtained by the use of a bichromate bath of 1 : 100 a relief five
times as broad as when a bath of 1 : 15 was used to sensitize the
paper. This he ascribes to the colour of the gelatine being less,
so that more rays of light penetrated to the surface of the paper,
from which it would be again reflected, and every point or line again
reproduced, which must obviously lead to an increase of the size of
the same; on the other hand, with strongly chromated paper, the rays
of light would not only be absorbed by the intense yellow colour of
the chromium salt, but still more by the brown tone formed immediately
after printing, which makes a reflection impossible. With autotype
negatives this is specially striking, as with weakly-chromated paper
black shadows without details occur, because here the quantity of light
is distributed by reflection over the fine points, and they will {55}
therefore become thicker. When using strongly-chromated papers the
details in the shadows appear open, clear, and sharp.
The concentration of the bichromate bath cannot be increased at will,
because other disadvantages are produced, especially such a firm
adherence of the greasy ink to the print that it transfers badly and
a part of it always remains behind. The bichromate salt, when as
strong as 1 : 18, dissolves the gelatine at ordinary temperatures, and
the baths, neutralized with ammonia, have the disadvantage that the
greasy ink adheres too little to the print and will be rubbed away in
developing the drawing. In order to entirely obviate the reflection
of the rays of light Husnik uses an addition to the gelatine besides
a 1 : 22 acid bichromate bath, which produces a pure yellow tone in
sensitizing the papers, is insoluble, and completely penetrates the
film of gelatine, so that a reflection of the chemically active rays is
entirely avoided.
This paper, which is also darker coloured, does not allow the light
rays to pass through, and is specially suitable for the transfer of
autotypes to stone or zinc.
For sensitizing this paper bichromate of potassium, sodium, or ammonium
is used, but the sodium salt has acted the best.
In winter a 1 to 20 bath is best; in summer, 1 : 22 or 1 : 24. The
treatment of the paper, as well as of the print, is exactly the same
as with other transfer papers. The bath will keep for fourteen days.
Caustic ammonia ought not to be used.
(B.) PHOTO-LITHOGRAPHIC PAPER BY ADALBERT FRANZ.
A photo-lithographic paper, with which I have obtained very good
results on stone as well as on zinc, with all kinds of drawings, is
sold by A. Franz.
This is also a pure gelatine paper. But Franz adds to the gelatine
solution manganese sulphate (this must not be confounded with manganese
borate, siccative powder, which makes the transfer ink dry so quickly
that a transfer to the stone or zinc is impossible).
Through the researches of MM. Lumière the manganese salts have
gained considerably in importance, and they have been introduced
into photo-mechanical processes. When an addition of about 10% of
manganese sulphate is made to the acid bichromate baths for sensitizing
photo-lithographic papers, the printed places assume a very much darker
colour, which is an advantage in judging the print, in developing the
finest lines, and points are retained much more easily than on paper
sensitized with the addition of ammonia.
This paper possesses the advantage, which is also more important, that
the—especially in summer—unpleasant ammonia bath need not be used. The
paper is sensitized in a solution of—
Potassium bichromate 40–50 g.
Manganese sulphate 5 g.
Water 1 litre
{56}
Ammonium bichromate ought not to be used. The bath would then become
cloudy immediately, and both bath and paper made useless.
When sensitized the paper can be kept from eight to ten days without
losing its good qualities.
With this a transfer ink is supplied in tubes, which must be mixed with
an equal volume of turpentine and benzine, so that it becomes quite
fluid. The print, when it is taken from the frame, is fastened on a
board with drawing pins, and with a fine camel’s hair brush coated with
this fluid ink as evenly as possible, and just so much that a light
grey tone is formed on the print. This paper must not be inked up with
a roller. As soon as the turpentine and benzine have evaporated the
print is laid in cold water, and after about ten minutes developed with
a clean tuft of cotton wool. The print does not show a strong relief;
the development takes place quickly and regularly. The ink, in spite of
its being so thin, is very greasy, so that only a very light skin is
necessary for the subsequent transfer. The tint produced by a negative
slightly too thin cannot be easily removed.
The other operations are the same as for the other photo-lithographic
papers.
Franz’s photo-lithographic paper is characterized, as already
mentioned, by giving extraordinarily sharp clean transfers, which,
indeed, maybe due to the use of the very thin liquid greasy ink. It is,
therefore, especially to be commended for very fine work.
(C.) ALBERT’S PHOTO-LITHOGRAPHIC PAPER.
August Albert’s is also a very good photo-lithographic paper. It can
be obtained commercially in two qualities, viz., “Photo-lithographic
paper” and “Autotypic high glaze paper.” This has been tested
in the K.K. Lehr- und Versuchsanstalt für Photographie und
Reproductionsverfahren in Vienna, and has received a certificate
of excellence. The high glaze paper has a prepared film of several
coatings; the developed prints when dry keep the high glaze.
The sensitizing bath consists of—
Water 16 parts by weight
Potassium bichromate 1 part by weight
Alcohol (ordinary) 4 parts by weight
and to this so much ammonia is added as will convert the reddish colour
into a light yellow; a small excess of ammonia does no harm. The
bichromate bath should not have a lower temperature than +15° R, or
else the solution cannot penetrate the film sufficiently, which results
in a defective development. The duration of sensitizing is from four to
eight minutes, till the paper is quite soft and damped through. It is
preferable to sensitize too long rather than too short. {57}
The paper should be squeegeed on to plate-glass, as already described,
and allowed to dry spontaneously. The paper when stripped from the
plate-glass shows a beautiful high glaze, and can be kept fit for use
for twenty-four hours. When the paper is older it can still be used,
but the development is more difficult, and it is better to avoid this
for fine drawings or autotypes.
