When red and black are to be printed on the same sheet,—the same process
being applicable to all other colours,—the form is made ready in the
usual way, and a chalk-line is traced around the outside of the chase
on the press-bed, to show the exact situation in which the form must be
replaced after having been lifted. The form is then laid with its face
downward on a letter-board covered with the press-blankets. The words
marked in the proof to be printed red are then forced down, and Nonpareil
reglets nicely fitted into the vacancies, which raise the red lines and
words an equal distance from the other matter. A sheet of paper is then
pasted on the form, to keep the Nonpareil underlays in their proper
places. The form is again laid on the press, observing the utmost care in
placing it in its original position as indicated by the marks before made
on the bed.
[Illustration: INK STONE AND MULLER.]
It must then be made perfectly fast to the corner irons, as it is highly
important that it remain firm and immovable during its stay on the press.
The frisket (which is covered with strong paper) is then put on, the form
rolled over with the red ink, and an impression made on it. The red words
are then cut out with a sharp-pointed penknife, with so much nicety as
not to admit the smallest soil on the paper from the other matter.
The red being finished and the form washed, the compositor unlocks it,
(this should be done on the imposing-stone, as the pressman can easily
lay it agreeably to the marks made on the press,) and draws out the
red lines, filling up the space with quadrates. When this is done, the
pressman cuts out the frisket for the black. An extra pair of points
are used to prevent the black from falling on the red, or, as it is
technically termed, _riding_. Generally, when a great number is to be
printed, as many forms are used as there are colours to be printed.
Another method of placing the underlays is adopted for broadsides, &c.
with large letter and with but two or three lines of red. The red lines
are taken out on the press, and underlays are put in, upon which the
lines are placed, and the frisket is cut out as before mentioned.
A more expeditious method can be employed for forms in which the lines
of one colour are not too numerous to be easily lifted. After the form
is ready, and the various colours are marked on the proof, a skeleton
form is made up, with labour-saving quotation furniture or wood furniture
fitted into the spaces of all the lines except those of the colour to be
first printed. When the first colour is printed, its lines are lifted
from the form, and the spaces filled with furniture, and the lines for
the next colour are set in their proper places and printed; and so on
till the job is completed.
The custom of printing broadsides, &c. with several colours is so common
that ink-makers generally now manufacture coloured inks; consequently the
printer can be supplied without the delay and labour of making. We give
the following particulars, however, for the benefit of those who wish to
prepare their own colours.
Varnish is the common menstruum adopted for all colours in printing. Red
is the colour generally used with black. Trieste or English Vermilion,
with a small portion of lake, produces a beautiful red, which should be
ground with a muller on a marble slab till it be perfectly smooth. If it
be in the smallest degree gritty, it clogs the form, and consequently
produces a thick and imperfect impression; no pains should, therefore,
be spared to render it perfectly smooth; it may then be made to work as
clear and free from picks as black. A cheaper red, but not so brilliant,
may be prepared with orange mineral, rose pink, and red lead.
Prussian blue makes also an excellent colour, but will require much time
and labour to make it perfectly smooth. It is also ground with the best
varnish, but made considerably thicker, by allowing a greater portion
of colour with the same quantity of varnish than the red; it will then
work clear and free from picks. As this colour dries rather rapidly, the
rollers should be frequently washed.
Other colours may be made,—viz., lake and Indian red, which produce a
deep red; verditure and indigo, for blues; orpiment, pink, yellow ochre,
for yellows; verdigris and green verditure, for green, &c. All these
colours should be ground with soft varnish, being in themselves driers,
or they will choke up the form. The consistency of the ink must be
governed by the quality of the work to be executed. For a posting-bill or
coarse job, the ink should be very thin, the proportion of varnish being
much greater than required for fine work. Should the work be a wood-cut,
or small type, the pigment should be made as thick as possible.
The best colours for printing are those of the lightest body and
brightest colour.