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T H E
GRAMMAR OF LITHOGRAPHY,
A PRACTICAL GUIDE
FOR THE ARTIST AND PRINTER.
T H E
GRAMMAR OF LITHOGRAPHY
A PRACTICAL GUIDE FOR
THE ARTIST AND PRINTER
IN
Commercial & Artistic Lithography, & Chromo-
lithography, Zincography, Photo-lithography,
and Lithographic Machine Printing. s
By W. D. RICHMOND.
EDITED AND REvISED,
WITH A N IN T R op U cT I o N, By T H E E D I To R of
“THE PRINTING TIMES AND LITHogRAPHER.”
EIGHTH be DITION.
LONDON : -
E. MENKEN, 65 & 66, CHANCERY LANE.
All Rights Reserved.
%N
& Tújº/
Gºgº










TA B L E O F C O N T E N T S.
- P A R T I.
DRAWING, TRANSFERRING, AND PRINTING.
CHAPTER I.-/n/roductory. — Chemical principles on which Lithography
is based—Principal branches of the art—Materials employed by the
artist — Stones, their varieties, characteristics, defects, and prices
—Inks—ChalkS—Transfer - paper, writing, and drawing—Water—
Tracing-paper ... f . £age I
CHAPTER II.-Mechanical and Chemical Principles of some of the Litho-
graphic Materials used in Printing.—Varnish—Printing-ink, black .
and coloured—Gum-water—Plate transfer-paper—Plate transfer-ink—
Retransfer-paper—Retransfer ink—Type retransfer ink—Nitric acid—
Sponge — Damping-cloth — Sand — Pumice-stone — Snake-stone—
CHAPTER III.-Instruments, Tools, and Appliances used in Drawing and .
Writing.— Brushes — Pens — Mezzotint-scrapers—Crayon-holders—
Hand-board–Turn-table ... ... ... ... ... ... ... ... ... I5
CHAPTER IV.--Instruments, Tools, and Apparatus used in Printing.—
The Press, varieties of construction—the Framing—the Cross-head—
the Pressure - screw—the Press - key—the Scraper-box—the Bed or
Carriage—the Tympan-frame—the Cylinder—the Handle—the
Brasses—the Eccentrics or Cams—the Lever—Tympans, how to stretch
them—Scrapers—Elastic beddings—the Roller, how prepared for use—
Roller handles—the Glazed Roller ... ... ... ... ... ... ... 20
CHAPTER V. — Accessories to the Lithographic Printing-press. --Acid
Stumps— Mortar and pestle— Palette-knife—Ink-slab–Backing-sheet
—Marking-leads—Squeegee—Appliances for stone-grinding and polish-
ing—the Trough—Levigator— Sieves—Straight-edge — Callipers —
Stone-horse—Mallet and Chisel–Rasp, file, and crowbar ... ... 30

v1 | THE GRAMMAR OF LITHOGRAPHY.
CHAPTER VI.-Grinding and Polishing Stones. –Marking the depth to
be ground— Instances in which grinding may be dispensed with--
Grinding without a levigator—the Gradation of the sand–Polishing—
Testing by the magnifying-glass—Rounding the edges of the Stone—
Stone-grinding machines ... ... ... ... ... ... ... ... page 36
CHAPTER VII. —Lithography on Paper or Transfer Lithography.—Pre-
paration of the ink–Mode of making in large quantities—Law
writing — Architectural bills of quantities — Directions for writing
law, text, old English, copper-plate, and ornamental styles—Drawing
with instruments and the brush — Tracing transfer-paper — Chalk
transfer-paper—Facsimiles—Autography ... ... ... ... ... ... 40
CHAPTER VIII.-Ink Writing and Drawing on Stone.—The preliminary
tracing—Circular writing—Relative advantages of working on stone and
paper—Ornamental lettering—White letters on black ground—Stop-
ping-out for transferred machine ruling — the Sprinkled method—
Stippling—Distinction between and relative advantages of the two
methods—Corrections on polished stones during the work, and after
rolling up—Theory of drawing on stone — Precautions to be ob-
served ... ... ... ... ... ... ... ... ... ... ... ... ... 48
CHAPTER IX. — Chalk Drawing on Stone.—Theory of the process—
Peculiarities of the grain of the stone—How to grain a stone—Defects
and remedies—Tracing the outline to stone—Pointing the chalks—
Copal chalks—Occasions when ink may be used—Drawing—Cautions
—Tinting—Importance of this department of Lithography ... ... 60
CHAPTER X. —Etching Chalé Drawings on Stone. —Chemical principles
of the operation—Action of acids—Four methods of etching—Re-
touching and correcting after printing .... ... ... ... ... ... 69
CHAPTER XI. —Taking Impressions for Transferring.—Copper-plate
transfers—Warming the plate—the Jigger—Blanketing—the Damp-
book—Method of taking the impression from plates—Failures and
their causes—Retransfers from stone—Transfers from type and wood-
cuts–Condition of the Stone in transferring ... ... ... ... ... 75
CHAPTER XII.-Transferring.—Three methods of transferring—Trans-
ferring to dry stone—Transferring to a wet stone—Transferring by
damping the transfer and wetting the stone ... ... ... ... ... 82
CHAPTER XIII.-Proving and Printing.—Rolling up—Cleaning—Etching
—Taking the first impressions—Marking the stone for laying down
transfers—Mode of printing ... ... ... ... ... ... ... ... 89
CHAPTER XIV.-Printing (continued).-Preparing ink for use—General
instructions for printing — Manipulation of roller as affecting result
—Temperature – Paper – Damping — Preparing India paper for
Printing ... ... ... ... ... ... ... ... ... ... ... ... ... 93
TABLE OF CONTENTs. . . . . vii.
CHAPTER XV.-Printing (continued ). —Defects and remedies—Advice—
Slurring—Setting-off–Proving chalk-drawings—Unequal etching— .
Soft backing ... ... ... ... ... ... ... ... ... ... ... page roz
CHAPTER XVI.-Miscellaneous Processes.-Tracing from photographs,
~ pictures, &c.— Keystones for colour-work — Autographic transfers
— Reversing transfers—Transposition of black and white—Other
methods. ... ... . . . . . . . . . . ... r19
CHAPTER XVII. —Miscellaneous Processes (continued).—Making up labels
—Bronzing—Gilding—Dusting—Dabbing style— Remarks ... ... 125
CHAPTER XVIII.-Engraving on Stone.—Tools—Preparation of the
stone, red and black--Tracing—Engraving—Corrections, and filling in
—Dabbers—the Printing ... ... ... . ... ... ... ... ... ... 131
CHAPTER XIX. —Zincography.—Its Principles—Scraping, polishing, and
graining the plates—Re-preparation of old plates–Etching recipes—
Transfers—Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I39
CHAPTER XX. —Chromo-lithography.—General conditions—The keystone,
how prepared—Set-off or feint—Different modes of preparing—Order
of the colours—Bronzes—Dusted colours ... ... ... ... ... ... I44.
CHAPTER XXI.—Chromo-lithography (contºn?/cd). — Registering by lay—
By needles—By fixed points—By new method — Registering machines
—Influence of paper—Dry paper—-Damp paper—Drying-room -Sur-
face of stone—Dusting to prevent set-off—Application of principles 148
CHAPTER XXII.— Chromo-lithography (continued).- Tints : Different
methods of making tints—Tints in which white chalk is imitated—
Tints of several gradations of one colour—Washing out tints—Etching
tints—Various kinds of other tints ... ... ... ... ... ... ... 159
CHAPTER XXIII.-Chromo-lithography (continued).—Printing: Pigments
employed for coloured inks—Treatment of colours—Dryers—Ink for
tints– Oleographs – Roughing – Decalcomanie — Multiplication of
colour subjects... ... ... ... ... ... ... ... ... ... ... ... I74
CHAPTER XXIV. — Photo-lithography. — General principles—Lenses—
Cameras–Negatives—Sensitive paper—Inking and development—
. Transferring—Modified processes—Gradations—Direct processes—
Albertype—Heliotype ... ... ... ... I'87
APPENDIX.—Recipes.—Soap—Writing and drawing ink—Type, stone,
and plate retransfer ink—Crayons—Varnishes for printing—Transfer
papers for artists and printers — Enamel papers — Varnishing —
Gelatining–Preserving drawings after printing—Transferring from
music plates—Preventing set-off—Ante-damping fluids—Anastatic
process–Backing Stones—Enlarging and reducing processes, &c. 197
viii | THE GRAMMAR OF LITHOGRAPHY,
- - - - \
CH
PART II.
- LITHOGRAPHIC MACHINE-PRINTING.
APTER I.-Introductory. — The demand for machine-minders—the
selection of a machine—the essentials of a well-constructed machine
—How to judge of the value of a second-hand machine—How to
keep machinery in the best working condition—the inking rollers--
the damping rollers—the cylinder and its covering... ... ...page 22I
CHAPTER II.-Preparation of the stone—Preparation of the work—
Etching for machine printing— Inking—Distribution—Refreshening
the roller's surface—Quality of ink—How to reduce the tenacity of
ink—Setting the stone in the machine—Starting the machine: Inking
—Damping ... ... ... ... ... ... ... ... ... ... ... ... 229
CHAPTER III.-Importance of a proper choice of paper—Hand-made
and hard-sized paper very objectionable—Necessity for absorbency in
the paper–Conditions of printing on Smooth writing-paper—General
principles involved in printing dry paper—Rolled paper—Remedies
for altered dimension in paper—the drying-room— Registering—
Setting a stone for register—Colour-printing— Grinding colours—
Permanency of colour—the ink-duct—Defects in ink-ducts... .. 236
BIBLIOGRAPHY OF LITHOGRAPHY ... ... ... ... ... ... 243
NDEX w. " ... . . . . .
• . . . . . . . . 247
:*HERE formerly existed a deep-seated and it
ii must be admitted an unreasoning prejudice,
§ # against technical hand-books treating prac-
Kºś tically of any trade or profession. It was
sedulously instilled into the minds of the young especially,
that an acquaintance with the processes of the different in-
dustrial occupations could be acquired only by observing and
imitating the methods of adepts. This idea was fostered
by persons possessed largely with a selfish motive : they
had gained their own knowledge of their art in the tedious
and irksome manner which, in their case, was the only
possible one, and were determined, as far as lay in their
power, that such knowledge should be obtained by their
successors in the same unintelligent way. w
The rise of trade journalism, which is coincident with
the establishment of 7%e Builder—a periodical that has, in
a variety of ways, been of signal service to the industrial
community—and the gradually increasing influence and
importance attained by the newspapers which each trade
and interest soon brought into existence, showed the
fallacy of the old prejudice; and it proved what was
even of more consequence, the great and substantial use
which might be made of the Press in imparting technical


x . . THE GRAMMAR OF LITHOGRAPHY.
instruction, partly supplementary to and partly independent
of workshop and laboratory practice. A large class of per-
sons became accustomed to find their practical knowledge,
even in their own peculiar /16tieſ, increased and enlarged by
the perusal of articles in Serials of this character; and it was
only a natural development of things when the articles grew
into treatises, when isolated facts, hints, recipes, and in-
struction were welded together into Connected grammars,
guides, and hand-books of the different departments of
craftsmanship.
In the conduct of a journal devoted to printing and the
auxiliary arts—THE PRINTING TIMES AND LITHOGRAPHER
—the Editor has been constantly called upon to answer
questions of an elementary character, and Consulted on
points more abstruse, Connected with Lithography and
the processes allied with it. The correspondents’ column
was too circumscribed for sufficiently detailed replies ;
and the information desiderated by one reader was only
partially required by others. He therefore resolved to
cause to be written a series of chapters on Lithography
which should embrace every practical exigency that might
arise in the ordinary pursuit of the art ; and in a form
suitable not only for the initiatory instruction of the mere
tyro, but for occasional reference by the more advanced
practitioner. -
He was confirmed in his resolve by another considera-
tion. Repeated requests for the name of a complete
treatise on the subject had to be answered with the
statement that there was really not a work on Litho-
graphy of practical utility in the market. For nearly half.
a century no treatise of practical value on the art had
appeared in the English language. The last con-
siderable work of the kind was that issued by Mr.
Hullmandel, and was intended chiefly for amateurs.
EDITOR'S INTRODUCTION, * t - XI
Indeed, it may be said that, from the date of the publica-
'tion of the English translation of the Manual of Litho-
graphy issued by SENEFELDER (1819), no other work
of importance commensurate with the subject has been
given to the public. There was every reason, there-
fore, that the hiatus should be supplied, and that one
of the most beautiful, useful, and progressive of the Re-
productive and Graphic Arts should have its processes $
formulated and its methods scientifically described in a
thoroughly practical and complete treatise, brought up to
the present time.
Experience showed that a book of the kind was wanted,
not merely by amateurs but by many persons who are
already engaged in the practice of Lithography. In these
latter days the exigencies of trade competition demand a
division of labour that has a strong tendency to keep an
apprentice ignorant of many things connected with the art
of printing from and drawing upon stone. In the larger
towns, the reputation made by certain firms for special
work favours this division so much, that there are many
respectable offices where, for instance, little beyond the
ordinary routine of printing in black for commercial
purposes is seen. While this systematic division, perhaps,
increases the money-value of a workman to his employer, it
decreases his general capability. This is soon discovered
when he is employed as the working manager of a small
general business, a position in which he is required to carry
out, in a respectable manner, almost any kind of work that
may be brought to the office. &
This want of acquaintance with the minutiae of the
manifold varieties of printing and preparation of work is
especially observable among artists and writers. In London,
many lithographic artists know very little of printing, while
printers are equally ignorant of drawing. This is un-
xii. THE GRAMMAR OF LITHOGRAPHY.
doubtedly the cause of much heart-burning and recrimi-
nation between the two parties. The printer perhaps thinks
the draughtsman should draw so firmly that there should
be little fear of over-etching, while the artist thinks the
printer ought to be able to print anything, just as it is put .
upon the stone. There should be a desire to do the best
on both sides; but it is feared that not unfrequently the
one is more bent on proving th : correctness of a pet
theory, than on doing the best he can for his employers.
A more extended knowledge would frequently prevent
these little differences, and it is hoped that the study of
the following pages will tend to a better understanding
between the different grades of practitioners of the art.
With these considerations in view, the Editor, after
rejecting more than one compilation, eventually Selected a
practical lithographer of unusual experience and ability in
every department of the art, Mr. W. D. Richmond, to
prepare the present Treatise. . It is believed that his more
than twenty-three years' experience, acquired under circum-
stances accorded to few, his facility for explaining in clear
and simple language the various processes involved, and
above all his thorough acquaintance with the rationale—the
chemical and mechanical basis—of the art, have amply
justified the selection, and that this “Grammar of Litho-
graphy” is undoubtedly the most useful and practical, as it
is certainly the most full and complete, Hand-book of the
kind that has yet made its appearance. -
It will be observed that no specimens of Lithography hav
been given in this volume. To have done so would have
been to increase the cost of the book without imparting to
it any corresponding increment of practical value. Nearly
every shop-window, if not every street-hoarding, affords
examples of the different styles, and to reproduce what is
so accessible and so commonplace was needless. Nor has
EDITOR'S INTRODUCTION. xiii
any portion of the available space been occupied in his-
torical details. These would possess great interest, but
as yet they need such an amount of collection, investiga-
tion, and classification as to require a separate and inde-
pendent work for their adequate treatment. This we may
some day attempt, in the mean time we can only admit
the want, and suggest the interest which would attach to a
work which should supply it. --
The Editor has gratefully to acknowledge the valuable
assistance with which he has been favoured by several.
gentlemen of high position in the profession of Lithography
and the world of Art. Amongst others he must not omit to
name Mr. LOUIS HAGHE, the eminent artist, who was him-
self formerly a lithographic draughtsman and whose name
alone is a guarantee of the importance of the co-operation
which he has so kindly accorded; Mr. MICHAEL HANHART,
who is identified with the progress of Artistic Lithography.
in this country; Mr. WILLIAM SIMPSON, the famous artist
and traveller, who, in his younger days achieved so high a
reputation as a practical Lithographer ; and Mr. HARRY
SANDARS, of Oxford, an expert of exceptional talent and ripe
practical knowledge. These gentlemen have each carefully
read and corrected the proof-sheets of the different chapters
prior to their appearance in the PRINTING TIMES AND
LITHOGRAPHER, and their concurrence in the principles
and processes here detailed affords to the Editor every
confidence in the accuracy, utility, and comprehensiveness
of this Treatise. -
Office of THE PRINTING TIMES AND LITHOGRAPHER,
81, Great Queen Street, Zondon.
P A R T I.
DRAWING, TRANSFERRING AND PRINTING,
THE
GRAMMAR OF LITHOGRAPHY,
O
CHAPTER I.
Introductory.—Chemical principles on which Lithography is based—
Principal branches of the Art—Materials employed by the artist—
Stones: their varieties, characteristics, defects, and prices—Inks—
Chalks—Transfer-paper, writing, and drawing—Water—Tracing.
paper.
** A ſº *HE object of the following
Nép); treatise is to present a full
§ and explicit account of the
Nº ART OF LITHOGRAPHY in
sº its various branches, adapt-
ed to the requirements alike
of the amateur and pro-
fessional. In its manner,
an endeavour has been made to adopt
a style simple enough for the learner
and the self-educator ; while the matter
will, it is hoped, be comprehensive
enough to be regarded as a useful com-
pendium and wade-mecum for those who
already possess a knowledge of the
general principles and ordinary practice
of the art. wº
The plan of the treatise is to give,
in the first place, a description of the
- materials, tools, implements, and ma-
chinery; then to show their application. The subject is
divided into two chief portions,—those appertaining to
the provinces respectively of the Artist and the Printer.
B


2. THE GRAMMAR OF LITHOGRAPHY. *
The principal subjects are referred to in independent
paragraphs, numbered consecutively. This plan insures
facility of reference, avoids repetition, and obviates un-
necessary recapitulation.
I. The art of LITHOGRAPHY is based upon a chemical
principle, that of the attraction and repulsion of various
natural substances, and more especially upon the antago-
mistic qualities of grease and water, or of those substances
which are soluble in water and those soluble in oil.
Every one must have observed that grease will not.
directly combine with water. On this property depends
the whole principle of Lithography, however simple or
complex the result may be, from the Ordinary circular in
black to the highly-finished imitation in colours of water, or
oil painting.” *
2. Practical Lithography may be divided into two distinct
branches, viz., Drawing and Printing.: The former includes
drawing and writing both upon stone and transfer-paper;
the latter, those multifarious operations necessary after the
drawing or writing has left the hands of the artist or writer.
3. Before pursuing this interesting and, to many, fasci-
nating study, it will be necessary to become acquainted
with the materials; necessary for its practice. Some fifty
or more years ago, when the art was in its infancy, its pur-
Suit was attended with many difficulties which do not now
* Stated more precisely, the art of Lithography rests upon the ſol-
lowing properties of the substance forming the printing surface:—
I. That a drawing made upon it with fatink adheres to it so strongly
as to require mechanical force to remove it. -
2. That the parts of it free from the drawing receive and retain
• Water.