Albert does not recommend a photometer to be used when printing this
paper, but by examination of the print to judge when this is correct.
The image should have a brown tone, and be easily distinguished by the
eye from the ground. Over-printing is disadvantageous, as the lines
and points become broader, the prints develop badly, the tint adheres
firmly to the ground, and the details in the deepest shadows are lost.
The inking and developing can be done by any of the known processes
which is thought desirable. The chief thing is that too much ink must
not be used in the first inking up; any intensification required may be
effected with a second coating. This is, especially for fine drawings
and autotypes, very important, whilst for coarser work also once inking
is sufficient. The prints are then placed in cold water, and after
sufficient washing should be developed with a soft pad or pad of wool,
with which any tint can be very easily removed from any parts which
should remain white.
3. THE PHOTO-LITHOGRAPHIC TRANSFER.
(A.) TREATMENT OF THE PHOTO-LITHOGRAPHIC PRINT AND THE PLATE.
The transfer from the bichromated gelatine paper requires generally,
as regards treatment and choice of the material, greater care on the
part of the printer than an ordinary transfer, and this increases in
transferring fine drawings or autotypes on to stone.
In the first place the good quality of the stone should be looked to.
For ordinary or coarsely drawn subjects this is of less importance,
but for fine drawings and autotypes it is of the highest importance.
Further, accuracy and cleanliness are all important, without which
successful work is impossible. On the other hand, a transfer can hardly
fail if it be accurately and correctly performed.
When the print comes from the developing bath, and has been well washed
so that every trace of bichromate is removed, it should be freed from
excess of water between blotting-paper. It should then be dried in a
not too warm place free from dust till the gelatine has completely set
and feels absolutely dry. The relief will have now again disappeared,
and the black and white places lie in the same plane. It is best dried
by pinning it to a board with drawing pins, and then set up in a dry
place.
In the meanwhile the transfer stone should be prepared, which must
be absolutely faultless. Just before the transfer it should be dry
polished with pumice stone, and then well dusted with a {58} cloth.
The slightest grain will give a spot in a fine tone. Obviously the
stone must be well ground so that neither any spots nor lines of
an earlier transfer can appear. With an open drawing this can be
corrected, but not with an autotype; in such a case the shortest way is
to make a new print and a new transfer.
The print is first wiped over on the back with a damp cloth, and then
laid on damp blotting-paper. After about five minutes the print is
treated a second time with a damp cloth, and then laid between damp
blotting-paper. It is not advisable to lay the print between ordinary
damp blotting-paper, as the gelatine becomes somewhat sticky, and would
attract particles from the rough paper.
The degree of dampness which is necessary for transfer may be judged in
that the print must feel soft, but the gelatine film ought not to be
very sticky. Any further preparation of the print before transferring
to the stone is not necessary. The print is laid on the stone, over it
a dry sheet, and then the cover, and then drawn through the first time
with light pressure.
In order to prove whether the transfer has taken well a corner may be
lifted up. All the ink which was on the print must be transferred to
the stone, and then the transfer has been completed in the correct way.
The print is now pulled off the stone and the transfer made ready, like
any other.
With this method of treatment the print will strip easily, which is not
the case if it was not well dried after the developing bath; a much
sharper and cleaner transfer will also ensue. If the print was too damp
a fuzzy, broken-down transfer will be obtained, because the gelatine,
which has become too soft, will be broken down.
I will also mention that it is not advisable to treat fine drawings or
autotypes with the rubbing-up pad. It is better to go over the transfer
with the roller, and the tones are kept cleaner. The stone is then
gummed, placed on one side, and allowed to stand some hours before
being etched.
For transferring to zinc plates which are to be etched or to be
printed from, the bichromated gelatine print should be bathed in a ten
per cent. solution of alum, allowed to dry, and then, as previously
described, damped, and then transferred under the same conditions as to
stone.
It only remains to mention that the stone or zinc plate should not be
too cold.
(B.) FAILURES IN THE PHOTO-LITHOGRAPHIC TRANSFERS.
The failures or faults which are met with in photo-lithographic
transfer may be caused by various things.
The squashing down rarely happens with photo-litho transfer, because a
good photo-lithographic paper will bear a considerable {59} amount of
dampness. When, however, it occurs it may be assumed that either too
strong pressure or insufficient care in the setting of the stone is the
cause. Much more frequently it happens that some parts of the print do
not transfer at all, or only in a defective manner. The chief reason
of this is that the print was insufficiently damped. This frequently
happens if ordinary or gravure prints are to be transferred with
photo-lithographic prints. If the printer encloses the impression on
the ordinary transfer paper and the photo-lithographic together in the
same damp sheet, and if he estimates the degree of dampness from the
gravure print, the photo-litho paper will be insufficiently damped and
a good transfer will not be obtained from the latter. If, however, he
waits till the photo-litho paper is damp enough, the other impressions
will be too damp and will squash out in transfer. For such work the
print on ordinary transfer paper and the photo-lithographic print
should be kept separate, so that the different dampness requisite for
each can be regulated.
Another case which frequently happens is that the print is contaminated
with particles of dust or other foreign substances. These may be flying
about in the air or be on the stone, the roller, or the damping paper.
Through this many transfers of fine drawings are rendered useless.
Perfect cleanliness of the utensils and the use of the correct ones,
combined with a drying-room for the print absolutely free from dust,
are absolutely essential for faultless work.
The composition of the ink, especially if it was too hard, may give
rise to bad transfers.
Photo-lithographic papers, which are prepared with very hard gelatine,
must be laid before transferring in lukewarm water. By this means the
hard gelatine becomes rather sticky, and the greasy ink transfers much
better. Even those points which in developing have taken up little ink,
and appear grey, transfer completely to the stone and adhere firmly.
{60}