The Invention of Lithography Part 12

TRANSFER INK

All the above-named inks are intended for use directly on stone. If it is desired to write on paper and transfer this writing to the stone, those inks mostly prove too hard, unless one would use warmed stones, as described later. This, however, makes added work: therefore, I give here the recipe for an ink excellent for cold transfers.

Sh.e.l.lac 3 parts Wax 1 part Tallow 6 parts Mastic 5 parts Soap 4 parts Lampblack 1 part

The mode of preparation is exactly like that of the rest. The ma.s.s can be kept only in dried form, not mixed with water. The evidence that this ink is good for transfer work is that, after it has stood for some days, it still manifests stickiness when touched with the finger. If the ink does not transfer well to the stone under moderate pressure, it is too hard, and can be improved by mixing in a little b.u.t.ter or vegetable oil, but it is necessary to dissolve the whole ma.s.s again over the fire. If the design squashes under pressure, the ink is too soft. It is necessary to consider the temperature of the place where it is kept, and even the time of year, in order to produce the proper consistency of ink for the best transfer work.

V

HARD ETCHING GROUND

Certain methods of stone-printing demand, besides the ink, a fatty, acid-resisting ma.s.s to coat the plates. It is either the same as the material used by copper-plate etchers, or, at least, is very similar to it.

Etching Ground for stone is as follows:--

Wax 12 parts Mastic 6 parts Asphalt 4 parts Resin 2 parts Tallow 1 part

This is melted in an iron pan over a fire hot enough to melt the asphalt perfectly. Combustion is allowed to ensue till a third of the mixture has been consumed. When thoroughly cooled, it may be shaped in any desired form and saved for use.

A good surface is made also by common wax, boiled and burned till almost five parts of it have been consumed.

VI

SOFT ETCHING GROUND

For some processes there is needed an etching ground which has the property of not coating the entire surface, permitting the etching fluid to penetrate at many spots uniformly, or, if it resists the etching fluid, still so easily affected by manipulation that it will admit the acid according to such manipulation. There are two ways to make it.

(1) Thick linseed oil varnish 1 part Tallow 2 parts (2) Wax 1 part Tallow 5 parts Linseed oil varnish 3 parts

The application will be described in the instructions about aquatints, etc.

VII

ACID PROOF INK

So I name a color which has the property of resisting acid when the stone is inked with it. It is useful in many cases, and even necessary.

It is well, therefore, to make a supply of it.

2 parts thick linseed oil varnish 4 parts tallow 1 part Venetian turpentine 1 part wax

All must be well melted, mixed with four parts lampblack, well rubbed down and kept in a closed tin vessel.

VIII

CRAYON

Chemical or fatty crayon is a composition intended to be used on the stone plate in dry form like Spanish or Parisian chalk. The inks described previously have the property of soaking into the stone and making it greasy where applied. The same happens if they are applied dry, the degree of their penetration and adherence merely being less.

The mixtures that may be used to make crayons are countless. Wax and soaps, however, are better than resinous materials. Therefore it is likely that the compositions here named will be pretty nearly the best.

(2) Wax 4 parts Soap 6 parts Lampblack 2 parts, roasted, or better still, made as explained before.

The wax and soap are melted together. The lampblack is added then. All is rubbed down fine on a hot plate, and then placed on the fire again till it is fluid once more. Then it is poured on a stone plate coated with a little oil, so that it forms a cake of about one eighth inch thickness. When this has cooled a little, it is cut into thin pieces and put away till needed.

(2) Wax 8 parts Soap 4 parts Lampblack 2 parts

Burn the wax till one half is consumed, then melt the soap with it, and treat the mixture as before.

(3) Wax 4 parts Spermaceti 4 parts Soap 4 parts Lampblack 2 parts

The first three materials are melted together, the lampblack is added, and then the whole is treated as before.

(4) Wax 8 parts Spermaceti 4 parts Soap 4 parts Lampblack 2 parts

The wax is to be half burned away, then the spermaceti and soap are to be melted into it, and the whole treated as the other formulas.

(5) Sh.e.l.lac 4 parts Wax 8 parts Soap 5 parts Lampblack 3 parts

The sh.e.l.lac is to be completely dissolved with the wax by means of combustion after which the rest of the treatment is the same as before.

(6) Sh.e.l.lac 4 parts Wax 8 parts Tallow 2 parts Soap 5 parts Lampblack 3 parts

The same treatment, except that the tallow is to be mixed in after the sh.e.l.lac has dissolved. This crayon is a little softer than the others.

The same is true of the following two.

(7) Wax 8 parts Tallow 4 parts Soap 6 parts Lampblack 3 parts

Wax, tallow, and soap are melted together and burned till one third of the ma.s.s has been consumed. Then the lampblack is added and the rest of the process is as before.

(8) Wax 2 parts Tallow 6 parts Mennig 2 parts Lampblack 2 parts

Wax, mennig, and lampblack are heated and constantly stirred till the mennig dissolves in froth and changes from red to brown. Then the lampblack is rubbed in thoroughly, the whole warmed again properly and shaped into sticks.

These are the best compositions, thoroughly tested by me, and it is very good to make a stock of all or most of them. In the case of the recipes for chemical ink, the differences are not great, and it is largely a matter of taste as to which kind one may use. But in the case of the crayons, each of them produces a different grain which creates a particular effect; so that by using various kinds of crayon one will gain greater perfection of work, or, at least, find execution easier than with only one crayon. Also, they are in proportion to the greater or lesser roughness of the stones; and the darker shadings are easier to produce with soft crayons than with hard ones, while the hard ones are best for fine shading and outlines.

The lampblack used for crayons must be burned out first, else it will develop blisters, which is the case also if the composition is poured on the plates too hot.

Crayon that contains much sh.e.l.lac is likely to soften in damp air; therefore it should be kept in tightly closed vessels.

IX

CONCERNING COLOR FOR PRINTING

The manufacture of printing-ink or color is very difficult and dangerous on a large scale. I counsel all to take lessons from a book printer when he makes it.