3. That a roller or other instrument covered with ſat ink, being
applied to the printing surface when wetted, the ink will attach itself .
only to the fatty drawn parts, and will be repelled from the wetted
parts. – - * -
f Those who practise the two branches are respectively known as
lithographic artists, draughtsmen, or writers, and lithographic printers.
i. The materials necessary for drawing and colouring upon paper, &c.,
will also be required for the complete equipment of the lithographic
artist; but it is considered unnecessary to detail them in this treatise,
the student of lithography being supposed to be already acquainted .
with them. His attention will therefore be mainly solicited to the
specialites connected with the subject in hand. sº
LITHOGRAPHIC STONES. , 3
confront the Lithographer. At that time it was necessary
that he should make, or cause to be made under his imme-
diate Superintendence, presses, rollers, varnishes, writing
and printing inks, crayons, and any other instrument or
material that was peculiar to, or necessary in, Lithography.
Of course the chances of failure were then very great; but
at the present time they are reduced to a minimum, for not
‘Only in the metropolis, but also in the provinces, may be
found persons whose business it is to supply the trade with
every preparation and appliance required.
Every person in commencing is recommended to purchase
his requirements from some well-known dealer, as he then
may feel confident, if any mishap occurs, that the fault is
with himself, and not the material he is using ; and this
will greatly conduce to his progress. It is only when he
has learned to know and appreciate what good materials
are, that he may safely venture to make them for himself.
Everything that it will answer his purpose to prepare, this
treatise will make him acquainted with ; it is, however,
economical to purchase ready-made many things which he
is actually able to prepare for himself. It is nevertheless
advisable that every one who aspires to a thorough ac-
quaintance with the art of Lithography should spend some
little time in experimenting on the manufacture of the
materials, as valuable information is gained thereby, -
information that cannot be so well or so thoroughly acquired
in any other way. Experiment teaches him to judge not.
only of the quality of the article, but to estimate the diffi-
culties that attend its production. The beginner should
only do so when he has pretty well mastered the use of
those materials that are obtained from persons who make
their actual manufacture a study and a business.
4. STONES for the purpose of Lithography are imported
chiefly from Germany. They may be obtained from dealers
who carry on business in London or elsewhere. Litho-
graphic stones are very compact homogeneous limestones,
varying in colour from a light cream, dull yellow, drab,
or grey, to darker shades of the same colours. The light
tints are softer than the dark, and the grey are harder .
than the cream-coloured stones. Some are uneven in
colour, having light and dark patches, which render them.
- B 2
4 | THE GRAMMAR OF LITHOGRAPHY.
unfit for drawings of which the artist requires to see the
effect he is producing during the progress of his work; but
for ordinary transfer-work this appearance is usually unim-
portant, as also in show-card and other simple ink-work.
Chalky stones have light spots scattered about in patches,
or these may occur all over the stone : these places are
soft, and render the stone unfit for any but the commonest
work, and should never be used for chalk-work, because the
acid used in etching attacks those parts with greater energy,
and produces similar spots in the impression. For the
same reason they must not be used for etched finis.
Among the ordinary defects of stones may be mentioned
holes, and specks termed pins. The latter are hard points,
usually of a dark colour, but are not of very frequent occur-
rence, nor of much disadvantage in use. Neither chalky
stones nor those having holes will do for engraving upon.
Veins are frequently found, and appear to arise from
cracks at some period of the stone's history. Through
them has percolated water charged with the carbonate of
lime of which the stone is formed. In process of time this
crystallizes and cements the portions of the stone together
so firmly that it is a rare thing to find a stone break in the
direction of these marks. Being of the same chemical
nature, they behave in ink-work as the rest of the stone ;
but as they differ in mechanical structure, when a stone
is grained for chalk-work they receive the grain differently.
to the other parts, so that when the drawing is made the
vein shows darker than the rest of the drawing. Some
veins are scarcely visible, while others are not only broader,
but sometimes patches occur in the course of their length
which distinctly show their crystalline character.
While any stones of the description before-mentioned will
do for common purposes, great care should be exercised
in selecting those required for particular work. This advice
pre-eminently applies to chalk-work, in selecting stones for
which, preference should be given to those which are of an
even grey or drab colour; and though these are not of so
agreeable a tint to the artist as the lighter ones, yet experi-
ence has shown them to be the best for the purpose of
chalk-drawing. - -
Stones are sold by weight. Small ones may be had as
g LITHOGRAPHIC INK. 5
How as Id. per lb., while very large ones command as much
as 4d. . Thin stones and grey stones are a little higher in
price. Double-faced ones, on account of the difficulty of
obtaining stones equally good all through, command as
tºmuch as sixty per cent. more than single-faced ones.
Stones have been found in France, England, and other
parts of the world, which will yield impressions in the
Hithographic press, but none possess the qualities of the
best German stones in a sufficient degree to become suc- .
cessful rivals.
No other surface, yet discovered, fulfils the necessary
Conditions of lithographic drawing and printing so com-
pletely as the Solenhofen limestone, yet other substances
are in use, possessing advantages peculiar to themselves ;
the most important of these being zinc plates, and the
chromatized gelatine films used in the Albertype and other
kindred photo-mechanical printing processes. *
Any compact substance that carries a good face and has
an affinity for both grease and water, may, no doubt, be
used for printing by the lithographic, method with varying
degrees of success; hence, surfaces of metal, artificial
stone, glass, wood, &c., have been at various times used
and advocated. For the present, however, the student's
attention will be confined to the methods applicable to the
use of lithographic stones.
5. LITHOGRAPHIC INK.—The manufacture of this im-
portant preparation will be described in due course, but at
present it will be only necessary to mention that good ink
Thay be bought from any dealer in lithographic materials.
The inks of Lemercier and Vanhymbeeck have deservedly
gained a high reputation ; but there is, in the eyes of many
artists, one drawback to their use on stone, and that is a
deficiency of black. Good lithographic ink should contain
as much black pigment” as is consistent with the necessary
* This black pigment is added to the ink merely for the purpose of
enabling the artist or writer to see what he is doing and to estimate what
the effect of his work will be when printed. If more black be put into the
ink than is required to attain this object thoroughly, it will probably be
injurious, because the artist could then see to use it, though it might
be too weak to fulfil the conditions necessary to success in transferring
and printing. - * -
6 THE GRAMMAR OF LITHOGRAPHY.
strength for rolling up, and should flow freely from the pen.
or brush without a decided tendency to spread, though in
this respect, it differs considerably from either common
writing or China ink, as from the same pen a much thicker
line is made with the lithographic ink. The mode of using
will be mentioned in its proper place.
The price of this ink is from IS. per cake.
6. LITHOGRAPHIC CHALKS, OR CRAYONS.—Those most
generally used are manufactured by Lemercier, of Paris,
and are so well known that every printer experienced in
chalk-drawings knows how to treat a subject in which they
have been used. They are made of several degrees of
hardness.
The copal chalk is hardest, and is used for outlining.
Next in order come Nos. I, 2, and 3. There is also a
Stumping chalk, though not so much used.
These crayons are very carefully manufactured, and
may be relied on for great, if not absolute uniformity ;
so much so, that the lithographer should, under all ordi-
nary circumstances, use no other. This rule may be
departed from when the quantity used is very large, or
when some competent person is at hand to make them.
This duty usually devolves upon the foreman printer in
such cases, as he is responsible for the drawings after they
leave the hands of the artist. If such a printer should
supply the artist with crayons of his own production, they
may be used with perfect confidence.
There are at present no crayons in use for Lithography
which equal in facility of manipulation the black-lead
pencil or the contë crayon, when used on paper ; but as
these substances are in no degree qualified for printing
purposes, the artist must necessarily make use of those
special productions prepared for his use, which have been
found to not only answer his purpose, but that also of the
printer.
7. TRANSFER-PAPER FOR WRITING AND DRAWING.—
The facilities afforded to Lithography by transfer-paper are
So many that its importance cannot be too highly estimated.
Its use obviates the necessity of working backwards, as
must be done on the stone. When a piece of writing, for
example, is transferred face downwards to the stone, and,
TRACING-PAPER. - 7
the paper upon which it was written is removed, the back
of it is then seen ; and when this in turn is inked by the
printer, and a piece of paper laid upon it and an impression
taken, this impression shows the same appearance as the
original piece of writing upon the transfer-paper.
Transfer-papers are prepared by coating the surface of
paper with gelatine, starch, or gum, either singly or in com-
bination, or united with other substances. The object of
this coating is to interpose a soluble film between the
writing or drawing, in lithographic ink or chalk, and the
paper. Paper being more or less porous, would, if used
alone, absorb some of the ink, instead of permitting the
whole of it to be transferred to the stone. Hence the
necessity of covering it with some substance which, during
the process of transferring, can be moistened through the
back of the paper, which is then peeled off, and the work,
with the whole or part of the mucilaginous film, left upon
the stone.
There are two distinct kinds of transfer-paper for drawing
in the ink style and writing, one prepared on Ordinary paper
and the other on transparent or tracing-paper. These have
smooth surfaces; but the transfer-paper for chalk drawings
has a finely granulated surface adapted for receiving the
lithographic crayon. There are also transfer-papers for
taking impressions from Copper-plate, type, and designs
upon stone, to be transferred to stone for the convenience
of printing more impressions at once than that obtainable
from the original alone. a .
. The use and manufacture of these papers will be here-
after fully described, though they may be bought ready
prepared at about 8s. per quire, demy size. Chalk transfer-
paper 24S. per quire, imperial quarto.
8. WATER is used for dissolving the ink for writing or
drawing on stone or paper; and inasmuch as soap is used
to render the other materials of the ink soluble, it is im-
portant that hard water should not be used, but distilled
or rain-water filtered through blotting-paper. A four-ounce
bottleful, with a nick cut in the side of the cork, so that
it may be shaken out a drop at a time, will last for a long
while if kept for the purpose.
9. TRACING-PAPER for making clean and neat copies
8 . THE GRAMMAR OF LITHOGRAPHY.
of the work to be done, and red tracing-paper for transfer-
ring the same to the prepared paper or stone, will be re-
quired by the artist. (See Appendix.)
lo. The foregoing constitute the principal materials”
required by the writer or artist. Instruments will be treated
of in another place, as well as the machinery and tools
required by the printer.
CHAPTER II.
Mechanical and Chemical Principles of some of the Zithographic
Materials used in Printing.—Warnish—Printing-ink, black and
coloured—Gum-water—Plate Transfer-paper—Plate Transfer-ink
—Retransfer-paper — Retransfer-ink — Type Retransfer-ink —
Nitric Acid—Sponge—Damping-cloth—Sand—Pumice-stone—
Snake-stone—Turps.
• * AVING, referred in the preceding chapter to the
principal Lithographic agents — Stones, ink, and
water, as materials required in lithographic drawing and
writing, we now proceed to notice the chief materials used
in printing. --
II. ByVARNISH, in Lithography, is understood the vehicle
in which pigments are ground to form the printer's ink. It
is made by subjecting the best linseed-oil to the continued
influence of heat, until it becomes more or less thick and
viscid. The heat must be raised until the oil will take fire,
and must be kept at that heat until the varnish is brought
to the proper consistency. The operation is very dan-
gerous, inasmuch as the flame from the burning oil will
Sometimes reach a great height, even though the quantity
of oil be only a quart or two, and, for that reason, every
precaution should be taken in its manufacture.
One reason for making varnish for one's self would be to
obtain an article known to be pure, for comparison with
that which may be bought, as it is possible to thicken the
* “Materials” are here intended to mean those matters that require
frequent renewing, or are used up in the operations in which they
are employed. s *
PRINTING-INK. 9
varnish with resin (as is done with varnish for letter-press
ink), instead of producing the viscidity by burning only.
As varnish is an article manufactured on a large scale,
there is no difficulty in purchasing it of a quality to
answer the lithographer's purpose. It is made of several
degrees of strength, known in the trade by the terms thin,
finting, medium, and thick. The more transparent and free
from colour it is, the better it answers the purpose of
Chromo-lithography, as frequently the ink, in this style of
printing, is only varnish, stained, as it were, with a little
Colour or pigment. If this is light or delicate, it is essen-
tial to have the varnish as colourless as possible.
Varnish is sold by the gallon, but smaller quantities
can be bought. The price varies from Ios. to 18s, per
gallon. - *
12. PRINTING-INK.”—This important material is sold to
the trade ready ground, to suit various classes of work, and
the price varies from 2s. to 4os. per lb., a good medium
ink, for ordinary black printing, Costing about 5s. per lb.
It is put up in tins, and most inks keep well. w
In the state in which it is bought, Lithographic ink is
too thick for use, and requires to be thinned down with
varnish to answer the printer’s purpose. Considerable ex-
perience, united with a keen appreciation of the nature of
the ink and varnish, is necessary to enable the printer to
master this part of his trade ; and though much assistance
may be given him by pointing out principles for his
guidance, yet it is only experience that can qualify him to
Carry on his printing with success. -
Ink made with thin Żarnish leaves the roller freely for
the stone, and will soon spoil a drawing if used by an inex-
perienced hand—first, by adding to the greasy properties
of the work already upon the stone ; and second/y, by
spreading under the pressure. This is caused by, first,
Having too much ink on the roller; secondly, rolling too
slowly; third/y, rolling after the stone has begun to dry :
fourthly, the weather or the stone being too warm. This
Tesult will be aggravated by the paper being too hard and
* The nature of this ink is more fully treated of in paragraphs 116
and I 17.
IO & THE GRAMMAR OF LITHOGRAPHY.
non-absorbent, and the ink not having sufficient tenacity
to clean up the work as the printing proceeds.
Now, ink made with strong warnish behaves very differ-
ently. It soils the stone with difficulty; and if the stone
should be made dirty by being rolled after it is dry, on re-
wetting the stone and passing the roller over it, the stone is
cleaned by the roller again taking up the Superfluous ink.
It requires slow and heavy rolling to transfer this ink
from the roller to the stone, because the varnish is so
tenacious, that its particles do not part easily. By using
it with a quick motion of the roller, the drawing may be
almost torn from the stone, so that any delicate parts are
sure to suffer if so treated for any considerable number of
impressions. The mode adopted in applying this strong
ink, causes it to stand, to some extent, in relief upon the
stone, and thus may be expected to “Smash” in taking
the impression; while it is so strong, that it will probably.
tear soft paper when the latter is being lifted.
The less the body of ink upon the impression, consistent
with the proper degree of colour, the better it will be ; so,
the less varnish there is in the ink, compatible with ease of
working, the more suitable will it be for the printer. Tem-
perature is found to modify the varnish very much, and
medium varnish in summer approaches the nature and pro-
perties of thin, while in winter it becomes more like Zhick
or strong varnish ; so that the printer must regard tempera-
ture as an important element in his calculations. It is clear
that a middle course must be taken between the two inks
previously described, and it is here that the experience of
the printer is required to produce a large number of satis-
factory impressions from one drawing.
13. Though the printer is not called upon to make his
own black ink, yet he has frequently to produce his coloured
inks. To do this he takes a small quantity of medium or
medium and thin varnish, and rubs as much colour as he
can into it with his palette-knife; and then with the muller
he grinds it upon the slab. After it has been thus spread
over the slab, he gathers it up with the knife, and adds more
colour. By repeating this operation frequently, the ink
gradually becomes stiffer, till no more can be added with
the knife, and the colour has to be added by dropping a
GUM-WATER. l . II
little here and there upon the slab, and forcing it in with
the muller. The ink has now become so stiff that the .
muller is forced over it with difficulty, and has to be ground
with the angle or edge of it instead of its flat face. It must
be frequently gathered up with the knife and spread out
again with the muller before it is sufficiently ground.
Colours that are soft to the touch are more easily ground
than those which feel hard or gritty. Hard colours, such
as Prussian blue, should be soaked in turpentine before
grinding; the varnish displaces the turpentine as the latter
evaporates. This saves much of the grinding.
Though ink may be used as soon as ground, it is better
when kept a few days, and the same remarks apply to its
use as those before made on black ink.
The lighter the tint required, the more varnish must be
used ; but if a light body-colour is wanted, flake or zinc-
white must be ground up with it to produce the necessary
effect; but this will be more fully treated of hereafter.
When a large quantity of coloured ink is required, ink-
mills, which may be driven by steam power, are in use for
grinding it.
I4. GUM-WATER. A solution of gum-arabic in water is.
essential to the lithographic printer, and must be always at
hand. It is made by putting a quantity of gum—say, four
ounces or more—into an earthenware pot that will hold
about twice as much, and dropping upon it a few drops
of carbolic acid.” It must then be covered with water, fre-
quently stirred during the next day or two until dissolved,
and when strained through a cloth or sieve it will be fit for
llSC.
* We are indebted to the kindness of Mr. M. Hanhart, the eminent
lithographer, for another and important application of carbolic acid.
It is well known in the trade that after a stone has been set aside for a
considerable period, it is liable to some kind of decomposition that
causes light spots, varying in size ſrom a pin's head to a shilling, to
appear among the tinting of the drawing. These spots are so trouble-
Some to rectify that not unfrequently the drawing has to be re-done. .
In investigating the cause of this phenomenon, Mr. Hanhart came to
the conclusion that it was due to a fungoid growth affecting the
drawing itself. After trying many antiseptics, he has chosen carbolic
acid as the most powerful, which he applies with the gum when the
stone is finally gummed in. Since adopting it he has been rarely
troubled with those “spotty” stones.
12 THE GRAMMAR OF LITHOGRAPHY.
Care must be taken not to use it when sour, but, if it
“should become so, a little chalk or whiting put into it
will correct the acidity, though, if the carbolic acid be used
in the making, it will keep a long while, even in Summer,
without becoming acid. The attention of the trade should
be specially directed to the properties of carbolic acid,
because it is a cheap and simple preventive of Sour gum,
..but one that is not yet generally in use.
To get the best result from gum water it should be
applied when the stone is dry, it then penetrates better,
and holds more securely. It is usually spread, not thickly
‘but evenly, with a sponge, and allowed to dry, and then it
-unites with and fills so thoroughly the pores of the stone,
that no subsequent amount of washing with mere water
-will effectually remove it. After a drawing or transfer is.
made, the gum unites with that part of the stone that is
free from the greasy ink or chalk, and assists very materially
in checking the tendency of that, or of the subsequently
applied printing-ink, to spread further than intended.
The draughtsman also uses gum in preserving part of his
work, as will be explained in its proper place. t
Besides using gum in the first preparation of the stone
for printing, the printer should always use it whenever
The has occasion to leave his stone, even if only for a few
minutes.
Gum-arabic is frequently adulterated with other and
"cheaper gums, and notably with gum-Senegal, which comes
nearest to it in properties and appearance. Gum good.
enough for Lithography cannot be bought much under Is.
per lb., at which price it can be bought from oilmen and
druggists in London, while in other towns Is. 6d. and more
will have to be paid for the same article. Common gum
is sometimes sold at about 6d., but its dull and dirty
appearance, and insolubility, will condemn it at once.*
15. PLATE TRANSFER-PAPER is used for taking impres-
sions from copper and steel plates, from type and stone,
and, afterwards, for transferring them to stone. There are
two distinct kinds on Sale—viz., India retransfer-paper,
* Of course prices vary with the market, but those given refer to the
present year.
~
SPONGES. I3.
which sells at 16s. per quire; and Scotch, which is about
8s. per quire. The latter is to be preferred, because the
surface is slightly absorbent and takes a better impression,
- while the great body of composition upon it allows it to be
successfully transferred, and its swelling up under the opera-
tion of damping helps to prevent the lines from spreading
under the pressure. -
16. PLATE TRANSFER-INK is sold at from 12s. to 16s.
per lb., or Is... per Oz. It is sufficient to have in use one
ounce at a time, as that quantity will yield a large number
of transfers. - #
17. RETRANSFER-INK, “STONE TO STONE,” is about the
same price, and four ounces will suffice for a small estab-
lishment. It is put up in tins, and keeps any length of
time. -
18. TYPE RETRANSFER-INK is also sold ; but, in our
opinion, the last-mentioned, with the addition of a small
quantity of soap, answers the purpose better, and is less.
troublesome in use. The ink in ordinary use for letter-
press printing may also be used, and, from containing a
portion of soap, very good transfers are frequently made
from it.
