while in a slightly damp state, has been rubbed over with a mixture of
calcined peroxide of iron and emery, both in impalpable powder. It is
cut up into {503} pieces (about 5 x 3 inches), and sold in packets.
Used to wipe the razor on, which thus does not require stropping.
II.—From emery and quartz (both in impalpable powder), and paper pulp
(estimated in the dry state), equal parts, made into sheets of the
thickness of drawing paper, by the ordinary process. For use, a piece
is pasted on the strop and moistened with a little oil.
«Safety Paper.»—White paper pulp mixed with an equal quantity of pulp
tinged with any stain easily affected by chlorine, acids, alkalies,
etc., and made into sheets as usual, serves as a safety paper on which
to write checks or the like. Any attempt to wash out the writing
affects the whole surface, showing plainly that it has been tampered
with.
«Tracing Paper.»—Open a quire of smooth, unsized white paper, and
place it flat upon a table. Apply, with a clean sash tool to the upper
surface of the first sheet, a coat of varnish made of equal parts of
Canada balsam and oil of turpentine, and hang the prepared sheet across
the line to dry; repeat the operation on fresh sheets until the proper
quantity is finished. If not sufficiently transparent, a second coat of
varnish may be applied as soon as the first has become quite dry.
«Strengthened Filter Paper.»—When ordinary filter paper is dipped into
nitric acid (specific gravity, 1.42), thoroughly washed and dried, it
becomes a tissue of remarkable properties, and one that deserves to
be better known by chemists and pharmacists. It shrinks somewhat in
size and in weight, and gives, on burning, a diminished ash. It yields
no nitrogen, nor does it in the slightest manner affect liquids. It
remains perfectly pervious to liquids, its filtering properties being
in no wise affected, which, it is needless to say, is very different
from the behavior of the same paper “parchmented” by sulphuric acid. It
is as supple as a rag, yet may be very roughly handled, even when wet,
without tearing or giving way. These qualities make it very valuable
for use in filtration under pressure or exhaust. It fits closely to the
funnel, upon which it may be used direct, without any supports, and
it thus prevents undue access of air. As to strength, it is increased
upward of 10 times. A strip of ordinary white Swedish paper, 1/5 of
an inch wide, will sustain a load of from 1/2 to 3/4 of a pound
avoirdupois, according to the quality of the paper. A similar strip of
the toughened paper broke, in 3 trials, with 5 pounds, 7 ounces, and
3 drachms; 5 pounds, 4 ounces, and 36 grains; and 5 pounds, 10 ounces
respectively. These are facts that deserve to be better known than they
seem to be to the profession at large.
«Blotting Paper.»—A new blotting paper which will completely remove wet
as well as dry ink spots, after moistening the paper with water, is
produced as follows: Dissolve 100 parts of oxalic acid in 400 parts of
alcohol, and immerse porous white paper in this solution until it is
completely saturated. Next hang the sheets up separately to dry over
threads. Such paper affords great advantages, but in its characteristic
application is serviceable for ferric inks only, while aniline ink
spots cannot be removed with it, after drying.
«Carbon Paper.»—Many copying papers act by virtue of a detachable
pigment, which, when the pigmented paper is placed between two sheets
of white paper, and when the uppermost paper is written on, transfers
its pigment to the lower white sheet along lines which correspond to
those traced on the upper paper, and therefore gives an exact copy of
them on the lower paper.
The pigments used are fine soot or ivory black, indigo carmine,
ultramarine, and Paris blue, or mixtures of them. The pigment is
intimately mixed with grain soap, and then rubbed on to thin but strong
paper with a stiff brush. Fatty oils, such as linseed or castor oil,
may be used, but the grain soap is preferable. Graphite is frequently
used for black copying paper. It is rubbed into the paper with a cotton
pad until a uniform light-gray color results. All superfluous graphite
is then carefully brushed off.
It is sometimes desired to make a copying paper which will produce at
the same time a positive copy, which is not required to be reproduced,
and a negative or reversed copy from which a number of direct copies
can be taken. Such paper is covered on one side with a manifolding
composition, and on the other with a simple copying composition, and is
used between 2 sheets of paper with the manifolding side undermost.
The manifolding composition is made by mixing 5 ounces of printers’
ink with 40 of spirits of turpentine, and then mixing it with a fused
mixture of 40 ounces of tallow and 5 ounces of stearine. When the mass
is homogeneous, 30 ounces of the finest powdered protoxide of iron,
first mixed with 15 ounces of pyrogallic {504} acid and 5 ounces of
gallic acid, are stirred in till a perfect mixture is obtained. This
mass will give at least 50 copies on damp paper in the ordinary way.
The copying composition for the other side of the prepared paper
consists of the following ingredients:
Printers’ ink 5 parts
Spirits of turpentine 40 parts
Fused tallow 30 parts
Fused wax 3 parts
Fused rosin 2 parts
Soot 20 parts
It goes without saying that rollers or stones or other hard materials
may be used for the purpose under consideration as well as paper. The
manifolding mass may be made blue with indigotin, red with magenta, or
violet with methyl violet, adding 30 ounces of the chosen dye to the
above quantities of pigment. If, however, they are used, the oxide of
iron and gallic acids must be replaced by 20 ounces of carbonate of
magnesia.
«Celloidin Paper.»—Ordinary polished celluloid and celloidin paper are
difficult to write upon with pen and ink. If, however, the face is
rubbed over with a chalk crayon, and the dust wiped off with a clean
rag, writing becomes easy.
«Cloth Paper.»—This is prepared by covering gauze, calico, canvas,
etc., with a surface of paper pulp in a Foudrinier machine, and then
finishing the compound sheet in a nearly similar manner to that adopted
for ordinary paper.
«Drawing Paper.»—The blue drawing paper of commerce, which is
frequently employed for technical drawings, is not very durable. For
the production of a serviceable and strong drawing paper, the following
process is recommended. Mix a solution of
Gum arabic 2 parts
Ammonia iron citrate 3 parts
Tartaric acid 2 parts
Distilled water 20 parts
After still adding 4 parts of solution of ammonia with a solution of
Potassium ferricyanide 2.5 parts
Distilled water 10.0 parts
allow the mixture to stand in the dark half an hour. Apply the
preparation on the paper by means of a soft brush, in artificial light,
and dry in the dark. Next, expose the paper to light until it appears
dark violet, place in water for 10 seconds, air a short time, wash with
water, and finally dip in a solution of
Eau de javelle 50 parts
Distilled water 1,000 parts
until it turns dark blue.
«Filter Paper.»—This process consists in dipping the paper in nitric
acid of 1.433 specific gravity, subsequently washing it well and drying
it. The paper thereby acquires advantageous qualities. It shrinks a
little and loses in weight, while on burning only a small quantity of
ash remains. It possesses no traces of nitrogen and does not in any way
attack the liquid to be filtered. Withal, this paper remains perfectly
pervious for the most varying liquids, and its filtering capacity is
in no wise impaired. It is difficult to tear, and still elastic and
flexible like linen. It clings completely to the funnel. In general
it may be said that the strength of the filtering paper thus treated
increases 100 per cent.
«Fireproof Papers.»—I.—Ammonium sulphate, 8 parts, by weight; boracic
acid, 3 parts; borax, 2 parts; water, 100 parts. The temperature should
be about 122° F.
II.—For paper, either printed or unprinted, bills of exchange, deeds,
books, etc., the following solution is recommended: Ammonium sulphate,
8 parts; boracic acid, 3 parts; sodium borate, 1.7 parts; water, 10,000
parts. The solution is heated to 122° F., and may be used when the
paper is manufactured. As soon as the paper leaves the machine it is
passed through this solution, then rolled over a warm cylinder and
dried. If printed or in sheets, it is simply immersed in the solution,
at a temperature of 122° F., and spread out to dry, finally pressed to
restore the luster.
«Hydrographic Paper.»—This is paper which may be written on with simple
water or with some colorless liquid having the appearance of water.
I.—A mixture of nut galls, 4 parts, and calcined sulphate of iron, 1
part (both perfectly dry and reduced to very fine powder), is rubbed
over the surface of the paper, and is then forced into its pores by
powerful pressure, after which the loose portion is brushed off. The
writing shows black when a pen dipped in water is used.
II.—A mixture of persulphate of iron and ferrocyanide of potassium may
be employed as in formula I. This writes blue.
«Iridescent Paper.»—Sal ammoniac and sulphate of indigo, of each 1
part; sulphate of iron, 5 parts; nut galls, 8 parts; gum arabic, 1/8
part. Boil them in water, and expose the paper washed with the liquid
to (the fumes of) ammonia. {505}
«Lithographic Paper.»—I.—Starch, 6 ounces; gum arabic, 2 ounces; alum,
1 ounce. Make a strong solution of each separately, in hot water, mix,
strain through gauze, and apply it while still warm to one side of
leaves of paper, with a clean painting brush or sponge; a second and a
third coat must be given as the preceding one becomes dry. The paper
must be, lastly, pressed, to make it smooth.