19. NITRIC ACID must be kept in glass-stoppered.
bottles. It is used for preparing and cleaning the stone
by an operation termed etching. It should be obtained
only at one place, so as to insure, if possible, the same
strength being always employed. The price is from 8d.
per lb. f " .
20. SPONGE is used for applying water to the stone,
damping paper, &c. The price varies from Ios. per lb.
to twice that sum. That at Ios. will answer the general
purposes of the lithographer, the smaller pieces serving for
gum and acid sponges. Before using a new sponge, it
must be well beaten to get the sand out of it; there will
then remain small pieces of shell that must be picked out.
They may be felt on squeezing it when it is damp. If some
pieces then remain out of reach, they may usually be got
rid of by putting the sponge into weak acid and water, and
letting it stay until all effervescence ceases upon the addi-
tion of some more acid. After washing well with plain.
water, it will be fit for use. -
I4. THE GRAMMAR OF LITHOGRAPHY.
21. DAMPING-CLOTH must be provided, and may be ob-
tained from the dealers in lithographic materials at about
IS. per lb. It is made from old sheeting, sugar-bags, &c.,
and must be of linen or flax, and soft when wetted: hence new
Imaterial does not do so well. As much must be taken for
use at one time as will, when it is doubled and the cor-
ners folded to the middle, make a pad a little larger than
the hand. It will be about damp enough if it is Saturated
with water and then wrung as dry as may be.
22. SAND is used for rubbing the stones down to a level
surface, and for taking off old work. SILVER SAND is
generally used, and may be bought of nurserymen, oilmen,
and others, at about 3s. per bushel. It must be dried
thoroughly, to enable it to be sifted through the proper
sieves. Sand for graining stones to receive chalk drawings
is a fine brown Sand sifted through sieves of the proper
degree of fineness for the work to be done. If the silver
sand be first sifted through fine sieves, and preserved for
use, it will suit many purposes better than the brown sand,
while the coarser portion will answer equally well for grind-
ing purposes.
23. PUMICE-STONE, which follows the sand in use, may
be bought at 6d. per lb., from oilmen, ironmongers, &c.
The largest pieces should be selected, and a flat side filed
on them in a direction at right angles to the fibrous ap-
pearance of the structure. *
24. WATER-OF-AYR STONE, or SNAKE-STONE, in blocks of .
about two inches square by six inches long, is used to
finish the polishing. Smaller pieces, termed PENCILS, are .
useful for polishing parts of the stone in making corrections:
and alterations, as also for use at the press for cleaning pur-
poses. They may be had as Small as one-fourth of an
inch square. The price for snake-stone is 6d. to 8d. per ºb.
Small slips from 2s. per dozen.
25. A mixture of two parts spirits of turpentine, usually
called TURPS, and one part olive oil, should be kept for
washing out drawings when necessary, and spirits of tur-
pentine should always be at hand.
PAPER as a material in lithography and its preparation
for printing will be treated of later on. •
*
*
LITHOGRAPHIC BRUSHES. I5
CHAPTER III.
Anstruments, 7ools, and Appliances aſsed in ZXrazving and Writing.— .
Brushes—Pens—Mezzotint-scrapers—Crayon-holders—Hand-board
—Turntable. -
UR last two chapters have prepared the way for an
account of the appliances used in lithographic
drawing and writing, which we now proceed to give. t
26. For drawing upon stone and transfer-paper, the
artist will need all the usual appliances of the draughtsman's
office, but he will require to have the ruling and circle
pens in more than usually good condition. In addition,
he will require brushes and pens of a finer character than
those required in any other kind of drawing.
27. LITHOGRAPHIC BRUSHEs are good red sable crow-
quill pencils, with a portion of the hair cut away all round,
So as to allow only the central part to be used. If any single
hair protrudes beyond its neighbours, the brush will not be
good, but this may in part be remedied by wetting it and
passing it rapidly through a gas fiame to burn it off, the
wetting protecting the rest and exposing the single hair
only to the flame. It is not every pencil that will make a
good brush, so that when one is obtained it should be
treasured. It is well to possess some half-dozen or more,
as a brush that will not do ſor one purpose may do very
well for another. Brushes are made that are intended to
be used without cutting, but they are generally made of too
fine hair, and are not sufficiently springy and elastic. Some
artists make up their own brushes by cutting off portions
of a larger red sable pencil and tying them to suitable
pieces of cedar-wood and then mounting them by any con-
venient means. *
* Mr. Sandars, of Oxford, has communicated a somewhat ingenious
mode of cutting a brush. Dip it in gum-water, draw it to a fine point,
and let it dry hard, remove the outer hair with a sharp penknife to the
degree thought necessary and wash out the gum. This often produces
a first-class brush, but the method has the disadvantage of not permit-
ting it to be tried at intervals during the operation. No more hair
should be removed than is necessary to produce a brush Suited to the
particular work in hand. -
*
*
&
16 THE GRAMMAR OF LITHOGRAPHY.
A ready mode of mounting brushes is to attach them to
pieces of wood in such a way that a quill may be used as
a cover to protect them when not in use, and to form the
handle when required. This is similar to some pocket
penholders, which, by the way, may be adapted to the same
purpose.
The beginner is recommended to cut at least half a
dozen, as by so doing his chances of obtaining a good one
will be six times as great ; and unless he has had the oppor-
tunity of trying a known good one, he would hardly be able
to judge whether he had or had not obtained one by the
first trial. -
In addition to the brushes used in drawing and writing
with the lithographic ink, others of a coarser kind (duck
and crowduill red sables) will be required for various pur-
poses, such as “stopping or gumming-out” (see article 81
et seq.), making coloured sketches, &c.
A flat camel-hair brush about two inches wide will also
be wanted to remove any loose particles of dust or dirt from
the surface of the stone or transfer-paper while at work.
28. LITHOGRAPHIC PENS.—All ordinary pens are useless
for any of the finer purposes of lithography, such as circular
and ornamental writing and drawing. Perhaps the nearest
approach made by steel pen manufacturers is “Perry's
Lithographic Pen”; but even these are short of the per-
fection required by transfer-writers, who have to fall back
upon those of their own production. These are usually
made from the best quills scraped down before cutting,
until the barrel of the quill will yield to the pressure of
the nail. For this purpose, broken glass may be used. A
short slit is then made in the quill, and the nibs formed by
means of a sharp penknife. This requires much skill and
practice, and as it cannot be attained without much perse-
verance, the tyro can perhaps make a better attempt at
the preparation of steel pens. +
If the work is not zery fine, Perry's pens will be found
to answer the purpose, and they may be further im-
proved by delicately sharpening them on Arkansas oil-
stone. Some persons take any very fine pens and sharpen
them as before mentioned, and then reduce them in
thickness by treating them to a strong solution of nitric
LITHOGRAPHIC PENS. T7
acid in water, and by such means pens equal to the best
may be produced, while they are Superior to quills in point
of durability. $ -
The use of steel pens was known in the early days of
the lithographic art, and the mode of making them is
thus described by M. Bregeaut in a work published in
1827.* & - *
“Take a watch spring, and get rid of any grease that
might have adhered to it, by rubbing it with some fine sand
or a soft piece of pumice-stone ; place it in a dish, and pour
on it equal parts of nitric acid and water; allow the acid
to act on the steel, until it has lost three-quarters of its
thickness, and is reduced to about the Substance of a sheet
of paper. - -
“During the action of the acid, the spring must be taken
out occasionally and wiped with a rag, to render the action
more equal.
“When of the proper thickness, the spring must be well
washed and wiped, and cut into lengths of about one inch
and a half. Each piece must now be rounded in the shape
of a gouge, by placing the steel on a piece of cardboard
laid upon a lithographic Stone, and striking the steel with
the small end of a hammer, lengthways; by this operation
the steel will take a curl.
“A small and sharp pair of scissors must now be taken,
and the slit made with them at one extremity of the piece
of steel; each side of the pen must next be shaped with the
scissors: the difficulty of the operation consists in forming
each nib perfectly equal and with a very fine point : great
practice is required in making a good steel pen.”
Steel of the proper thickness for such pens may now be
obtained at various places in London. It is a good plan to
put the steel between a wooden holder and a quill, so that
when a new pen is required the steel may be drawn down,
the old nibs cut off, and new ones made.
In forming these pens a pair of small forceps will be
found useful in setting the nibs in their proper position.
* And by Senefelder in 1819, in his “Complete Course of Litho-
graphy.” The language differs, but the description is even fuller,
though conveying no more information.
C
I8 THE GRAMMAR OF LITHOGRAPHY.
29. MEzzotintº SCRAPERS (Fig. 1), sold at about sixpence.
each, are useful for correcting work upon stone either for
the use of the artist or printer ; but in default of possess-
ing one, a penknife or the ordinary erasing-knife (Fig. 2),
may be employed.
Fig. 2.
30. CRAYON-HOLDERS, as usually bought from the artists’
colourman, are instruments rather unpleasant to use, more
especially as compared with the smoothness and lightness.
of the lead-pencil. It is advisable to saw or file them into
two parts, and fit cedar or other handlest to them ; the ring
will then be out of the way, and the holder will answer
very well for any work excepting delicate tinting, for which
purpose a lighter one will be necessary. A holder easily
made and fairly light may be formed out of a large-barrelled
magnum bonum steel pen with the nib part broken away.
By neatly cutting and scraping the Crayon, it may be SO
adjusted to the barrel as to form a meat light tool, and
when the chalk is worn nearly to the steel, it may be pro-
jected from the other side. Holders may also be made of
writing-paper pasted and rolled round a smooth pencil or
similar mould. When dry, they are stiff and very light,
* Mezzotint is applied to a process of engraving, so called because, it
was at first supposed to require a large amount of middle tint or half-
tone in the distribution of masses of light and shade. The ground is
scraped away to the various degrees of lightness required.
t Such crayon-holders are now to be had of artists' colourmen.
The metallic part being of steel is lighter and thinner for the same
strength than the old brass and German silver holders were.
3. In making these holders, it is well to give them long tapering
handles, so that when held near the middle they are so balanced that
they give scarcely any pressure due to to their own weight, leaving the
hand alone to apply what is required. , \

THE TURNTABLE. I9
and a good stock may be made in a short time. It is well
to have several, for reasons which will be referred to here-
after. - * *
31. A HAND-BOARD will be found exceedingly useful and
, almost essential to the lithographic draughtsman. It is a
piece of wood about six inches wide, and about six inches
longer than the stone ; but if longer, will not probably be
much in the way. It should be about three-eighths of an
inch thick along the middle line, and made thinner towards
the edges, which should be straight. Some thick strips of
millboard should be gummed or pasted in places round
the edge of the stone, to keep the board away from that
part which is to receive the drawing. By using this hand-
board, the drawing, either in chalk or ink, may be effec-
tually protected from injury. The edges will occasionally
be useful in ruling lines.
Fig. 3.
32. A TURNTABLE is a luxury to the draughtsman on
stone, as the largest stones, when placed upon it, may be
easily moved into any position. To make one, strips of
oak, or similar wood, 3 in. wide and I in. thick, are framed
together by mortise and tenon to form a square of 12 to
I8 in. There should be five pieces in each frame, so as
to have one across the middle. Two of these frames
are required. Into one frame let in four small friction-
wheels, such as are used in sliding frames to upright
glass cases, equally distant from a centre pin a quarter of

C 2
2O - THE GRAMMAR OF LITHOGRAPHY.
y
an inch thick, projecting about half an inch. In the other
frame make a centre hole for the pin to work in, and screw
on an iron ring, or piece of sheet iron, to prevent the
friction-wheels from imbedding into the wood. When
these two frames are placed together, the turntable is com-
plete, and presents the appearance shown in Fig. 3.
A very simple though not efficient substitute is obtained
by folding up a piece of stout brown paper into eight or
more thicknesses, and placing it under the centre of the
stone, which may then be moved with a little exertion.
The great defect of this is that the paper bruises the
table if the stone is any considerable weight ; but this may
be prevented by putting the paper on a piece of Stout
sheet iron.
The special appliances for the Draughtsman having been
reviewed, it will now be necessary to speak of those required
by the Printer.
CHAPTER IV.
Instruments. Tools, and Aſparatus used in Printing.—The Press,
varieties of Construction—the Framing—the Cross-head—the Pres-
sure Screw—the Press Key—the Scraper Box—the Bed or Carriage
—the Tympan Frame—the Cylinder—the Handle—the Brasses—
the Eccentrics or Cams—the Lever—Tympans, how to stretch them
—Scrapers—Elastic Beddings—the Roller, how prepared for use—
Roller Handles—the glazed Roller.
S we have already described the general proper-
ties of the materials used in Lithography, from the
stones up to the appliances by which the drawings are put
upon them, we are now prepared to give an account of
the construction and principles of the apparatus by which
the prepared and drawn stones are made to give an almost
unlimited number of impressions. -
Foremost among the apparatus used for this purpose
stands the PRESS, which we will fully describe. -
33. THE LITHOGRAPHIC PRESS (Fig. 4) is a comparatively
LITHOGRAPHIC PRESSEs. 2 x
simple piece of mechanism, and consists of the following
parts:—
B
º
º
|
ſº
. The framing, A A.
The cross-head, B. B.
The scraper-box, C. -
The pressure-screw, D, uniting Nos. 2 and 3.
The bed, E, to which is hinged
The tympan-frame, F.
The cylinder, to which is attached
. The handle, H (in larger presses there are two).
. The handle and lever, secured to
The Eccentrics # and their shaft.
I
* An eccentric is a mechanical contrivance consisting of a circular

22. THE GRAMMAR OF LITHOGRAPHY.
In the presses mostly in use at the present day the bed
slides upon two projections upon the sides of the frames,
while in some improved forms it runs upon friction-rollers
(see PPP, Fig. 4). This latter form is much to be pre-
ferred, as effecting a saving in labour, in lubricating-oil, and
wear of the beds. In some kinds of presses the cylinder
can be taken out, and, with the brasses in which it works,
can be cleaned without taking the press to pieces. There
are other kinds which combine both these improvements.
Presses are sold without tympan, elastic bedding for the
stone, or scrapers ; but these things should be ordered with
the press, in order to have it complete. It is better to
purchase a large press than a small One, as by having an
extra tympan of a smaller size small work may be executed
with facility. A press, for example, 39 by 26 inches, fitted
with friction rollers and smaller extra tympan, can be easily
worked for an octavo circular, certainly with greater ease
than in a smaller press without friction-rollers.
34. The FRAMING in all modern presses is invariably of
cast iron. The two sides should be united by cross frames
of cast iron, and held by nuts and bolts. The sides in
some older kinds are held together by bolts only, with .
flanges to keep them at the proper distance from each
other. This pattern is very weak, and should be avoided,
as, purchased at any price, they are dear in the end.
35. The CROSS-HEAD is tapped to carry the screw by which
the pressure is regulated, and is preferably made of wrought
iron; but really strong and useful presses are made with
cast-iron cross-heads, a greater quantity of metal being used
to make up for the inferior strength of the cast iron. This
extra quantity is best located chiefly on the upper side of
the cross-head, so as to make its cross section of the T
form, as the mechanical condition of the cross-head is that
of a beam fixed at the ends, and loaded in the middle, but
the pressure being from below, the greater quantity of
material must be applied to the opposite side.
disc attached to a shaft, but having its centre at a small distance from .
that of the axis of the shaft. Though called eccentrics by printers,
these parts of the press are really what engineers call “cams,” the
sides of the eccentrics being cut away to give a greater rise and fall to
the cylinder, and through it to the press bed. .
LITHOGRAPHIC PRESS.
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24 THE GRAMMAR OF LITHOGRAPHY.
.36. The PRESSURE SCREW has at its lower extremity ar.
flange which works in a small socket screwed to the upper
side of the scraper box, which is thus hung to the screw.
Its upper end is hexagonal, and usually carries the
37. PRESS KEY, K, whose ends are formed into spanners,
to be used for raising or lowering the tympan to the thick-
ness of the stone, or unscrewing the various parts of the
press. -
, 38. The SCRAPER Box should be smooth and even
inside, or it and the scrapers may either be broken or give
unequal pressure. It should have one or two screws in
its front to hold the scraper sufficiently to prevent its
dropping out. - *
39. The BED, or Carriage, is made of wood of an equa
thickness throughout, and bound on the under side with
strips of broad hoop-iron. There is a Cross-piece at each
end, one to carry the tympan-frame, and the other to form,
a stop for the stone. * - 3.
40. The TYMPAN FRAME is united to the carriage by
hinges, so made that the frame can be adjusted to the thick-
ness of the stone, and, by withdrawing the centre pins of
the hinges, the frame can be altogether removed. There:
are loose plates at each end, held to the frame by screws,
between which the leather or metal tympan is firmly secured.
The top of the frame slides on the sides, and by means,
of nuts the tympan can be stretched to any desirable
eXtent. t
41. The CYLINDER must be of wrought iron, turned very
true and parallel, and adjusted exactly in the vertical line
of the eccentrics, scraper box, and cross-head. Neither it
nor the bands on the under side of the carriage must be
permitted to get greasy ; for, if they become so, there will
be a difficulty in moving the carriage when the pressure is
on. All oil must be wiped off these parts, then washed with
turps, or benzoline, and rubbed with whiting. The cylin-
der and the bed will then “bife,” and the printing may
proceed with any reasonable pressure. c
42. The HANDLE is attached to an elongation of the
cylinder shaft by a taper pin passing through both. To
presses above 24 × 16 there should be two handles,
and to those of 36 × 24 a tooth-wheel and pinion so,
- . . . TYMPANS. ’25.
arranged that the printer has not to pass to the other side.
of the handle to work the press. This is accomplished.
either by the pinion working in an internally-toothed wheel,
in which case two handles cannot be applied to the pinion
shaft, or, as in Fig. 5, by an intermediate wheel between
the larger wheel and its pinion. In either form the parts.
should be so arranged that the press may be worked with
the handles applied directly to the cylinder. tº
43. The BRASSES in which the cylinder runs have on each
of their under sides a plate of hardened Steel, against which
work -
44. The ECCENTRICS, or Cams. These are placed under
the cylinder brasses, and are pieces of steel welded to a
shaft that crosses the press. Their office is, by a quarter-
revolution, to raise the cylinder, bed, and stone to the
scraper, and to give the necessary pressure. This is done
by means of
45. The LEVER, secured to the eccentric shaft. It
stands, when out of use, in an upright position ; but by
being depressed horizontally against a pin in the side of the
press (which prevents its being set too low), the stone and
tympan are brought to the scraper, and, by turning the
handle, the friction between the cylinder and the bed-bands or
straps forces the stone under the scraper, though the pressure.
may amount to some tons.
46. TYMPANS” are made either of leather or metal, each
of which has its advantages. Good leather tympans cost
about 4s. per square foot, and will last for years. If the
press is bought new and a leather tympan supplied, it will
* There is a fundamental difference between the tympan of the
letter-press and that of the lithographic press. The former is a frame
attached at one end to the carriage on which the paper is laid in:
position before being printed. It serves as a guide for laying the
sheets on the type. In lithographic printing the lay of the paper is..
not thus secured; the sheet is placed directly on the printing surface.