II.—Give the paper 3 coats of thin size, 1 coat of good white starch,
and 1 coat of a solution of gamboge in water, the whole to be applied
cold, with a sponge, and each coat to be allowed to dry before the
other is applied. The solutions should be freshly made.
Lithographic paper is written on with lithographic ink. The writing
is transferred simply by moistening the back of the paper, placing it
evenly on the stone, and then applying pressure. A reversed copy is
obtained, which, when printed from, yields corrected copies resembling
the original writing or drawing. In this way the necessity of executing
the writing or drawing in a reversed direction is obviated.
«MARBLING PAPER FOR BOOKS.»
Provide a wooden trough 2 inches deep and the length and width of any
desired sheet; boil in a brass or copper pan a quantity of linseed and
water until a thick mucilage is formed; strain it into a trough, and
let cool; then grind on a marble slab any of the following colors in
small beer:
For Blue.—Prussian blue or indigo.
Red.—Rose pink, vermilion, or drop lake.
Yellow.—King’s yellow, yellow ocher, etc.
White.—Flake white.
Black.—Burnt ivory or lampblack.
Brown.—Umber, burnt; terra di sienna, burnt.
Black mixed with yellow or red also makes brown.
Green.—Blue and yellow mixed.
Orange.—Red and yellow mixed.
Purple.—Red and blue mixed.
For each color have two cups, one for the color after grinding, the
other to mix it with ox gall, which must be used to thin the colors
at discretion. If too much gall is used, the colors will spread. When
they keep their place on the surface of the trough, when moved with a
quill, they are fit for use. All things in readiness, the colors are
successively sprinkled on the surface of the mucilage in the trough
with a brush, and are waved or drawn about with a quill or a stick,
according to taste. When the design is just formed, the book, tied
tightly between cutting boards of the same size, is lightly pressed
with its edge on the surface of the liquid pattern, and then withdrawn
and dried. The covers may be marbled in the same way, only letting the
liquid colors run over them. In marbling paper the sides of the paper
are gently applied to the colors in the trough. The film of color in
the trough may be as thin as possible, and if any remains after the
marbling it may be taken off by applying paper to it before you prepare
for marbling again. To diversify the effects, colors are often mixed
with a little sweet oil before sprinkling them on, by which means a
light halo or circle appears around each spot.
«WATERPROOF PAPERS.»
I.—Wall papers may be easily rendered washable, either before or after
they are hung, by preparing them in the following manner: Dissolve 2
parts of borax and 2 parts of shellac in 24 parts of water, and strain
through a fine cloth. With a brush or a sponge apply this to the
surface of the paper, and when it is dry, polish it to a nigh gloss
with a soft brush. Thus treated the paper may be washed without fear
of removing the colors or even smearing or blurring them.
II.—This is recommended for drawing paper. Any kind of paper is lightly
primed with glue or a suitable binder, to which a finely powdered
inorganic body, such as zinc white, chalk, lime, or heavy spar, as
well as the desired coloring matter for the paper, are added. Next the
paper thus treated is coated with soluble glass—silicate of potash
or of soda—to which small amounts of magnesia have been admixed, or
else it is dipped into this mixture, and dried for about 10 days in a
temperature of 77° F. Paper thus prepared can be written or drawn upon
with lead pencil, chalk, colored crayons, charcoal, India ink, and
lithographic crayon, and the writing or drawing may be washed off 20 or
more times, entirely or partly, without changing the paper materially.
It offers the convenience that anything may be readily and quickly
removed with a moist sponge and immediately corrected, since the washed
places can be worked on again at once.
«Wax Paper.»—I.—Place cartridge paper or strong writing paper, on a hot
iron {506} plate, and rub it well with a lump of beeswax. Used to form
extemporaneous steam or gas pipes, to cover the joints of vessels, and
to tie over pots, etc.
II.—For the production of waxed or ceresine paper, saturate ordinary
paper with equal parts of stearine and tallow or ceresine. If it is
desired to apply a business stamp on the paper before saturation and
after stamping, it should be dried well for 24 hours, so as to prevent
the aniline color from spreading.
«Wrapping Paper for Silverware.»—Make a solution of 6 parts of sodium
hydrate in sufficient water to make it show about 20° B. (specific
gravity, 1.60). To it add 4 parts zinc oxide, and boil together until
the latter is dissolved. Now add sufficient water to reduce the
specific gravity of the solution to 1.075 (10° B.). The bath is now
ready for use. Dip each sheet separately, and hang on threads stretched
across the room, to dry. Be on your guard against dust, as particles of
sand adhering to the paper will scratch the ware wrapped in it. Ware,
either plated or silver, wrapped in this paper, will not blacken.