In typography, however, the tympan-frame is also used as a means of
interposing some elastic substance between the platen and the printing
substance. The same object is served by the tympan in lithography.
In the one case paper and blanket contained in the tympan-ſrame come.
between the type form and the platen ; in the latter “backing sheets,”
or blanket and leather, or thin metal, come between the scraper or the
impressing surface and the stone, or the printing surface.
26 THE GRAMMAR OF LITHOGRAPHY.
require preparation. Thus : put in the press as large a stone
as it will take, cover it with clean paper, and lower the
tympan upon, it. Rub the side that comes against the
scraper with tallow, Suet, or lard, to which a large quantity
of blacklead has been added ; the scraper, previously
levelled upon the stone, must be brought down upon the
tympan by lowering the lever, and the carriage drawn through
with a light pressure. The result will probably be that the
tympan stretches. Now after drawing the tympan to its
full length, before the pressure is released, take up the
“slack” of the leather by running up the nut against the
top sliding piece. By repeating this operation under
gradually increased pressure, and the application of grease
and blacklead, the slack will be brought to a mininum, and
the tympan may be considered fit for use.
47. For METALLIC TYMPANS zinc is sometimes used, but
brass is much to be preferred. Zinc tympans are 9d. and
brass Is. 6d. per square foot. They are similarly prepared,
but the scraper must be covered with leather as described
in next article.
48. SCRAPERs are made of boxwood from 3 to 4 inche
wide, and g in. thick, and of a length suitable to the work in
hand. If the stone is not thick, the scraper should be
nearly as long as the stone is wide, or a breakage might
be the result. The edge that is applied to the tympan
must be of a V section, about #ths wide at the bottom.
In all cases of transferring, the scraper should be set to
the stone, by placing a sheet or two of coarse cabinet
paper upon it and rubbing the scraper over it, taking care
to slightly round its face. When the scraper gives signs of
touching all along, its edge may be considered true.
Scrapers for metal tympans are covered with leather,
which may be bought at from 2s. per lb., in strips of about
1% inch wide. Take a piece about 3 inches longer than
the scraper and wet it ; then with about #-inch tacks secure
it to one end, and with a pair of pincers strain it over the
face of the scraper as tightly as possible, and nail down
the other end : when dry it will be fit for use. In default
of a pair of pincers, make a hole in the end of the leather,
and put a strong string through it. This may be tied to a
portion of the press, and the scraper brought to bear upon
THE BACKING-SHEET. 27
the same portion, so as to form a lever and thus stretch
the leather.
The objection to nailing the leather to the scraper is,
that it cannot be conveniently removed to set the latter;
but this may be remedied by the following method:—
At about the middle of the ends of the scraper drill a
three-sixteenth inch hole about one inch deep, pointing
obliquely to about the centre of the face of the scraper;
fit a pin projecting about one-quarter inch, make a hole in
the leather, and put it over the pin at one end, strain it
Over the face, and mark it for the other hole, which, when
made, may be slipped over the second pin. The leather
may then be removed at any time.
49. ELASTIC BEDDING should be secured to the face
of the bed. This consists of thick kamptulicon, costing about
9d. per Square foot. A board or two about three-quarters
and one inch thick should also be provided to make up for
a deficient thickness in the stone, as each stone must be
brought up to the lowest position of the tympan.
50. The BACKING-SHEET is an appointment of the press
used to protect the stone from any grease that may find its
way through the tympan, and in other ways to assist the
progress of the printing. It is usually made of a piece of
well-rolled cardboard, of about six-sheet thickness, fastened
by string to the tympan frame. It is sometimes fastened
Only to the upper end of it, and hangs loosely over the
tympan, the thumb being applied to the sheet in bringing
the tympan down to the stone so as to keep it in place.
The object in having it so loose is, that when secured by
its four corners it is generally torn by the stretching of the
tympan in taking the impression. This may be entirely
avoided by putting, an eyelet-hole at each bottom corner,
passing through it a Small india-rubber band, and then by
string fastening it to the corners of the tympan-frame. By
adopting this contrivance the sheet is kept properly in posi-
tion, while the elasticity of the bands prevents the breaking
out of the holes. .
This backing-sheet is sufficient for ordinary commercial
work, but for better purposes it is supplémented by a few
sheets of soft printing-paper, which the printer lays on the
back of the paper to be printed. When it is passed through
28 THE GRAMMAR OF LITHOGRAPHY.
the press, the sheets are lifted off again and laid aside for
the next impression. This delays the work, and might be
entirely avoided by fastening to the back sheet a piece of
fine printer's blanket, which would be more permanently
elastic than the loose sheets of paper.
For transferring, the fine blanket backing is exceedingly
useful, as it not only moderates the pressure and assists in
preventing the “smashing” of the lines, but helps to modify
any slight inequalities in the stone, backing-sheet, or
tympan; and these same qualities are almost equally useful
in taking the impressions. It may be used as a loose sheet
if it is not thought worth while to fasten it up, and may be
made portable by brushing over a cardboard some book-
binder's glue, laying the blanket upon it, and running it
through the press. •
For printing from engraved stones the blanket may be
regarded as a necessity.
51. The ROLLER. This consists of three parts. Ist, the
block, which is of wood, about four inches thick and eleven
or more inches long, with a taper projecting handle at each
end ; 2nd, the ſannel, with which the block is tightly
covered; and 3rd, the skin, which is outside all. This
last—very important feature—is made of the best part of
a fine calf-skin, very tightly drawn over the flannel, and
Secured at the ends by a string passed through holes, and
the leather closely gathered up. Though rollers that have
been in use for some time are undoubtedly better and easier
to use than new ones, yet the novice must be forewarned
against purchasing “rollers ready for use,” or “in working
order,” from the dealers, as they are frequently merely rolled
up in black ink, which, drying in the leather, nearly spoils.
it ever afterwards. ->
Rollers are prepared for use by rubbing into them before
a fire some kind of grease that will not dry, such as lard or
fallow ; * after this they are to be rolled in strong varnish
frequently for a day or two, with an occasional scraping
* Some printers prepare their rollers with olive-oil and other sub-
stances, but the principle is essentially the same, viz.:-A previous,
saturation of the leather with some substance of a less drying nature ,
than the varnish employed in the ink.
ROLLER HANDLES. 29
off of the varnish with a knife. The knife should be dull
in the edge, so as to avoid cutting the roller. A roller
Once used for black ink should be kept for that purpose
only ; but when used for colour, it may be made to answer
the purpose for printing any colour with due precautions.
As dryers are usually put into coloured inks to make them
dry promptly, it is necessary to clean the rollers immediately
after they are done with. This is effected by scraping as
much ink as can be got off, then washing with turpentine,
and Scraping again; finally, washing with turps and wiping
with clean rag.” If an entire change of colour is to take
place for one of a pure character, the roller must be
cleaned more carefully than would be necessary if the next
Colour were only a secondary or tertiary colour, in which
the former colour on the roller entered into the composition
of the one to be next used ; or, than if the next change was
to be one of a lighter or darker tint of the same colour.
‘When a colour-roller is done with for a time, it should
be well cleaned, and tallow or lard rubbed into it. It
should then be wrapped up and put away. Before using
again, the grease must be carefully scraped away, and the
roller washed with turps, to entirely free it from grease.
Nothing is more injurious to a roller than allowing the
colour on it to get dry; this and bad scraping spoil more
rollers than years of use.
With rollers are invariably used ROLLER HANDLEs, made
of leather. The leather should be thick, such as is used
for mill-banding, &c. Sufficient should be cut to cover the
handle without overlapping. The leather is then to be
wetted, tied round with a piece of string to keep it in shape,
and allowed to dry, after which it will be found to retain
its shape. These handles allow of free motion of the rollers
* In refractory cases salt is sometimes used in conjunction with tur-
pentine ; but on what chemical principle we ſail to discover. Probably,
the salt being insoluble in “turps,” acts mechanically only.

3o THE GRAMMAR OF LITHOGRAPHY.
when held lightly, but by gripping them more or less the
roller is controlled as desired. For light rolling they are:
held loosely, and for heavy rolling they are gripped tightly.
Fig. 6 shows rollers and handles.
52. The GLAZED ROLLER is very useful in many cases upon
polished stones, by reason of the ease with which it may be
cleaned. It may be prepared by taking any smooth roller
whose leather is thin and nicely strained over a rather soft
flannel, and rolling it in an ink composed of red lead and
varnish. When dry, rub it down with fine cabinet paper,
roll it again in the colour; then rub down a second time,
when, if not smooth, the operation is to be repeated until
it becomes so. A roller so prepared may be very quickly
cleaned with turpentine and some rag. These rollers.
should be washed at the close of every day's work and at
the end of each job, ready to be wrapped in clean paper
and put away.
CHAPTER V.
Accessories to the Zithographic Printing Press.-Acid Stumps—Mortar
and Pestle—Palette Knife—Ink Slab–Backing-sheet—Marking
Leads—Squeegee—Appliances for stone grinding and polishing—
The Trough—Levigator—Sieves—Straight-edge — Callipers —
Stone-horse—Mallet and Chisel—Rasp, File, and Crowbar.
UR last chapter described the press and the roller.
Accessory to these all-important appliances are
many things used in the art which now require notice,
such as the tools for spreading equably or distributing
the ink, which appertain to the roller, and the backing-
sheets, which appertain to the press.
53. ACID STUMPs are small pointed pieces of box or
other hard wood, to be kept at hand and used with
strong acid or (better still) gum and acid, for removing
any specks of dirt from the stone. Taking these in the
right hand, a water or gum sponge is held in the left to
wash away instantly the acid when it has removed the dirt.
THE SQUEEGEE. - 3I
54. A MORTAR AND PESTLE of a small size will be useful
to reduce rosin into a fine powder for purposes where the
work requires an extra strong etching. It is used either
by tying it up in fine muslin, or it may be dusted on with
cotton wool, the finer parts being found to adhere to the
ink in preference to the larger parts.
Fig. 7.
55. A PALETTE KNIFE (Fig. 7), for taking up the ink,
spreading it on the roller, and various other uses, should be
had for each press. A knife from seven to nine inches in
the blade, costing from IS. to Is. 6d., is a convenient size.
Care should be taken in warming the knife for any purpose,
as it may easily be spoiled by being overheated.
56. An INK SLAB is essential for each press. Nothing
is better than a thin litho stone about 17 by I 3 inches,
with strips of wood tacked round it to the bench to keep it
in its place. It should be set level.”
57. MARKING LEADS are used for making marks upon
the stone for laying the sheet to, it being the practice in
lithography to adjust the paper direct upon the Stone, in-
stead of to the tympan, as is done in letterpress printing.
A piece of “four or six to pica lead” obtained from the
compositor will answer the purpose exactly—it will make a
mark that can be plainly seen, and will neither wash away
with the sponge and damping cloth, nor take the ink from
the roller.
A mark made with common ink will answer the same
purpose and possess similar properties, but the lead is
decidedly to be preferred, because, besides being portable,
it can be, and usually is, used upon the Stone while it
is wet.
58. The SQUEEGEE is a very useful tool to both printer
and stone-polisher, though as yet almost unknown in the
* If space can be spared, a stone about 2 feet square should be set
up for grinding colours, as the ordinary ink slab is too small to grind.
sufficient colour for jobs of many impressions.

32 THE GRAMMAR OF LITHOGRAPHY.
trade. It consists of a piece of india-rubber a quarter of an
inch thick, about two inches wide, and any convenient
length, set in a frame with about one inch of its width pro-
jecting, being mounted just in the same manner as the
modern ink-erasers and paper-cleaners. When a stone is
polished and washed, one or two strokes of this instrument
will denude it of all surface water more effectually than any
other method, and it is far superior in every way to either the
use of blotting-paper, rag, or setting the stone on end to
drain; beside this, other uses will be found for it later on.
59. In our first chapter (§ 4) were described the character-
istics—mineralogical and chemical—of the stone used for
lithography. Before the stone can be used, however, it
requires to be ground and polished. The materials and
apparatus used in these several operations are the
following:— *
The STONE TROUGH is used as a convenient rest for
...the stones during the operations of grinding, polishing, and
:graining, and as a receptacle for the waste sand, water, &c.
It must not on any account be used as a washing-place for
dirty cloths, &c., nor for any use whatever whereby the
thorough cleanliness of the stones may be in any way
vendangered. It should be emptied at least once a week.
Many jobs are spoiled through a want of care in the
stone-grinder, in using the stale water in the trough instead
of fresh clean water.
The trough may be made of pine, 1% to 2 inches thick,
about II inches deep. Its superficial area may be accord-
ing to convenience; say about 4 feet by 3 feet. It may be
lined with zinc or lead, preferably the latter, but if well
jointed it will do without either, as it is intended to contain
always water, which will keep the wood swollen. It should
be placed on a strong stand about 18 inches high, and if
the trough be ledged at the bottom, the ledges may be so
contrived as to keep the trough in its place on the stand.
It is better to have them made to separate, as the trough is
then easily lifted off the stand if required, while it can be
made equally firm as when constructed as one piece.
Four or five cross pieces about 4 inches by 2, notched
2 inches deep at the ends, on the under side, to keep
them in place, and a groove across on the upper side, about
SIEVES. * * 33
2% inches from their ends, to prevent the water running
over the trough, will serve to hold the stones during the
operations of grinding, polishing, &c. Where convenient,
the water should be laid on from the main or a tank, termi-
nated nearly opposite the centre of the trough by two
or three feet of india-rubber pipe, to which should be
attached a 3-inch rose nozzle. Where this cannot be done,
a shelf must be provided for a bucket of water, and a jug
or other handy vessel kept for pouring the water over the
Stone.
A tap should be placed in a convenient position about
two inches above the bottom of the trough, by which the
water can be drawn off and the sediment be taken out
afterwards with a small hand-shovel, or similar tool.
60. A LEVIGATOR or “JIGGER' (Fig. 8) is an instrument
of cast iron about Io inches in diameter, with holes passing
from the top through it. It is surrounded by a rim, and
has a handle placed eccentrically at about one-fourth the
tool’s diameter from its edge. It is used for grinding pur-
poses by strewing sand and water over the stone and on
the top of the levigator, which is then set in motion by
grasping the handle and performing rapid circles all over
the stone to be ground.
61. SIEVEs are used for sifting the sand previous to
... grinding and graining. They are of fine woven wire gauze,
preferably of copper, but usually of brass, mounted in
D




34 THE GRAMMAR OF LITHOGRAPHY.
wooden hoops, as seen in Fig. 9. They must be carefully
kept in a dry place, as they are very easily injured. Damp
air corrodes the brass and makes it rotten. If a few
broken places occur, they may be repaired by gumming over
the holes with Small pieces of paper, or otherwise preventing
the sand passing through such faulty places. Sieves
are numbered according to the meshes per lineal inch.
No. 6o will answer well for Ordinary grinding purposes,
preceded, if necessary, by No. 40, when much grinding has
to be done. No. 120, the Smallest size made, will be neces-
Sary for ordinary fine grains, and No. Too for coarser grains.
These will answer all the requirements of the lithographer
in producing grains for any subject. The prices run from
3S. 6d. to 7 s. 6d. each.
62. A STRAIGHT-EDGE will be necessary for trying the
surface of the stones. A very useful article may be made
by selecting a piece of iron three or four feet long, two
inches wide, and one-quarter inch thick, and sending it to an
engineer to be planed along one edge, so that it will stand
upon it. A stone may be considered true enough if a small
piece of writing-paper is held by the straight-edge at each
of several places along its edges and middle when the
straight-edge stands upon it.
Of course various substitutes for such a straight-edge will
Suggest themselves. -
The back of the stone should be tested also, and made
generally level, if found not so. Breakages are the result of
inattention to this, as stones break in most instances by
reason of the backs not fitting the bed of the press. If the
upper and lower surfaces of a stone are two parallel planes,
no amount of pressure applied in printing will break it.
The press may be broken, but not the stone. Any lumps
may be taken off the back with the chisel and mallet, and,
if necessary, finished by the levigator. Yet, when every
care is taken with the back, if the face is not parallel to it,
the printer may by clumsy packing reduce it to the con-
dition of an uneven back, and break it in consequence. 2
63. A PAIR of CALLIPERS ’’ should be at hand for testing
* Callipers are a species of compasses with legs bent in such a form
a to render them available in measuring the thickness of solids.
THE MALLET AND CHISEL. - 35
the thickness of the stones, so that they may be got parallel
in their under and upper surfaces. The callipers should
have cross-pieces at the ends, so that the point shall not
drop into any hollow place in the back of the stone.
The callipers should be used every time a stone has to
be ground, and the stone ground more at the thick part;
thus, without doing it all at Once, they may be gradually got
quite even, and then kept So.
".. ºilº
ºf ºº º
g : :
i__ §§
: , ś
Sº
====ET"
Attention to this point will pay, as it will prevent many
Breakages and Save the draughtman's time in re-drawing.
It also renders unnecessary the loss of the printer's time in
“packing.” -
A STONE-HORSE for drying the stones upon may be
constructed in various ways. It is commonly framed of
wood, inclined backwards, to prevent the stone falling
forwards, with a step for the stone to stand upon. It is
used before an open common or gas fire. -
A MALLET and CHISEL for trimming broken stones,
a large rasp, and large Smooth ſile for preparing their edges,
with a small crowbar or lever for raising the corners of
heavy stones, will complete the equipment of the stone-
grinder. The trolley (Fig. 10) will be found useful for
moving heavy stones. -

I> 2
36 THE GRAMMAR OF LITHOGRAPHY.
CHAPTER VI.
Grinding and Polishing Stones.—Marking the Depth to be ground—
Instances in which Grinding may be dispensed with—Grinding.
without a Levigator—The Gradation of the Sand—Polishing—
Testing by the Magnifying-glass–Rounding the Edges of the
Stone—Stone-grinding Machines.
..T N the preceding five chapters we have, we trust, con-
veyed to the Student of Lithography a clear idea of
the nature and uses of the different materials used in each
of the two great divisions of the art—drawing and printing.
He is, therefore, prepared now to utilize his knowledge of
the materials and to enter upon the practical operations.
required in this kind of printing.
The stones have been described in the first chapter; the
appliances for preparing them in Chapter W.; the modus
operandi in the process of preparation now requires to be
detailed.
64. GRINDING.—As it will fall to the duty of the foreman
printer to determine what stones are to be ground, it will
be well for him to scratch a cross deeply into the stone,
making the scratch deeper in those stones that have been
standing the longest with work upon them. This gives the
stone-grinder to understand that the cross must be ground
out. It is a simple matter that will save the printer's
temper and the master's pocket by insuring the thorough
grinding of the Stones.
It is astonishing to what a depth the stone is affected by
the greasy particles of the ink without being perceptibly
greasy. The residuum of the ink acts also by preventing
an equal absorption of water and gum with the rest of the
surface, so that this part, drying Soonest and being less pro-
tected by gum, favours the spreading of any work that
might have been drawn or transferred over it. It is very
annoying to the artist to see a nice even chalk tint spoiled
by the influence of the old job causing every speck of
chalk to become thicker at that place; very vexatious to
the master who has perhaps to pay for a new drawing, and
very discreditable to the stone-grinder, whose carelessness,
has been the cause of it. -
GRINDING WITHOUT A LEVIGATOR. 37
As a stone-grinder's wages are much lower than those of
a draughtsman and printer, it will be true economy in any
office to have the stone thoroughly prepared, and in order
to prevent any shirking of duty, the little expedient before
mentioned may be resorted to as a means of insuring that
a certain depth is taken off each stone.