«Varnished Paper.»—Before proceeding to varnish paper, card-work,
pasteboard, etc., it is necessary to give it 2 or 3 coats of size,
to prevent the absorption of the varnish, and any injury to the color
or design. The size may be made by dissolving a little isinglass in
boiling water, or by boiling some clean parchment cuttings until they
form a clear solution. This, after being strained through a piece of
clean muslin, or, for very nice purposes, clarified with a little white
of egg, is applied by means of a small clean brush called by painters a
sash tool. A light, delicate touch must be adopted, especially for the
first coat, lest the ink or colors be started or smothered. When the
prepared surface is quite dry it may be varnished.
«Impregnation of Papers with Zapon Varnish.»—For the protection of
important papers against the destructive influences of the atmosphere,
of water fungi, and light, but especially against the consequences of
the process of molding, a process has been introduced under the name of
zapon impregnation.
The zaponizing may be carried out by dipping the papers in zapon or
by coating them with it by means of a brush or pencil. Sometimes the
purpose may also be reached by dripping or sprinkling it on, but in the
majority of cases a painting of the sheets will be the simplest method.
Zapon in a liquid state is highly inflammable, for which reason during
the application until the evaporation of the solvent, open flames
and fires should be kept away from the vicinity. When the drying is
finished, which usually takes a few hours where both sides are coated,
the zaponized paper does not so easily ignite at an open flame any more
or at least not more readily than non-impregnated paper. For coating
with and especially for dipping in zapon, a contrivance which effects a
convenient suspension and dripping off with collection of the excess is
of advantage.
The zapon should be thinned according to the material to be treated.
Feebly sized papers are coated with ordinary, i. e., undiluted zapon.
For dipping purposes, the zapon should be mixed with a diluent, if the
paper is hard and well sized. The weaker the sizing, the more careful
should be the selection of the zapon.
Zapon to be used for coating purposes should be particularly thick, so
that it can be thinned as desired. Unsized papers require an undiluted
coating.
The thick variety also furnishes an excellent adhesive agent as cement
for wood, glass, porcelain, and metals which is insoluble in cold and
hot water, and binds very firmly. Metallic surfaces coated with zapon
do not oxidize or alter their appearance, since the coating is like
glass and only forms a very thin but firmly adhering film, which, if
applied on pliable sheet metal, does not crack on bending.
For the preparation of zapon the following directions are given:
Pour 20 parts of acetone over 2 parts of colorless celluloid
waste—obtainable at the celluloid factories—and let stand several days
in a closed vessel, shaking frequently, until the whole has dissolved
into a clear, thick mass. Next admix 78 parts of amyl acetate and
completely clarify the zapon varnish by allowing to settle forweeks.
«Slate Parchment.»—Soak good paper with linseed-oil varnish (boiled
oil) and apply the following mass, mentioned below, several times in
succession: Copal varnish, 1 part, by weight; turpentine oil, 2 parts;
finest sprinkling sand, 1 part; powdered glass, 1 part; ground slate
as used for slates, 2 parts; and lampblack, 1 part, intimately mixed
together, and repeatedly ground very fine. After drying and hardening,
the plates can be written upon with lead or slate pencils.
«Paper Floor Covering.»—The floor is carefully cleaned, and all holes
and {507} cracks are filled up with a mass which is prepared by
saturating newspapers with a paste that is made by mixing thoroughly
17 5/8 ounces wheat flour, 3.17 quarts water, and 1 spoonful of
pulverized alum. The floor is coated with this paste throughout, and
covered with a layer of manilla paper, or other strong hemp paper. If
something very durable is desired, paint the paper layer with the same
paste and put on another layer of paper, leaving it to dry thoroughly.
Then apply another coat of paste, and upon this place wall paper of any
desired kind. In order to protect the wall paper from wear, give it 2
or more coats of a solution of 8 4/5 ounces white glue in 2.11 quarts
hot water, allow them to dry, and finish the job with a coating of hard
oil varnish.
«METALLIC PAPER.»
This paper, made by transferring, pasting, or painting a coating
of metal on ordinary paper, retains a comparatively dull and dead
appearance even after glazing or polishing with the burnisher or agate.
Galvanized or electroplated metal paper, on the other hand, in which
the metal has penetrated into the most minute pores of the paper,
possesses an extraordinarily brilliant polish, fully equal to that of a
piece of compact polished metal. It is much more extensively used than
the kind first mentioned.