There is a class of work in which it is unnecessary to
grind the stone every time—viz., law-stationers' work, or
other work where only a few impressions (from three to a
score) are taken rapidly off and the stone done with. In
such cases a good rubbing with pumice or Snake-stone, or
both, is all that is necessary, followed by a good washing
and a stroke of the “squeegee.” The stone is then to be
rapidly dried, and it is ready again for the press; but even
here, when the stone is thoroughly dried and the polishing
has not been sufficiently done, the last job will often make
its appearance. It might not, however, have done so if the
stone had not lost all trace of the water used in polishing.
In some offices, where law work is done extensively, as
soon as the printer has pulled the number of impressions
wanted he takes a basin of clean water, a clean sponge and
"rag (not one used in printing), a polishing-stone, and pre-
pares his stone in the press for the next transfer, using a
piece of clean paper to finish the wiping dry of the stone.
. Under these circumstances it is not often that the old work
reappears.
This mode of polishing can be carried on to a limited
extent only, the stones requiring occasional grinding to cor-
rect the unevenness that must be caused by the use of small
abrading surfaces. -
65. The grinding may very satisfactorily be done without
the levigator (par. 60) by grinding smaller stones on larger
ones, moving them about with a circular motion, and keeping
them fed with sand and water, having first one side towards
the grinder, and then another, going over the edges and
corners of the under stone to prevent its getting hollow,
and being careful not to allow the stones to rest for a
minute in one place. In the latter case the cohesion may
become so strong, owing to the exclusion of the intervening
air and the vertical pressure of the atmosphere, that there
, will be a difficulty in separating them. Rub the last lot of
38 THE GRAMMAR OF LITHOGRAPHY.
sand down finer than the previous ones and that will save
time in the next operation. Two stones containing one
square foot each should be ground on a stone containing
two square feet, and so on in proportion ; but if the under
stone has been lying with the ink upon it longer than those
to be ground above it, a proportionate number may be
done upon it as a compensation. After completing one
upper Stone, try the under one with the straight-edge, and
use the next stone in such a manner as to render the under
one level. This will be found an excellent and practical
method; but where the stone is too large to be easily moved
by hand the levigator may be resorted to, and used in the
manner described in par. 6o.
66. POLISHING succeeds the grinding, and is com-
menced by taking a large piece of pumice-stone, filing a
flat place at right angles to its fibre, and rubbing the stone
with it and water from end to end, or, if the stone be too.
large, across it. Take the pumice-stone in both hands and
press firmly on it from the shoulders, exerting the principal
pressure as it is pushed from the person, which should
accompany the motion of the hands. Light, quick rubbing
has very little effect. The use of the pumice-stone must be
continued until the sand-holes have disappeared. The
scratches caused by the pumice are then taken out by the
Snake-stone (par. 24), which is used in a similar manner;
but instead of keeping a flat face, a kind of rocking motion
is applied in using it, thereby forming a curved rubbing Sur-
face that cuts more quickly. More water is necessary in
using the Snake-stone than the pumice requires, because the
adhesion is so great that the fluid is pushed before it, while
the pumice-stone is porous, and carries the water with it.
A finer polish may be given by using a woollen pad and
finely powdered pumice-stone; but the other method, when
well done, gives a sufficiently good surface for all kinds of
work. For fine ink-work, engraving, chalk transfers, and
transfers from finely-engraved plates containing tinting,
there should be no scratches seen under a magnifying-glass
of such a power as is ordinarily used for viewing photo-
graphs, &c.; but for the general run of commercial litho-
graphy the scratches commonly met with are of no impor-
tance. The same remarks apply to sand-holes, which, for
POLISHING. 39
the delicate styles of work before mentioned, should be
carefully looked for. Subsequent to the grinding, a rasp,
followed by a fine file, is necessary to give the stone a
curved edge for about half an inch all round, finishing with
pumice and snake-stone, which should be kept for the pur-
pose, because the edges will spoil the flat surfaces of those
used for the flat-polishing. In stones for the machine, this
part requires great attention, and more of the edge should
be taken away, especially on that side that comes nearest
the gripper.
After polishing, it is very essential that the stone be
thoroughly washed, to effect which it may be treated as
for grained stones (par. 89).”
Of late years, in large works, stone-grinding machines
driven by steam-power have been adopted. These do
their work in a very satisfactory manner, but they must
not be expected to keep the stone perfectly level without
care and intelligence on the part of the stone-grinder. The
stones will require testing with the straight-edge the same
as if they were ground by hand. Stone-grinding machines
usually work on the levigator principle, the chief difference
between them and hand-work being, that in the machines
the stones are kept moving as well as the levigator; while
in hand-grinding they are stationary, and the levigator
only is moved.t No doubt these self-acting mechanical
movements are well designed for keeping the stones as
level as machinery is likely to accomplish ; but, as before
said, they must not be relied upon entirely. These re-
marks apply very forcibly to stones for machine-printing.
The cylinder of the printing-machine cannot be adjusted
to the stone as the scraper of the hand-press may be, so
that it is essential for equality of pressure that the stone
be true on its face, even if its upper and under surfaces are
not strictly parallel.
* In cases where a stone is wanted immediately after polishing, it
may be warmed and dried very rapidly by pouring hot water over its
surface, taking care not to apply too much at a time at one place. The
water soon parts with its heat ; and when the stone is sufficiently warm
the water may be struck off with the squeegee. The stone will then
dry rapidly, because little moisture remains upon it to be evaporated.
i. In a machine recently introduced the levigator principle is omitted,
the stone being ground face downwards upon a revolving iron table.
4O THE GRAMMAR OF LITHOGRAPHY.
CHAPTER VII.
Lithography on AEafter, or Transſer Lithography.—Preparation of the
Ink—Mode of Making in Large Quantities—Law Writing—Archi-
tectural Bills of Quantities—Directions for Writing Law, Text,
Old English, Copperplate, and Ornamental Styles—Drawing with
Instruments and the Brush—Tracing Transfer-Paper—Chalk Trans-
fer-Paper—Facsimiles—Autography. -
ORMER chapters will have placed the student in
- possession of the theory regulating the employment
of Lithographic Stones as well as the art of preparing
them for printing. He has also been shown the uses and
nature of transfer-paper, and the materials for writing and
drawing upon it. He is now ready to commence the
actual practice of Lithography.
As the latter is a very comprehensive and cºmplicated
subject, it may be well to take it up at that part which
offers fewest obstacles to the beginner. For this reason
we begin with LITHOGRAPHY ON TRANSFER-PAPER
67. To PREPARE THE INK.—Take a small white delft or
china saucer, or a small tin patty-pan about three inches in
diameter, and having warmed it at the fire or over the gas
until it is as hot as it can well be borne in the hand, rub the
stick of ink round and across it so as to cover it thinly. Then
out of the bottle (see par. 8) shake a few drops of water, and
with the second finger of the right hand rub it until the ink
is dissolved. Then add more water cautiously, until it is
brought to a proper consistency for use, which can only be
learnt from an adept, or by experience. If it is very pale
and flows too freely, it is too thin and may not transfer pro-
perly ; if too thick it will not work pleasantly, and will
spread in transferring. As a rule thinner ink may be used
with the writing-pen than with the brush (see pars. 27, 28),”
* Our eminent confrère, Mr. William Simpson, advises, when the
brush only is used, to put a small bit of ink in the upper part of a
saucer placed'upon a slope, and a little water in the lower part. The
brush may then be dipped in the water, rubbed upon the ink, and tem-
pered upon the dry portion of the saucer until it becomes fit for use.
TRANSFER-PAPER. 4 I
*
*
while the ruling-pen requires an ink to be nicely prepared,
so as to be not so thin as to spread in use, nor so thick as
to smear when dry.
68. INK FOR LAw WRITING, when much is used, may be
conveniently mixed in larger quantities, and ought to keep
well for a month after preparation. It is usually used with
ordinary fine-point steel pens depositing a good quantity of
ink, which latter consequently may be made much thinner
than is usual with other styles of work. Take a piece of
stick ink and cut it into fine shavings ; put it into a small
clean saucepan, cover it with distilled or filtered rain-water,
make it simmer over a fire until dissolved, and then add
more water until brought to Such a condition that it will
flow quite freely from the pen when used with rapidity.
Cork it up in a bottle, and use it as wanted from small ink.
pots, to economize. -
69. The TRANSFER-PAPER is supplied ready ruled for use
to the LAW-WRITER, who has simply to attend to the fol-
lowing rules —
I. Write upon a pad of blotting-paper, but never use it to
blot off the writing.
II. Be careful to use a piece of clean paper under
the hand when writing, and scrupulously avoid handling
the paper or even touching it with the fingers, except at the
edges where no writing is to occur. Finger-ſlay?s from a
2noist or greasy /land ro/Z ºf Öſack.
III. Corrections may be made, if Small, by removing the
ink with india-rubber or ink-eraser, or, if large, by washing
it out with clean spirits of turpentine or benzoline. In
either case it must be taken out without leaving any of the
previous ink, or the whole intended correction may roll up
black. Sometimes it may be better to paste (using as little
as possible) a clean piece of transfer-paper over the part to
'be corrected, but gum must not be used. \
IV. If the paper works greasily, rub it with powdered
whiting or chalk, or wash it clean with spirits of turpentine
or benzoline, or rub it well with clean india-rubber.
As the water is close to the ink, the artist can always by this plan have
the exact amount of fluidity he may require, because he mixes the
water and ink just as an artist mixes his colours on a palette.
42. THE GRAMMAR OF LITHOGRAPHY.
7o. SHEETS OF QUANTITIES, for architects and engineers.
in addition to the cross lines for writing upon, have dowſ.
Zºnes identical with the down lines of the sheet upon which
they are to be printed. They should be ruled by the
machine-ruler at the same time as the transfer-paper is.
ruled, and kept in stock. When the transfer is laid down,
the place of its margin is marked with the lead upon the
stone, and a correct “lay ” thus made for the sheet to be
printed.
In writing “old English" or “German text,” take either
a quill or steel pen, and form a nib of nearly the width of
the letter required ; with this make all the thick strokes,
with very little ink in the pen, taking it up as often as
required, being careful not to deposit upon the paper suf-
ficient ink to spread, nor so little as not to transfer properly.
When the thick strokes are dry, the thin ones may be put in
with a fine pen. It is usual in practice to carry all the
writing forward and slightly pencil the words for “texting,”
which is then done afterwards. *
7 I. THE COPPERPLATE STYLE AND FINE ORNAMENTAL.
WRITING is executed in a more careful and methodical
manner on a finer and thinner paper. The learner will.
require very fine pens, the points, if steel, being so sharp,
that they will hitch in the paper in making the upstroke if
it is laid on a flat surface in the ordinary way. This is
to be avoided, in using both the steel and quill pens, by
placing the left hand underneath the top edge of the paper
So as to raise it from the table, the strokes may then be
made on the yielding surface of the thin transfer-paper
much more delicately and safely than when the paper is
resting on the pad. Although this method will be found
difficult at first, it is necessary to be accomplished to.
become a transfer-writer. The letters must be made as:
Carefully and slowly as may be found necessary to produce
the forms required. Lines in pencil may be ruled all over
the paper at about an angle of 40° with the perpendicular,
* It may be useful to point out that in making pens for these broad,
strokes, the smaller the cylinder of which the pen forms a part, the less,
liable is the ink to be deposited on the paper in inconveniently large
quantities.
DRAWING ON TRANSFER-PAPER. 43.
to keep to the correct slope; and double lines to write be-
tween to get the letters all one size; and if a middle line be
added, a good guide will be obtained for the tops and tails
of the letters. Writing thus kept uniform in size and slope
will look very fair, even if the letters themselves are not
formed so well as desirable. The writing should fill the line
if possible, without dividing the words; but in this respect
judgment must be used, as when the words ending the lines.
are long ones they must be divided if necessary, because the
attempt to avoid it may cause ugly gaps. The learner is
recommended to lightly pencil out his words before writing
them in transfer-ink, so that he may know how much will
come into a line.
Any ornamental writing, &c., may either be first sketched
in pencil. On the transfer-paper, or On other paper, and
traced down upon the transfer-paper with a red sheet. For
this purpose red chalk paper is to be preferred, because no.
mistake can then be made as to which is an ink line ; but
such an error might easily occur if black-lead paper were
used instead. -
72. WHEN A DRAWING HAS TO BE MADE WITH INSTRU-
MENTS OR THE LITHOGRAPHIC BRUSH a stouter paper is.
better to work upon, and is best for use when strained in
the following manner —
Sponge the back with water in proportion to the thickness
of the paper, sparingly if thin ; let it lie a few minutes for
the water to be absorbed, gum or paste it round the edges,
and attach it to a smooth drawing-board; take a piece of
plain stout paper, wet it well until pliable, and lay it upon
the transfer-paper, folding back the edges so as to leave the
pasted edge free. The side in contact with the transfer-
paper should not be wet. A piece of calico wetted, well
wrung and shaken, may be used instead of the paper, if a
piece of thin paper be interposed between the cloth and
transfer-paper. The result sought is to get the edges dry
first. The paper or cloth is then removed, and the transfer-
paper will dry with a nice tight surface. If this method be
not adopted, the transfer-paper, especially when thin, will
sometimes follow the ruling-pen when in process of being.
lifted from the paper, and alter the character of the line.
The unstrained paper, under the influence of the moist.
**
- 44 . THE GRAMMAR OF LITHOGRAPHY.
breath of the artist, will sometimes rise from the surface
Fupon which it has been placed, Suddenly react upon the
brush, and make a black speck where it should not be.
The following points must be carefully attended to :—
I. All lines are to print quite black, and consequently
II. No attempt must be made to get effect by using pale
jink.
III. Thick ink will spread in transferring, and must there-
fore not be used in producing deep shades by lines lying
close to each other.
IV. Thin lines with very pale ink will probably fail alto-
gether.
V. The ink being dissolved in water, the latter has a
tendency to soften the composition on the transfer-paper; it
therefore becomes necessary not to go over, with the pen,
the same place twice while the ink is wet, or the result may
be that the composition will become mixed with the ink
and destroy its qualities.
73. TRANSFER TRACING-PAPER may be used most con-
veniently in the same way. When all the outlining has
been done upon it, a cut may be made down one edge and
: a piece of white paper slipped between it and the original,
so that the shading may be done without the interference
of the shading of the pattern. With these precautions, and
a little patience, very fair work may be produced upon
: tracing-paper; and, when it is taken into consideration that
by this method the operations of tracing in pencil and re-
tracing in red are avoided, the method has much to recom-
mend it. It is much to be regretted that the gum-resins
used in rendering the paper transparent prevent the ab-
: sorption of water So necessary in transferring, so that the
same quality of work upon the two different papers usually
produces two different results when transferred.
We have given much study to the use of tracing transfer-
paper, and hope further on to show how the largest trans-
, fer may be put upon the stone with certainty and success.
A secondary result, but a very useful one, of the practice
of damping and straining transfer-paper is that the copies
. are nearer the size of the original. This is brought about
by the contraction of the paper after it is cut from the board,
and its re-expansion when damped for transferring, whereas
CHALK TRANSFER-PAPER. 4.5
if the transfer-paper was first drawn upon without being:
strained, the damping necessary to transfer it would so ex-
pand it that the prints would be considerably larger than the
original. The system of transferring to damp stones herein-
after treated of would certainly produce a similar result, but
it is not every printer who can be brought to make use of
it, nor is it after all quite so reliable as the damp transfer
process. - -
74. THE CHALK-TRANSFER PAPER is a revival of an old!
process known almost as long as Lithography itself, and
though it possesses peculiar advantages, its use was known
only to the few, until it was made the subject of a patent
by Mr. Nelson.* Though Mr. Nelson seems to have :
claimed too much in his specification, it is only fair to say
that his method of graining the paper by means of stippled
plates produced a paper that could be more easily drawn
upon than the older way of using a sand-grained stone or
plate. The etched stippled plate produces a series of
points which rise to the same height from the body of the
paper, and are so close to each other that the point of the
crayon cannot penetrate between them, while the sand-
grain consists of pyramids or cones of varying size and
height. The practical difference is that in drawing on the
paper grained by the stippled plate there are no intermediate
lower dots to receive the chalk when more pressuret is .
applied to deposit a greater quantity, and the work is con-
sequently more open and better fit for transferring and
printing from than the sand-grain, in which such favourable
conditions cannot exist. Nevertheless, the stippled plate,
by its mechanical mode of production, produces a kind of
pattern that is objectionable to the practised eye, which,
added to its high price, has given an impetus to the use of
paper prepared by the older method. #
Grained paper is eminently suited to the purpose of the
amateur by reason of its extreme portability as compared
* The paténtee's claims were canvassed in the pages of the LITHo-.
GRAPHER at the time, and much light thrown upon the subject.
+ For the same reason a harder chalk, such as copal, can be used
for this kind of paper, while for the ordinary grain Lemercier's No. 2:
will be found better. e
46 THE GRAMMAR OF LITHOGRAPHY.
with stone, and not requiring the drawing reversed as re-
gards right and left. This latter quality will recommend
it to the artist for the production of drawing copies, because
he can then set before the student a pattern that does not
appear in the disposition of its shading and foliage touches
to have been produced with the left hand, which is often
the case with those drawn direct upon stone.
In using this paper it is recommended not to use much
pressure in tracing the subject down, for fear of flattening
the grain; and to take every means of keeping the work
open. In light tinting the paper may be held up from the
board as described in par. 71 ; the darkest touches may be
done with ink, and lights taken out with a sharp knife.
The artist must proceed in his work with caution and
decision, because this kind of work will not admit of any
such correction as requires the removal of the grain and
substitution of other work in its place. Of course a tint
may be darkened to any extent, but the only means of
lightening one will be to hatch it with lines with a sharp
point or knife, the methods hereafter described of lighten-
ing chalk work on stone not being applicable to similar
work on paper. Small black specks may be taken out with
the knife. Sometimes it may occur that corrections may
be more easily made after the subject is transferred to the
stone, but these minute points of detail will occur to the
student and be settled by him, as he proceeds with his
practice.
75. FACSIMILES of writing are produced by placing a
piece of tracing transfer-paper over the manuscript to be
'Copied, and carefully going over the whole with a pen or
brush. If required for mere commercial work, less care
may be bestowed upon it—unless the customer is unusually
fastidious—than for purposes required for courts of law and
copies of curious or old manuscripts. Ordinary pens, fine
pens, fine pens ground off a little at the point, and brushes,
may be used in imitation of various styles of writing. All
writings may be imitated with the brush, but by the pen it
Imay frequently be done as well, and in much less time,
while at other times the brush will be found the best in
every way. When the pen is used and the writing is heavy,
the ink must be much thinner, or it may smash in transferring.
AUTOGRAPHY. - 47
Some customers prefer to have paper and ink supplied to
them to write for themselves, but unless they have some
experience, or are possessed of considerable manipulative
skill, the result is not so satisfactory as when their writing is
imitated by the practised lithographer, because, upon the
transfer-paper, and from the pen, the ink flows in a manner
very different to what common ink does upon ordinary
paper. This may in a measure be overcome by a process
sometimes called—
76. AUTOGRAPHY ; a term applicable to all kinds of writ-
ing upon transfer-paper, but usually restricted to writing
upon plain hard-sized writing-paper, with a strong litho-
graphic ink. This process, though yielding fair results, is
yet inferior to writing upon transfer-paper, because only
part, instead of the whole of the ink, is left upon the stone
in transferring.