The following solutions are recommended for making “galvanized” metal
paper:
I.—For silver paper: Twenty parts argento-cyanide of potassium; 13
parts cyanide of potassium; 980 parts water.
II.—For gold paper: Four parts auro-cyanide of potassium; 9 parts
cyanide of potassium; 900 parts water.
Moth Paper.—
Naphthalene 4 ounces
Paraffine wax 8 ounces
Melt together and while warm paint unsized paper and pack away with the
goods.
«Lead Paper.»—Lay rough drawing paper (such as contains starch) on an
8 per cent potassium iodide solution. After a moment take it out and
dry. Next, in a dark room, float the paper face downward on an 8 per
cent lead nitrate solution. This sensitizes the paper. Dry again. The
paper is now ready for printing. This process should be carried on till
all the detail is out in a grayish color. Then develop in a 10 per cent
ammonium chloride solution. The tones obtained are of a fine blue black.
«Aluminum Paper.»—Aluminum paper is not leaf aluminum, but real paper
glazed with aluminum powder. It is said to keep food materials fresh.
The basic material is artificial parchment, coated with a solution of
rosin in alcohol or ether. After drying, the paper is warmed until the
rosin has again softened to a slight degree. The aluminum powder is
dusted on and the paper then placed under heavy pressure to force the
powder firmly into it. The metallic coating thus formed is not affected
by air or greasy substances.
PAPER (ANTI-RUST) FOR NEEDLES: See Rust Preventives.
PAPER CEMENTS: See Adhesives.
PAPER DISINFECTANT: See Disinfectants.
PAPER, FIREPROOF: See Fireproofing.
PAPER, FROSTED: See Glass (Frosted).
PAPER ON GLASS, TO AFFIX: See Adhesives, under Water-Glass Cements.
PAPERS, IGNITING: See Pyrotechnics.
PAPER ON METALLIC SURFACES, PASTING: See Adhesives.
PAPER AS PROTECTION FOR IRON AND STEEL: See Rust Preventives.
PAPERHANGERS’ PASTES: See Adhesives.
PAPER, PHOTOGRAPHIC: See Photography.
PAPER VARNISHES: See Varnishes.
PAPER WATERPROOFING: See Waterproofing.
PAPIER MACHÉ: See Paper.
«PARAFFINE:»
«Rendering Paraffine Transparent.»—A process for rendering paraffine
and its mixtures with other bodies (ceresine, etc.) used in the
manufacture of transparent candles consists essentially in adding a
{508} naphthol, particularly beta-naphthol, to the material which is
used for the manufacture of the candles, tapers, etc. The quantity
added varies according to the material and the desired effect. One
suitable mixture is made by heating 100 parts of paraffine and 2 parts
of beta-naphthol at 175° to 195° F. The material can be colored in the
ordinary way.
«Removal of Dirt from Paraffine.»—Filtration through felt will usually
remove particles of foreign matter from paraffine. It may be necessary
to use a layer of fine sand or of infusorial earth. If discolored by
any soluble matter, try freshly heated animal charcoal. To keep the
paraffine fluid, if a large quantity is to be handled, a jacketed
funnel will be required, either steam or hot water being kept in
circulation in the jacket.
«Paraffine Scented Cakes.»
Paraffine, 1 ounce; white petrolatum, 2 ounces; heliotropin, 10 grains;
oil of bergamot, 5 drops; oil of lavender, 5 drops; oil of cloves, 2
drops. Melt the first two substances, then add the next, the oils last,
and stir all until cool. After settling cut into blocks and wrap in
tin foil. This is a disseminator of perfume. It perfumes where it is
rubbed. It kills moths and perfumes the wardrobe. It is used by rubbing
on cloth, clothes, and the handkerchief.
PARCHMENT AND PARCHMENT PAPER: See Paper.
PARCHMENT CEMENT: See Adhesives.
PARCHMENT PASTE: See Adhesives.
PARFAITS: See Ice Creams.
PARFAIT D’AMOUR CORDIAL: See Wines and Liquors.
PARIS GREEN: See Pigments.
PARIS RED: See Polishes.
PARIS SALTS: See Disinfectants.
PARISIAN CEMENT: See Adhesives.
«PASSE-PARTOUT FRAMING.»
It is hardly correct to call the passe-partout a frame, as it is merely
a binding together of the print, the glass, and the backing with a
narrow edge of paper. This simple arrangement lends to the picture when
complete a much greater finish and a more important appearance than
might be anticipated.