It is a useful mode in the hands of the man of business,
to whom it is unpleasant to be called upon to write with a
different pen, ink, and paper, and yet produce similar writ-
ing to his ordinary hand, for the very fact of using a finer
pen to counteract the spreading tendency of litho' ink and
paper, would most likely cause the result to be unlike his
usual handwriting ; but if he is given his favourite pen and
paper, the ink will not make so much difference. . .
77. Occasions may arise when in some rough litho' tracing,
such as is frequently required in arbitration cases, a little
shading effect of the chalk kind may be necessary, and the
time requisite for line shading cannot be afforded. Under
such circumstances, if a piece of fine sharp cabinet-paper be
placed under the tracing, it may be worked upon by the
Crayon, or if a sharp-grained plate be at hand that may
produce a better effect.
48 THE GRAMMAR OF LITHOGRAPHY.
CHAPTFR VIII.
Ink Writing and Drawing on Stone.—The preliminary tracing—Circu-
lar writing—Relative advantages of working on stone and paper —
Ornamental Lettering—White letters on black ground—Stopping.
out for transferred machine ruling—The sprinkled method—Stip-
pling—Distinction between and relative advantages of the two
methods—Corrections on polished stones during the work, and
after rolling up--Theory of drawing on stone—Precautions to
be observed.
RAWING and writing on paper having been described
in our last chapter, we now proceed to treat of
78. WRITING AND DRAWING ON STONE.-The principal
difficulty experienced in drawing and writing on stone arises
from the necessity of reversing the work, and this, conjoined
to the drawbacks of always having to trace work to the
stone, and the great bulk and weight of the latter, places.
working on stone at a disadvantage in Comparison with
transfer-paper; on the other hand, the accidents to which
transfers are liable cause stone to be more generally used
in most establishments.
Transfer-paper is more suited to the use of the writing
pen than stone; but for the brush, Crayon, and mathematical
work, the surface of the stone is to be preferred, and it
will hereafter be shown that it allows of a greater variety
of work than the transfer method.
79. INK DRAWING ON STONE,--THE TRACING.—In pro-
ceeding to work upon stone, the student must bring himself
to acknowledge and appreciate the value and importance
of a good and correct Tracing, and feel assured that nothing
can be gained by neglecting so essential an aid to success.
It is made either in pencil or ink, placed in the reversed"
position upon the stone, and the red chalk tracing-paper
with its prepared side downwards, is interposed between it
and the stone. The corners are now gummed, pasted, or
held down by paper-weights (avoiding the use of wafers),
and the work traced over with a HHH pencil, or other hard
tracing point, until a facsimile, in red, of the tracing, is
INK DRAWING ON STONE–THE TRACING. 49
transferred to the stone. In this manner all kinds of work
are put upon the stone in faint red outline for whatever
purpose it may be required, and whether the stone be
polished for drawing, or grained. Other methods of tracing,
applicable to photographs, pictures, and Subjects requiring
greater transparency than ordinary tracing paper possesses
will be found in paragraph I 3o.
The tracing having been made, the student may proceed
to apply the ink by which the stone is made capable of
multiplying the artist's ideas. This ink may be applied
either by the brush, steel pen, or the mathematical pen.
The brush has been described in paragraph 27. With
this instrument almost any kind of work may be accom-
plished that partakes of a freehand character. To use it
properly requires considerable practice ; but a few hints
may assist the tyro who is making his first attempts. The
brush must be dipped into the ink, the superfluity removed
by drawing it over the edge of the saucer, and a point
finally given to it by patting it, as it were, upon a piece of
Smooth paper, the thumb-nail, or other similar clean Sur-
face. It may now be applied to the stone to produce
what the draughtsman requires. It must, to produce fine
lines, be held so that only the extreme point touches the
stone. At first the student may content himself by placing
the stone in such a position that he can make the lines by
drawing the brush towards, him. He will soon find, how-
ever, how far this system may be departed from, and that
some brushes will permit of much greater freedom of
manipulation than will others. Thicker lines may be
drawn by greater pressure upon the brush, more being
required as the ink in it approaches exhaustion. On
account of the delicate structure of the brush, the ink in it
will require frequent renewal, and much patience will be
wanted on the part of the young artist, who will in all
probability be tempted to work faster than consistent with
the object aimed at, this manipulation of the brush to bring
it into working condition occupying a considerable amount
of time.
In tinting, the student should not endeavour to make a long
line at once, but to effect his object by a series of short
Ones. In doing this, however, he must avoid making ugly
- E
5o THE GRAMMAR OF LITHOGRAPHY.
gaps between each set, though good effects are sometimes:
produced by leaving such places, and afterwards stippling
them. The study of good bold etchings by some first-class
engraver on copper will do much towards forming a good
style; but the peculiarities attending this style of drawing
should never be lost sight of . The etcher on copper and
steel has this advantage: he can re-bite his work, and make
it darker if his first proof is not satisfactory; but the litho-
grapher must get the effect he desires before he passes the
stone to the printer for proof. Nevertheless he has the
advantage of easily getting heavy masses of black, which he
can lighten either with steel or diamond points, and thus.
produce effects similar to woodcuts.
Tinting by means of irregular waved lines is easier to:
perform than by straight lines, and the effect is good if
suitable to the subject. Mathematical precision of course
must be avoided, but it must be done with some amount
of regularity to look well. The convex side of any curve
in a line must not be opposite the convex side of its
Companion line, but opposite its concave side, so that
though the lines may be really irregular, yet the general
effect may be that of parallelism.
The steel pen spoken of in paragraph 28 may also be
used, and will be found especially useful in foregrounds,
near foliage, &c. --
The mathematical steel pen will at first require much.
practice and attention to master it so that very fine lines,
may be made with it; but this tool, as also that for
making circles, is of the very greatest importance in all
branches of lithographic drawing ; therefore it is quite
essential to master any difficulties that it may present.
In any work of an architectural or mechanical character
it may be accepted as a general rule that these pens must
be used in preference to the brush wherever possible. At-
tention to this will enable the draughtsman to execute his
work with a firmness and precision that will recommend itself
to any architect or engineer who may chance to employ
him, because it is an axiom with them that nothing should
be done in the freehand manner that can be performed by
ruling and compass pens. -
It is usual among lithographic draughtsmen to put in any
WRITING ON STONE FOR CIRCULARS. 5I
btted lines with a continuous stroke of the pen, and after-
ards to Scrape them in such a manner as to make dotted
nes of them. While fully admitting the neatness of this
ethod, we must be permitted to point out some attendant.
efects. I. The scraping is liable to be omitted. 2. If insuffi-
ently scraped, the lines roll up again; and, if deeply scraped,
le proofs show an unpleasant embossing at that part. And
They often look too thin and ineffective when one half
le line is thus taken away. In consideration of these
oints, we rarely, in our own practice, make use of the
lethod, as we find no difficulty in dotting them as we
roceed, with good ink of proper consistency. If the ink
e too thin, all ruled lines have a tendency to run thick at
he end of the stroke when using the ruling pen, and this is
ggravated when making the short strokes of dotted lines.
'he student may therefore make this a test when preparing
is ink.
The learner may find it useful to have the margin of the
..one to practise upon, but it is not to be recommended
the practical lithographer. If the edges are gummed
ver with thin gum before commencing it will save the
rinter a good deal of trouble.
To assist the student in reversing his drawing, he will
squire a looking-glass of any convenient size. It should
ave a piece of wood or other contrivance attached to its
ame, by which it may be made to stand pretty securely
n its edge.*
8o. WRITING ON STONE FOR CIRCULARS must of course be
aversed, and the first essays of the learner may be assisted
y tracing; but, as tracing for this purpose is inadmissible
Yr real work, the sooner it is laid aside for the next stage,
ne better. ! -
Take a piece of round pencil-cedar, or other wood, cut
very taper, so as to be about -inch thick at its
nd. On these tapering faces make a thin groove in the
irection of its length, and with a piece of thread or silk
* A finely polished steel or silvered copper plate, or a piece of glass.
lvered by the chemical method will be found superior to ordinary
joking-glass, as there is then only one reflection, while when the ordi-
ary mercurial silvering is used there are two—one from the metallie
Irſace and another from the outer glass Surface.
E 2
52 THE GRAMMAR OF LITHOGRAPHY.
bind in each groove a common pin in such a manner that
the points are level. If the pins, before binding, are
flattened a little with a hammer, they will be more manage-
able. A tool is now produced by which two parallel lines
may be drawn at one stroke as a guide for the size of the
writing. A more expensive tool, with a wider scope, is a
needle-pointed spring bow-pen, substituting brass pins for
the needle points.” a
A brass point, mounted as described in paragraph 139,
for engraving tools, will also be required for sketching on
stone, as lead pencil is unsuitable, by reason of its marking
too black.
Proceed by sketching out rapidly in pencil, on paper,
the words of the circular, so as to see how much space it
will occupy.
Now lay out and mark a space on the stone, and, having
fixed upon the size of the letter, rule the stone with the
before-mentioned tool into a series of double lines, to cor-
respond to the sketch. Across these rule any convenient
number of single lines at an angle with them, of from 45°
to 50°, as a guide for the slope of the letter. Now, having
first obtained a good specimen of copper-plate or litho-
graphic writing, by the help of the mirror consult its re-
versed position, and carefully copy each letter by means
of a fine lithographic brush. It, will be as well to sketch
them out, but more especially the capitals, by the help of
the pin-points, and, as confidence is gained, sketch the
capitals only. It will be found that both the up and down
strokes of the writing must be made with down strokes of
the brush : make the down stroke, and then add the up
stroke. Much practice will be necessary, and, as the plan-
draughtsman on stone must be able to letter backwards, it
will be only a further extension of his skill to be enabled to
write a circular. - *
When the lithographic student has mastered the difficulty
of writing backwards, and is able to produce a decent
* For this purpose engravers use small steel gauges, which are sold
in sets, and numbered. These may be used by the lithographic
writers on zinc direct, or on stone by interposing a piece of red tracing-
paper.
white LETTERS UPON A BLACK GROUND. 53
circular, he may proceed to do without such of the before-
described helps as his skill will permit of.
With respect to the question as to which method (stone
or transfer) is best in practice, it will usually happen that
the subject is practically beyond the control of the employer.
He may have a clever general hand, and must be guided
by his attainments, while if he engage a circular-writer the
probability will be that he will be a transfer-writer. The
general question may be disposed of by saying that the
transfer method is quickest, but more liable to accident;
while the writing upon stone is usually more firm, will yield
perhaps more impressions, and is liable to no accident that
is not equally likely to happen to a transfer after it is upon
the stone.
ORNAMENTAL lettering may be practised in a similar way,
but all large letterings, &c., should be treated as drawings,
a complete sketch being made and traced to stone (§ 79).
They are to be outlined, in their straight parts, with the
ruling pen, and the large letters on show-cards, &c. may
advantageously have the compass-pen employed upon their
curved portions. -
81. WHITE LETTERS UPON A BLACK GROUND are produced
by using a mixture of gum-arabic solution and vermilion
e º * ... --gº-tºº--º-rºses- sºe",
acidulated with a little -nitric acid. It must be made as
* * * *}. -->
wanted, because when once dry it cannot be properly
re-dissolved by reason of a chemical change in the gum
produced by the action of the nitric acid. The more acid
is added to the solution the more decided is the subsequent
insolubility. Experience must be the guide for the propor-
tion of gum, pigment, and acid. v
Gum too thick. & \ will not work pleasantly, espe-
cially in ruling pen.
*
.Gum too thin and too much Will not stop out effectually.
pigment. \ \
\
Too much acid.
- take place, and the lines
spread beyond their limits.
^ -
Perfection will be attained in the mixture when it works
pleasantly, and shines upon the stone after drying. The
\
|
l
i
A decided effervescence will .
54. THE GRAMMAR OF LITHOGRAPHY.
.*
letters are to be made with this preparation,” and when dry
are to be covered over with litho writing-ink dissolved in
spirits of turpentine, or other convenient fatty matter. When
the job is complete and put into the hands of the printer,
the water will dissolve the gum and leave the letters clear
upon a black ground, the result being not only more rapid
but more satisfactory than when the ground is painted in
and the letters are left white upon the stone.
82. STOPPING OUT FOR TRANSFERRED MACHINE RULING
is effected in a similar manner, but no acid must be
used, because it would partially obliterate the drawing over
which it was necessary to put it. It is useful in plan and
other work where lines, &c., are required which would
involve great skill and occupy much time to put in by
hand, but are easily and expeditiously transferred from
machine ruled and dotted plates. Vermilion and gum, free
from acidity, is painted over all parts of the drawing that
are not to be covered with the machine work in question,
and when dry, and a mark put upon the stone to indicate
the direction of such lines, dottings, &c., it is handed over
to the printer, who transfers a suitable impression, which
unites with the stone in those parts only that are uncovered.
When the stone is washed with gum-water, if the operations
have been properly performed, the effect will be that the
gummed portions remain quite clean, and the transferred
lines, &c., will almost equal copper-plate, and be very far
Superior to what hand-work could possibly accomplish.
83. THE SPRINKLED METHOD is effected by taking a
quantity of litho writing ink in a tooth, nail, or other similar
brush, and drawing it across the blade of a table-knife or
other like instrument, over that part of the stone to be
sprinkled. The sprinkling is confined to proper limits by
having all other parts “gummed out,” as in par. 82. When
the first light tint is sufficiently strong, the parts required
* If the letters are of a kind to admit of the proceeding, it will be
found very advantageous to first rule a strong line at the top and
bottom of the line of lettering, in litho ink. The gum mixture not
dissolving, the ink will not penetrate through it to the stone, and the
result will be a straightness and definition which could not be hoped
for without such assistance. *
STIPPLING. - 55
to be kept at that strength are “gummed out,” and, after
drying, the process may be repeated until the desired effect
is obtained. The operation requires care, and trial should
be made (at each renewal of ink in the brush) upon a piece
of paper, to be sure that the dots are of the desired size and
distance apart. The less ink in the brush the finer the dots,
and the nearer it is held to the stone the closer they will be
together. The ink for this process should have the mini-
mum quantity of Soap to render it soluble, and therefore
less tendency to dissolve and penetrate the gum protection.
The Cases in which this style may be used must be left
to be decided by the taste and discretion of the artist.
One grave defect of the process is, that though a trans-
parent gum Solution may be used, yet the effect cannot be
observed during the operation, because all is covered alike
with the dottings, the gum protecting the several stages. It
is only when the gum is washed away that the effect is seen;
if then it is not what is desired, it may be remedied by
going over again where necessary—first preparing the stone
as in article 86.
84. STIPPLING,” though a process more peculiarly adapted
to chromo-lithography, may be occasionally employed in the
more modest ink-style now under consideration. It yields
..a very soft and pleasing effect when introduced to tone the
harshness of unhatched line-shading by stippling minute dots
between the lines. The dots should be in proportion to the
lines among which they are placed, never thicker if possible.
When the dots are desired to be very fine, they may be
done with the brush ; but the pen, of various degrees of
fineness in the nibs, will be found a most efficient tool for
the medium and larger one.
The great distinction between sprinkling and the more
laborious stippling consists in the precision with which the
dots may be applied just exactly where required in the
latter mode; whereas in the former they fall at haphazard.
When a graduated effect is to be produced by stippling
alone, the dots must be fine and open, followed by
* “Stippling” is a species of engraving which is effected by a series
of dots instead of lines. The word has a similar meaning in water-
colour painting.
56 THE GRAMMAR OF LITHOGRAPHY.
others larger and more close, until they approach, a solid.
black. -
Roundness of dot and succession of them in lines are to.
be avoided, as producing hardness of effect. If a good
stippled engraving be examined by a magnifying glass, it
will be seen that the dots are triple ones, which conduces
much to the softness of effect observable in this style.
85. CoRRECTIONS ON POLISHED STONES IN PROCESS OF
WoRK are almost invariably made with a sharp mezzotint
scraper. Sharpness of the knife is essential to taking the
work perfectly out without going deep into the stone, which
must not be done, because the pressure would be taken off
at that part in the printing. The part Scraped out is cer-
tainly not so pleasant to work upon as before, but yet when
neatly done the work may be put in again in such a manner
as to draw no. attention to it as a correction. The over-
running of lines at corners and junctions are removed by this
means, and lines are usually dotted by the scraper after
being drawn continuously.
Where the alteration required occupies much space, and
the nature of the work will permit, the best way will be to
take the snake-stone and polish the stone where necessary,
when of course it may be treated in the same manner as if
no work had been upon it. Small Snake-stone pencils, one-
fourth of an inch square, will be found useful in getting at
Small portions, and by means of a file they may be made of
any convenient size and shape at point. Such pieces may
also be used for finally polishing the stone after scraping.
86. CORRECTIONS AND ADDITIONS AFTER ROLLING U.P.--
When an addition is to be made in a place where there is:
room to use the scraper, remove the surface with that,
instrument and put in the addition with litho ink.
When previous work has to be removed polish it out with:
the Snake-stone if there be room ; if not, use a sharp scraper,
and be sure the old work is well cleared away. In using
the knife or scraper it will be found that it has a tendency
to jump over the greasy lines, more especially if the edge
be dull, leaving them somewhat in relief; but it is essential
to remove all trace of the ink, or it will roll up among the
new, work. -
The aim of the artist must be to scrape effectually, yet
CORRECTIONS AND ADDITIONS AFTER ROLLING UP. 57.
without reducing the surface to such a degree that neither
the roiler nor pressure will reach the part. Consequent
on this it will be seen that it is imperative that the correc-
tion must be effective, or the work will have to be gone
over again, thus producing a still greater depth below the
surface. If the roller will not reach the part, the printer
must use his finger with ink upon it, or make a small
dabber to apply the ink to the depressed part, while the
pressure may be made to reach it by pasting paper upon
the tympan at that place.
When additions have to be inserted among the work and
none is required to be removed, a mode altogether different
had better be employed. Without entering into the
subject of printing, to which it properly belongs, it will be:
advisable to lay down the theory on which the method.
depends.
a. In all lithographic printing the stone is varnished, as.
it were, with a solution of gum arabic which dries not only
on but in its surface, and is there held so tenaciously that
no amount of washing with plain water will remove it.
b. This coating of gum, filling up the pores of the surface,
prevents the absorption of ordinary litho ink unless it con-
tains an amount of soap more than usual. This is some-
times added to make work “stand,” but it spoils the good
working qualities of the ink.
c. It is evident this coating must be removed, and any-
thing that will dissolve carbonate of lime (of which the
stone principally consists) and will not dissolve the ink,
may be used for preparing the stone previous to retouching,
because if the surface of the stone be dissolved the thin.
gum coating dissolves with it.
Most acids, and some salts, will effect this purpose, but
choice is given to the weaker acids of vegetable origin,
which form soluble salts with lime. - ACETIC ACID is an old
favourite, but CITRIC ACID is preferable, and may be used
as follows:—
Roll up the job as for an impression, wash it well to free
it of all gum that can be removed by that means, using hot
water by preference ; dry ; and apply with a camel-hair
brush of a convenient size the solution of citric acid of such.
a strength as to taste a little weaker than lemon juice ;.
58 THE GRAMMAR OF LITHOGRAPHY.
watch it, and if bubbles of gas arise at once it is too strong,
and must be washed immediately with clean water. If of
the proper strength it may remain about a minute, when it
must be washed with clean water. The ink must now be
removed by pulling two or three impressions” from the one
inking, so that the artist in working upon it shall have no
superfluous ink to attach to his “hand paper” to be carried
about and soil the stone. Any touching-up or additions
may now be done with ordinary lithographic ink, which
will now be found to work nearly as pleasantly as upon a
newly polished stone.
It has been here recommended to roll in with ink pre-
vious to the acid preparation, because it assists in protecting
the work from its action, while the usual plan is to take off
the Superfluous ink first and acidulate afterwards; but it is
evident that weaker acid is then necessary.
All Sponges, &c., used in this process must be Scrupu-
lously clean, or success must not be expected.
Solutions of alum and common salt, or sal ammoniac, or
both combined, form very good washes for clearing the
stone from gum, and they probably act not only by dis-
solving but by bringing away the gum as the Salts Crys-
tallize.f
87. PRECAUTIONS TO BE OBSERVED IN DRAWING ON
STONE,--All the cautions given regarding the handling of
transfer-paper apply equally to the stone; but the stone
being a better conductor of heat than paper, and of greater
bulk, condenses the breath of the artist upon it in Cold
weather, causing him to waste time in drying the stone. It
is recommended to place the back of the stone to the fire
the first thing in the morning, and allow it to get moderately
warm through, when it will be found to keep free from this
* The paper should be well rolled printing or plate paper, so as to
avoid “slurring.”
+ A very practical method for the printer who requires a job touched
up, is the following :-After cleaning the work, roll it up pretty
full, and etch with perfectly clean mitric acid and water and clean
sponge, which will remove the gum at the same time; well wash,
and take off a couple of impressions without re-inking. When dry,
send it to the artist to have the corrections made. Gum the stone, and
allow it to dry, when the job may be proceeded with. f
PRECAUTIONS OBSERVED IN DRAWING ON STONE. 59
'peculiar annoyance for the rest of the day; whereas if the
face had been warmed to the same degree only, it would
have rapidly cooled again. If it is inconvenient to warm
the stone in the manner described, a piece of cardboard,
about 4 in. by 3 in., of an oval shape, and a bit of twine
passed through two holes in it about 1% in. apart, and
by this held between the teeth in such a manner as to cover
the mouth and nostrils, will effectually prevent the conden-
sation of the breath upon the stone.
a. In drawing upon stone, remember that friction is pro-
portionate to pressure : therefore, let ruling pens glide over
the surface, free from the weight of the hand and arm.
b. The parallel ruler must not rest on the stone, but on
pieces of cardboard or folded paper. If the work is small,
take a piece of cardboard and cut a circular, square, or
oblong hole in it, and use it as a shield and rest for the
ruler, &c.
c. Keep the side of the pen that slides against the ruler
scrupulously free from ink, and for fine lines the outside
also, so that the space between the nibs only may, if pos-
sible, determine the breadth of the line.
d. To set the ruling and compass pens, rub them on
Arkansas oilstone; examine them carefully with an eyeglass
after wiping off the oil, holding the pen in such a manner
that the light from the nib ends is reflected to the eye;
when each nib is reduced to an equal thinness and equal
length, they may be polished on a piece of leather having a
little crocus on it. The nibs being already comparatively
thin, care must be taken that they are not rubbed too
violently, or an unequal length and breadth will be the
result. If this happens, bring them to an equal length by
a motion on the oilstone, as if ruling lines, previously to
bringing them to an equality of thinness. The Arkansas
oilstone should not be mounted, because on such a one it
will not be possible to get at both nibs of a spring bow
pen. A useful stone for the work may measure about
.4 × 13 × 3 inches.
6o THE GRAMMAR OF LITHOGRAPHY.
CHAPTER IX.
Chalé Drawing on Stone.—Theory of the process—Peculiarities of the
grain of the stone—How to grain a stone—Defects and remedies —
Tracing the outline to stone—Pointing the chalks—Copal chalks.
—Occasions when ink may be used—Drawing—Cautions—Tint-
ing—Importance of this department of Lithography.
O part of our subject at all equals in artistic import-
ance that upon which we are about to enter, viz.
that of drawing in crayon or chalk upon the stone. By it
an accomplished artist is enabled to reproduce the works of
our best painters in a manner but little inferior to that of
the best engravings; and we feel convinced that if the same
study and talent were bestowed upon lithography as is
necessary for engraving, our favourite art would be found
quite equal to the successful reproduction of all classes of
pictures.
88. The drawing on stone treated of in the last chapter
refers more especially to that kind of lithography usually
denominated “ink” or “line work,” and executed on
polished Stones; while that upon which it is proposed now
to enter is called chalk or crayon drawing, and derives its
name from similar work upon paper, which it may be said
to excel.
Instead of being polished, the surface of the stone is,
for this kind of work, broken up into minute points, techni-
cally called “a grain,” which, when drawn upon, receives
the lithographic chalk in proportion to the pressure em-
ployed. This grain is most essential, not only in giving
clearness of texture and transparency in the impressions,
but, by reason of its hardness and sharpness, acting as a
rasp to take off a sufficient quantity of crayon to give
blackness and body to each dot. If the crayon be drawn
over a polished stone and over a grained one, it will be
found that the stroke in the former case is poor and grey,
while in the latter it is bold and black. The former is nearly
destroyed by an etching that the latter will stand well; for
this reason, it is desirable to have a sharp grain.
TO CRAIN THE STONE. 6I
The grain should be in proportion to the work in hand;
but manipulation has much to do with the appearance of
coarseness or fineness of grain. Delicacy in outline and
detail demands a fine grain, while boldness in these particu-
lars admits of a coarse one ; but it will be found in practice
that it is more easy to produce an appearance of coarseness
on a fine grain than of delicacy and detail on a coarse one.
89. To GRAIN THE STONE.-Take a stone free from all
veins, marks, and chalk-spots, and, if for best work, of a
clear grey or dark drab colour. Grind it and pumice it free
from any deep Scratches. Now take a piece of stone similar
to the one to be grained, about three or four inches square,
with the corners and edges well rounded off with a file. ,
From a sieve (No. Ioo or I2O, according to the grain,_see
par. 59) sift sufficient graining-Sand” to lightly cover the
surface; sprinkle a few drops of water over it, and place
upon it the graining “muller.” Move this about with a
motion describing small circles along one edge; then re-
turn at about three inches from the edge; back again at
about six inches from the edge, and so on, until the stone
has been gone all over. As the work is proceeded with,
more water will be required ; and as the sand wears out,
more of that will be needed. If the stone be finished off
with sand that has been but very little worn, it will probably
produce a grain too coarse and sharp, while a contrary re-
sult will follow the using of the sand for too long a time,
the grain then being “flat.” To produce a good grain, the
happy medium must be attained, and practice will be neces-
sary to arrive at it. Every care must be taken that no
coarser sand finds its way to the stone, or scratches, which
will show as white lines on the drawing, must be the result.
When it is thought that it is properly done, wash it well in
clean water, rubbing it with the hand or a clean sponge, to
free it from all traces of sand, &c.; strike off the superfluous
water with the squeegee, and let it dry. Do not set it to
drain while wet upon a dusty floor, or the dust will creep up
the wet surface by capillary attraction, to prevent which set
it upon a piece of paper that is free from dust.
* To be procured from the dealers in litho materials at about 23.
per gallon, sifted. -
62 THE GRAMMAR OF LITHOGRAPHY.
When dry, place it obliquely at a window, and with a .
magnifying glass seek for any scratches. A scratch or two
may be of no importance in some jobs; in such case consult
the artist, who will know. If they prove vexatious, the stone
must be gone over again. The stone should now be of a
vellum-like texture all over, and the artist may try the
grain with a crayon at various parts of the stone, making.
little patches of light tinting. These will not often inter-
fere with the work, because they will either be absorbed
in deeper tints, or may be scraped out in the finishing.
If the artist is satisfied with the grain, the grainer's work
is done; if not, it must be sought to know what the
defect is.
If too coarse— Take either a finer sieve, or
work the sand down more
before washing off.
. If too fine— Work the same sand but
- little before renewing it, or
take a size larger. -
If too flat, with lines running The sand has not taken out
through it— the marks of the pumice-
stone. Continue the grain-
IIl Qſ. -
If very fine and flat, without The graining has been con-
lines— tinued too long with the
tº, same sand. Grain again.
If wanted coarser in places, Roughly sketch an outline,
such as the foreground— and grain with a small
muller where required with
coarser sand or fine Sand
often renewed.
90. TRACING THE OUTLINE TO STONE will be the next
operation. Proceed as in par. 79, but observe that the red
tracing-paper must have but little colour upon it, because
the grained surface takes off a greater quantity than the
polished stone. Try it first, and if too red wipe it off the,
paper with a dry cloth, until the necessary colour is gained.
It should be borne in mind that liquid ink will penetrate a
strong line of the tracing, while the dry chalk might be
kept from the stone by the interposition of the red chalk,
TRACING THE OUTLINE TO STONE. 63.
line; and hence the advisability of having the tracing very
faint. If it can be distinctly seen, it is dark enough. For
the same reason, if it should be necessary to sketch upon
the stone, it should be lightly done with a hard pencil or
brass point, a dark mark with a soft lead being very likely,
when drawn over with the crayon, to show as a white line
in the print.
A tracing may also be made in soft red or black conté
crayon. When this is put upon the stone and a piece of
hard writing-paper laid upon it, it may be transferred to the
stone by rubbing with some smooth hard substance, taking
care that it does not shift. The transfer of the tracing to.
the stone may also be accomplished by passing it through
the press under a heavy pressure. This would give a more
correct outline, and would be more quickly done than a
second time going over every line with the point; but so.
good a tracing of intricate work cannot be made in the
first instance as can be obtained by a hard blacklead
pencil.
Having got the subject traced to the stone, remove the
tracing-papers and substitute for them a piece of plain
paper fastened round the edge of the stone. Tear a piece
out of the upper left-hand corner and proceed to work
there, removing the paper as necessary until the whole is.
completed. The hand board (par. 31) must be used to
keep all pressure from the newly-deposited chalk, because
if the chalk be partly removed from the surface it will have
less power to withstand the action of the etching, and the
result may be spots and patches of lighter colour. The
board keeps the hand further from the stone, and assists in
preventing that condensation of moisture which takes place
when a warm moist hand rests upon a cold stone with only
the intervention of hand paper, and is of further use as
providing a convenient arm-rest for working near the edge
of the stone.
The use of loose paper to rest the hand upon is also ob-
jectionable, from the liability there is of thereby carrying
particles of chalk from one part of the stone to another.
They adhere to the underside of the paper, and are not
seen excepting by the effects produced in various Specks of
dirt occurring over the stone, and which will probably
*64 THE GRAMMAR OF LITHOGRAPHY.
cause a good deal of trouble to pick out in finishing the
drawing. Prevention is here easier than-cure. e
The artist will find that the grained stone wears away the
crayons so much faster than paper does, that much of his
time will be employed in pointing them, so that, if it be
valuable, it may be well to appoint an assistant to sit by
and perform that operation for him.
Lithographic chalks are pointed with the knife, like conté
crayons, by laying the point on the left forefinger as a guide,
and cutting from the point. It is unnecessary to use the
knife every time the crayon requires pointing. As long as
it remains nicely taper, it may be brought to a good working
point by rubbing it gently—turning it between the thumb
:and finger at the same time—on a piece of coarse printing-
paper or other similar surface. This will give a better point,
and more expeditiously, than the knife, and will usually be
found to be less liable to break.
. The friction the crayons undergo on the stone, and the
warmth of the hand have a tendency to soften them, so that it
will be found advantageous to have half a dozen pointed at
a time; and it will be further convenient to make a distinc-
tion in the colour or form of the crayon-holder, so that the
“different degrees of hardness may be readily distinguished.
In drawing lines with the straight-edge as a guide, greater
uniformity of breadth will be obtained by cutting the crayon
to a thin wedge instead of to a conical point, and by pushing
the chalk as well as drawing it, great firmness and strength
will be given them. -- *.
The outlining should be all complete before commencing
to shade, or lay in the “tinting.” If it is an architectural or
other subject requiring fine detail, it may be put in with
copal chalk with a firm touch, as it will then better resist the
etching. This chalk is made as hard as possible consistent
with the quality of rolling up, but is not so strong as No. 1,
and should not be used at all for tinting, nor for out-
lining, when No. I will answer the purpose. No. 2 is softer
and stronger, and may be used for bolder drawings and
deeper shading; while No. 3 is to be reserved for very
deep parts, or such subjects as large bold portraits.
Where precision of outline is of more importance than
artistic effect, where it is more minute than the chalk point
l'RACING THE OUTLINE TO STONE. 65
can well accomplish, and where the nature of the subject
permits or demands it, ink may be used, either with brush
or ruling-pen. It must be strong enough to permit of etching,
and black enough to enable the artist to estimate his effect.
If it is too thin, it will not work properly; the water separating
and spreading beyond its proper limit, ieaving the coagulated
ink in the middle of the line, but becoming of a proper size
on drying. Such lines must not be depended upon, as they
do not sufficiently resist the etching. .
For the first tint take a light crayon-holder and No. 1
crayon ; hold the porte-crayon, in a slanting direction, as
far from the chalk as can conveniently be done, and lay in
the tint with light and regular strokes, taking care not to
commence or leave off heavily, as that would make it spotty.
In this way cross and recross it until the desired effect is
obtained. The chalk should be constantly turned in the
hand by depressing the thumb to cause the porte-crayon to
rotate, thus bringing a new clear part of the point into work.
If the crayon were made to rotate the reverse way by ele-
vazing the thumb, that part of the point having a burr upon
it would be most likely applied to the stone, and cause
a black speck. If the crayon be used without turning for
a few strokes, a flat place will be worn, and when it is then
turned, so sharp a corner will be introduced to the tint as
will cause a clear, almost continuous fine black line instead
of a succession of dots.
Pay particular attention to the first tint, as it influences
very strongly the subsequent deposition of the chalk. If
the tinting be too open for the subject, it may be made
more close by using a finer point, held in a more upright
position; thus bringing into use a secondary series of the
grain-points that would otherwise have remained untouched;
but it must be remembered that this will render the printing
more difficult. This first tint may sometimes be very well
accomplished by stumping. A piece of clean wash-leather
is put over the first or second finger, and then rubbed upon
a piece of stumping lithographic chalk ; when charged, any
loose particles must be detached by rubbing lightly on a
piece of paper. It is now passed with a light circular
motion over the stone, which then receives a more delicate
tint, and with less labour, than is obtained with the point of
F
66 THE GRAMMAR OF LITHOGRAPHY.
the crayon. For ordinary work it should not be carried
beyond this point, because if a middle tint were to be
obtained with it, the subsequent chalking would be decep-
tive, looking darker on the stone than it would roll up,
the particles of Stumping-chalk being blacker chemically
than they are visually. Having laid in a smooth even tint,
greater pressure and a more b/i/zif point may be used for
the darker shades ; thus making the previously covered
grain-points to accumulate more chalk, and, in still darker
shades, some of them to join together.
Having completed the drawing with the crayon, little
bits of pure black may be put in with ink to give effect
where necessary; lights may be removed with the scraper;
transparency given to the shadows by the judicious use of
the needle-point; figures separated from the background
by the same instrument; and many little things done that
taste and experience may dictate, previously to the drawing
being handed over to the printer to prove. In giving
effect by means of ink, it should be applied with a brush,
as it is possible that a pen may scratch the Stone, so as to
leave white marks in the impression.
In working out the drawing, little bits of loose chalk will
fall from the crayon, hands, and other sources, which may
be removed by the frequent use of a flat camel-hair brush,
kept for the purpose. Avoid blowing them off, because
little globules of saliva and condensed moisture are usually
hanging about the lips and moustache, which, being pro-
jected on to the stone by the puff of air, cause all subse-
quent chalking to be removed in the rolling up, and pro-
duce white or grey spots, known to the trade as “spittle-
spots.”
Other black specks of chalk will be found, that will not
be carried away by the brush ; but by pressing the point of
the Crayon vertically upon the place, and suddenly lifting it
off again, the chalk will be removed from the stone. In
this manner, considerable portions of the stone may be de-
nuded of chalk, and corrections made.
Tinting may be made even by pricking out little specks
with the needle-point by the aid of the magnifying-glass,
brushing away the portions removed, so as better to observe
the effect. Care must be taken in this operation, because
TRACING THE OUTLINE TO STON E. 67
the part cannot again be easily worked over. Where tints
are too dark, they may be hatched over with the needle-
point in two or three directions, so as to avoid any for-
mality of effect; but it is best to avoid this, if possible,
unless the artist wishes thereby to introduce an effect not
to be had by the simple chalking. In the use of the needle-
point, it is to be remembered that the scratches cause the
stone to look whiter, and consequently they will not show
so plainly on the impression, as they do upon the stone.
Previously to commencing any kind of lithography, the
head, face, and beard should be washed, or otherwise freed
from dandruff, which will otherwise fall on the stone in small
flakes, and if not at once removed by the brush, will, by
lying on it a short time, penetrate it, and roll up as black
specks, very difficult of removal. Not being of a dark colour,
their effect cannot be estimated in the course of work, and
must be left until the job is rolled up, and then carefully
picked out with a needle-point.
If an error be committed of any large extent, the part
must be grained out with dry sand and a muller propor-
tioned to the surface to be removed. The sand must then
be carefully and thoroughly brushed away, and finally wiped
off with a perfectly clean dry soft cloth, until nothing re-
mains to prevent the proper adhesion of the chalk sub-
sequently to be applied. It will be useless to attempt
corrections with the scraper, as in par. 85, because the grain
indispensable to this style would be thereby removed.
Suppose the drawing finished, and a proof submitted to
the inexperienced artist, his feelings on receiving it will be
those, probably, of disappointment. He will perhaps find
that his light tints have become more light; his dark shades
too heavy and opaque; and the general keeping of the sub-
ject altered for the worse ; the result being aggravated by
the substitution of white paper for the pleasant neutral grey
of the stone on which it was drawn. The remedy is ob-
vious. The light tints, to stand an etching sufficient to keep
the deep shades clear, must be drawn more strongly ; the
middle tints as desired; and the deep shades a trifle lighter
than they are intended. Then, by printing the subject on
a tint somewhat of the colour of the stone, with the addition
of white high lights, now at command, it is possible to pro-
F 2
68 THE GRAMMAR OF LITH OGRAPHY.
duce an effect more in unison with the wishes and expecta-
tions of the artist. If some of the works of English and
French lithographic artists are at hand, much may be
learned by a careful study of their means of producing
effect. Sometimes, as in the works of Calame, they are
printed upon tints even deeper than that of the stone on
which they were drawn, while white is very sparingly em-
ployed. The works of Julien are perfect imitations of
black and white crayon upon tinted paper, while those of
Louis Haghe, J. D. Harding, and others, are perfect models
of lithography as applied to landscape in simple black and
tlnt. e
A most important point in chalk lithography is to keep
the point of the crayon proportionate to the tint sought.
Fine points make fine tints, and coarse points coarse tints.
If it be desired to produce a rough effect, as on old walls,
roads, Shingly beach, and such like, the point must be broad,
and held at an acute angle to the stone; or a piece of
broken chalk may be cut to a flat surface on its side, and
rubbed in the direction required over the stone, on which
it will produce a marvellously rough effect. By a judicious
use of the scraper to take out some bits, and thereby re-
duce their uniformity, and the addition of slight touches to
complete the resemblance to pebbles, &c., a good rough
foreground may be produced with little expenditure of
time. This mode has its weak points, and certainly re-
quires the touch of the artist to prevent its becoming too
mechanical.
The advice given in par. 87 is very applicable to the
chalk style, and may be read in conjunction with this para-
graph. Care and cleanliness are essential here, as in other
styles of lithography, and the artist should be cautious in
permitting persons unacquainted with the art to examine
his work during its execution, as he thereby runs the risk of
Scurf from the hair, spittle-spots, and other similar acci-
dents occurring to the stone. The artist, of course, should
cultivate a cheerful temper; but he must bear in mind that
laughter is a fertile source of spittle-spots; so that if he wishes
to indulge in that, or a sneeze, he must jealously turn away
from the stone. -
The importance of chalk-drawing on stone should give
ETCHING THE DRAWING. 69
it the highest place in the estimation of the artist, and much
careful practice should be devoted to it. Many artists have
given up the practice of lithography to devote themselves to
painting; while others, somewhat deficient in artistic feel-
ing, yet excellent draughtsmen, engage some artist-friend to
advise them as to effect, and to put the finishing touches to
their work,+a course that may be adopted with great ad-
vantage, not only to the work, but to the young draughts-
man himself.
CHAPTER X.
A/ching Chalk Drawings on Stone.—Chemical principles of the opera-
tion—Action of acids—Four methods of etching—Retouching and
correcting aſter printing.
AST chapter completed the subject of chalk draw-
ing, as far as putting the subject on the stone
is concerned ; but there is an intermediate process to be
gone through before it is ready to be printed from, which
is very important, as affecting, in a very marked degree,
the good quality of the impressions. Our present chapter
is therefore devoted to this operation, which is called—
91. ETCHING THE DRAWING.—This operation is usually
performed by the foreman-printer ; but as it does not
essentially belong to printing, and might with advantage be
done by the artist, it will be described in this place.
The term “etching,” in lithography, is no doubt borrowed
from the practice of etching on copper, but it is somewhat
improperly applied. The etching process on copper consists
in producing an effect by drawing with a point through a
wax surface spread upon a metal plate, and afterwards fix-
ing or deepening such work by “biting in" with dilute nitric
acid. In Lithography the term “etching” is applied only
to the acidulation of the stone by dilute nitric or other acid,
the effect of which is rather to make the work lighter than
stronger, and is thus diametrically opposed to similar
operations on metal. g
When nitric and most other acids are brought into
7o THE GRAMIMAR OF LITHOGRAPHY.
contact with the carbonate of lime, of which the lithographic
Stone principally consists, decomposition ensues; the nitric
acid seizes upon the lime, and sets the carbonic acid free,
which then passes off rapidly in minute bubbles, producing
the phenomenon known as effervescence. The necessity
for etching chalk drawings may be understood by studying
the following conditions —
1st. Lithographic crayon is soluble in water by reason of
the soap it contains, and would spread under the operation
of damping the stone in printing, unless means were used
to restrain it. - &
2nd. Soap is, from a chemical point of view, a combination
of fatty acids with caustic alkalies, which latter render those
fatty acids soluble in water.
3rd. When any mineral acid is brought into contact with
the soap, it unites with its alkali, to the exclusion of the
fatty acids, which then become again insoluble in water.
The lithographic chalk, being acidulated in the etching
process, has its Saponaceous character destroyed, and is
rendered insoluble” in water, and thereby prevented from
spreading under the influence of the damping process. This
* We have heard good practical printers doubt the action of the etch-
ing on the alkali of the soap ; but any person may try the experiment
for himself in the following simple manner. Rub some of Lemercier's
chalk in two places on a clean stone (a polished one will answer the
purpose). Acidulate one with dilute acid sufficient to cause efferves-
cence, but leave the other free. If a clean sponge and soft water be
now taken, it will be found that the unetched chalk will be partially
washed away, and become grey, while the other remains black and un-
moved. Mr. M. Hanhart, in an article on “Chemical Printing ” in
Watts's “Chemical Dictionary,” thus speaks of the probable nature of
the etching and gumming processes :—
“The action in this part of the process is somewhat obscure, but it
is probable that the nitric acid dissolves the superficial particles of the
stone, and the resulting solution forms with the gum. an insoluble gum-
mate or metagummate of calcium. One thing is certain, that the gum
becomes firmly fixed on the stone, and cannot be removed even by re-
peated washing with water. The nitric acid also acts upon the chalk
by laying hold of the alkali and setting the ſatty acids free. -
“The stone, thus prepared, is next washed with water, to dissolve
off the excess of gum and the nitrates of sodium and calcium, and after-
wards with oil of turpentine, which removes the excess of grease from
the drawing, and renders it nearly invisible. The fatty calcium salts
formed by the action of the soap on the carbonate of calcium are,
ETCHING THE DRAWING. 71
etching, at the same time, removes the surface of the stone
to some extent, and carries away the dirt.
In practical lithography there are two different ways of
applying the acid : firstly, flooding the stone with acid di-
luted with plain water; and secondly, brushing it with acid
diluted with gum-water.
92. Airst method.— Provide a shallow wooden or other
suitable box, of at least the full width of the stone, and
sufficiently water-tight to answer the purpose. Into this box
put sufficient etching solution to completely flood the stone,
which must be fixed over a trough, sink, or other convenient
place, at an angle of about 45°. Now take the etching-box,
place its edge so as nearly to touch the upper edge of the
stone, and pour its contents over it, so as to make, as near
as may be, an uniform wave from top to bottom. The stone
should now be reversed, and the operation repeated, because
however, insoluble in the turpentine, and remain untouched; and on
subsequently wetting the surface of the stone with water, and passing
over it a roller covered with printing-ink, composed of linseed-oil and
lampblack, the ink adheres to those parts of the surface where these
fatty salts are situated, while the remaining portion, which has been
acted on by the gum, does not take up the printing-ink, because the
fatty acids of the linseed-oil are incapable of decomposing the compound
of lime and gum with which those portions are covered, and mechanical
adhesion is prevented by the film of water on the surface.
“This view of the lithographic process represents it as altogether
depending on a series of chemical actions. It is, however, more com-
monly supposed that the fatty matter of the lithographic chalk simply
adheres to, or is partly absorbed by, the porous surface of the limestone;
that the parts thus penetrated readily take up the printing-ink; and that
the adhesion of the ink to the other portions of the surface is prevented
by the interposition of a film of water. But if this explanation were
correct, a piece of alabaster, or sandstone, or porous earthenware, or
any other stone capable of receiving a granular surface, ought to be
available for lithography as well as limestone; whereas it is well known
that carbonate of calcium is the only kind of stone that will answer the
purpose; moreoveſ, the mechanical theory of lithography takes no ac-
count of the peculiar action of the gum, which appears to be an essential
feature of the process.”
Our own views are somewhat different from those of Mr. Hanhart,
and are founded upon experience and experiments. Our object not
being the discussion of obscure phenomena, but rather the production
of a practical treatise, we will allow our readers an opportunity of
forming their own opinions, when they have mastered the manipulative
details in which we shall have the pleasure of instructing them.
72 THE GRAMMAR OF LITHOGRAPHY.
the acid in descending will, of course, remain longer on
the lower portion than on the upper; but if the stronger
part of the drawing be at the bottom, keeping it in the one
position may be better than reversing it.
Acid cannot at all times and places.be bought of equal
strength; therefore it will be necessary to indicate how its
strength may be estimated. For the purpose in view, it
may roughly be stated as the strength of lemon-juice. Try
it upon the margin of the stone, and if an effervescence
takes place, accompanied with noise, it is too strong; but
if the effervescence commences only after the lapse of a
few seconds, it will be about the correct strength.
93. Second method.—Gum the clean edge of the stone
with weak gum-water, and allow it to dry. Set the stone
level, but in such a manner as to be able to give it a rock-
ing motion. Convert the surface into a kind of tray by
means of some engravers' bordering-wax, and pour the di-
lute acid into it, and as the bubbles of gas arise, rock the
stone to detach them from its surface. It would be pos-
sible by this method to proportion the acid to the surface
of the stone, and, by allowing it to become exhausted, to
insure a proper amount of etching. -
In these two methods, as soon as the etching is com-
pleted and the water drained off, the stone is to be gummed
by a soft sponge or brush, and allowed to dry, when it may
be put into the hands of the printer for proving.
94. Third method.—This is, perhaps, the one most gene-
rally employed, and has been found to give good results in
most cases; by it additional etching can be applied to
any darker parts that require it; but in this respect
it is not so perfect as the method to be described in
Art. 95. According as the drawing is composed of strong
or delicate chalking, and the stone is of a hard or soft
nature, the preparation is to consist of from 40 to 6o
parts of gum-solution, of the consistency of linseed-oil,
to one part of acid (nitric or muriatic). This is to
be poured into a dish of convenient size, and well
mixed. Now take a flat, soft brush, of not less than.
four inches in width, saturate it with the solution, and
apply it to the stone in bold strokes from right to left, and
left to right, until the stone is covered. Repeat the opera-
ETCHING THE DRAWING. 73
tion, and if there are dark parts requiring it, have ready a
smaller brush to further etch them with the same solution.
Now rinse off the etching-fluid, and gum in as before de-
scribed, and dry. It is better thus to wash off the etching
preparation, because all further action is stopped, which
may not be the case if the gum and acid were allowed to
stop on till dry. g
The thickness of the gum-mucilage moderates the action
of the acid very materially, plain acid and water of the
same proportion acting much more energetically; it is
therefore important to use much judgment in any mode of
etching, as, of course, if the operation be long-continued, a
similar result will be arrived at as when the preparation is
used of greater strength.
95. Fourth method.—This is founded on the desirability
that exists for etching the darker parts of a drawing more
than the lighter, and if carried out by a man of experience,
on a suitable subject, cannot fail to give satisfaction, though
a little more troublesome. Prepare an etching preparation
as for method one, suitable to the lightest tints, and with
that etch the whole of the drawing. After drying, instead
of gumming the whole, apply the gum to the lightest tints,
and etch again in the same manner. Wash well with plain
water, and dry. Now stop out with gum the light and
middle tints, and etch for the third time. The etching, in
each case being momentary, will not dissolve the gum,
which, for the short period the acid is on the stone, pro-
tects it. After the third etching, the stone may be fully
gummed and put aside to dry. It must be noted that sub-
jects having a continuous gradation from light to dark
cannot be etched on this principle.
96. “However simple this operation may appear, it is
extremely important as regards the success of the impres-
sions. Two risks are run in its execution, and it is by
practice alone that they can be avoided. If the stone be
not etched strong enough, it is apt to run Smutty; and if
etched too strong, the delicate lines disappear. The diffi-
culty is increased by this circumstance, that the etching-
water which is proper for one stone is not so for another.
“In general it is better to etch weakly than strongly (as
this defect has its remedy), particularly for highly-finished
74 THE GRAMMAR OF LITHOGRAPHY.
drawings; when, however, they are executed with spirit, or
contain very dark parts, they may be treated with less pre-
caution. This proves that it would be better to pour but
little acid on the delicate parts, and more on the dark ones;
for it is easy to understand that the acid must attack with
much more strength the delicate places than those which
contain a great deal of chalk ; besides, the faint tints, not
being inclined to run Smutty, do not require such strong
etching as those parts which are covered by chalk.” “
While treating of the nature of acids and their uses in
lithography, it may be desirable (although slightly out of
the order laid down at the beginning of this treatise) to
notice another application of them—viz., to retouching and
correcting after printing.
97. RETOUCHING AND CORRECTING AFTER PRINTING on
grained stones may be effected according to the instructions
given in paragraph 86 for polished stones. If done with
every care, and the additions made with No. 2 chalk, they
may be expected to stand very well, though they will not
equal in strength and firmness the original drawing.
The printer will have to use fine-pointed scrapers or
needle-points to pick out black specks, and to use them in
such a manner as to preserve the character of the grain and
the work upon it.
98. As these chapters are written for the practical man,
it will be well at this point to take up the subject of trans-
ferring and taking impressions from the work produced ac-
cording to the foregoing instructions. It is true there are
other modes to be treated of, and instructions to be given
for producing them, but they will be left to another portion
of the work. What has already been done includes the
asual processes of working on Stone in one colour, and real
progress has been made by the student if he has mastered
his subject thus far. By now going to the subject of Trans-
ferring and Printing, a better foundation will be laid for
understanding the more complicated matters to follow.
* M. Raucourt.
THE COPPER-PLATE PRESS. .* 75
CHAPTER XI.
7aking Impressions for 77 ansferring. — Copperplate transſers —
Warming the plate—The jigger — Blanketing—The damp-book
—Method of taking the impression from plates—Failures and their
causes—Retransfers from stone—Transfers from type and woodcuts
—Condition of the stone in transferring.
TONES, after the Etching, described in the last chap-
ter, are ready for the press. As we have, however,
given instructions for drawing in two styles on paper; with
pen and brush (line work) and with chalk (grained paper),
we must show how they are to be put upon the stone pre-
vious to printing from them, or in the language of the
trade, transferring them. The transferring method applies
not only to work executed in the first instance by hand
labour, but also to the reproduction by Lithography of en-
graved plates, blocks, and type. We shall, therefore, take
this subject next in order, and devote a chapter to it.
99. ONE of the most important qualifications for the
foreman of a small lithographic printing-office, is the ability
to pull transfers from copperplate.
In these days of extreme division of labour it is not
every youth who has the opportunity given him for prac-
tice, and it is the more important, therefore, that this
treatise should attempt to supply the deficiency.
Ioo. THE COPPER-PLATE PRESS may be used for pulling
the transfers, but the litho press will be found quite suffi-
cient. It is as well to devote a small press entirely to this
purpose, and have conveniences at hand for use at any
time. A small lithographic press will cost less money than
a copper-plate press, and may be used for litho work as
well in a small establishment. If cost is of greater con-
sideration than convenience, a larger press capable of any
ordinary work may be used without injury to it, if a
smaller extra tympan and frame be employed to save the
full-size one. Such tympan may be either of metal or
leather, see article 44.
76 - • THE GRAMMAR OF LITHOGRAPHY.
IoI. AN APPARATUS FOR WARMING THE PLATE will be
necessary. It may be simply held over an ordinary gas
flame, but this is a mode to be avoided by any one who
wishes to do his work neatly and cleanly, because it
smokes the back of the plate and causes it to accumulate
little hard spots of ink-like nature that soon develop into
Convex spots upon the surface of the plate. Even this
might be avoided by greater attention to cleanliness; and
the employer if he finds his own and customers' plates
getting into this state should warn his transferrer, and insist
upon his exercising greater care. It may usually be re-
garded as an indication of careless or bad manipulation,
certain to show itself in other matters connected with the
trade.
The dealers in materials will supply a proper “heater”
for the plates, to be fitted up by a gas-fitter, with a “ring
burner” containing about a dozen fine holes. When the
gas is lighted, the flame must be kept down so as to rise
scarcely beyond the blue stage which indicates an absence
of soot. It may also be. heated by one of those cheap
Smokeless gas stoves that may now be bought from 2s.
upwards.
For occasional use the cheapest and cleanest mode of
heating the plate will be to employ an “air" or “Bunsen
Burner,” which may be bought of dealers in chemical
apparatus from Is. 6d. By this, the plate may be heated
free from smoke, and little room occupied.
Io2. A JIGGER is a kind of light wood box open at the
ends, to be placed near the heaters. It is used for laying
the plate upon while it is being wiped, the open part under-
neath serving as a receptacle for “whiting,” which is thus
preserved from dust and grit. This apparatus, though
useful, is by no means indispensable. -
Io3. PRINTERS’ BLANKETING is used for laying upon the
plate, over the transfer paper, while the impression is being
taken, serving by its elasticity to drive the paper into the
lines of the engraving. Good flannel, such as is used for
underclothing, if employed double or treble, will answer
the purpose admirably. The paper and ink required are
mentioned in articles 15 and 16.
Io.4. THE DAMP BOOK is usually employed, when much
THE DAMP-BOOK. * 77
transferring is done, for preparing the paper previously to
taking the impression, and also preparatory to laying it
down upon the stone. It consists merely of 20 or 3o loose
sheets of thick printing-paper, of a convenient size, wetted
by dipping every alternate sheet, and then putting them in
a heap under a weight until equally damp all through. It
must not be used until the water is equally diffused through
the whole. . To prevent the mildew, to which it is subject,
a little carbolic acid may be added to the damping water.
This book should be kept between thin plates of zinc,
or some waterproof material, to reduce evaporation as
much as possible; and, at the close of each day, more
water should be 'sprinkled among its leaves, and a weight
placed upon it, so that it may be in good condition for the
next day. -
Though recognizing the great convenience of this ar-
rangement, and fully acknowledging the perfection with
which a transfer may be damped for the stone, we do not
consider it equally applicable in damping the transfer-
paper previous to pulling the impression, for the reasons
following :- -
1st. The composition on the paper is made adhesive, so
as to attach it firmly to the stone during the operation of
transferring; and the damping-book acts admirably in
bringing the paper into such condition by acting upon the
composition and softening it.
2nd. In taking the impression from the plate, it is de-
sirable that the composition should adhere sufficiently to
prevent its shifting, but not so strongly as to leave it partly
on the plate when the transfer is being lifted. *
3rd. If the transfer-paper is damped upon the back with
a sponge containing but little water, the paper may be ren-
dered sufficiently supple and yielding as to easily penetrate
the lines of the engraving at the same time that it adheres
well enough to the surface of the plate without sticking too
strongly.
For these reasons it is advisable either to damp the paper
on the back with a sponge containing a little water, or to:
place a piece of clean, dry paper in the book on the face
of the transfer-paper, to prevent its becoming too adherent
when applied to the plate.
78 THE GRAMMAR OF LITHOC RAPHY.
IoS, METHOD OF TAKING THE IMPRESSION FROM
PLATES.–Tie up a piece of transfer-ink (Art. 16) in suf.
ficient old linen or silk to cover it. This acts as a strainer
during the inking of the plate. Warm the plate by one of
the modes mentioned in paragraph Io.2, until it can barely
be held in the hand, holding it by a piece of folded paper
or cloth to protect the fingers. Rub the covered-up stick
of ink upon the plate, until sufficient is melted to cover it,
continuing to rub the ink into the lines of the plate, and
warm it as found necessary.
When it is well filled in, take a piece of soft rag, fold it
over the fingers, and wipe the superfluous ink off the still
hot plate, endeavouring in so doing not to wipe the ink out
of the lines, which is best done by wiping across them.
Shift the rag to a cleaner place, and wipe again until all
the ink is removed from the surface and the plate looks
clean. Now carefully examine it, and see if any ink
remains in small specks, which will very likely happen. If
so, remove them with the finger-nail or a splint of wood.
When quite free from surface ink, rub the hand on a piece
of whiting or soft chalk, and then wipe it over the other
hand or similar surface, so as to get a little only on it, and
with it polish the plate, thus removing the last trace of
grease from the surfäce. Be careful to have but little
whiting on the hand, or it may stick to the ink in the lines,
in quantity sufficient to prevent its adhesion to the paper.
Place a small thick stone in the press, and upon it the
plate face upwards. Upon the plate put a piece of transfer-
paper prepared side downwards, and previously damped as
in par. IoA, and over that the flannel or blanket (par. Io9);
turn down the tympan (44), and, by depressing the lever
(43), bring the Scraper (46) down upon the tympan just
over one end of the plate,” and, with a good pressure, run
the plate through by the handle (41). -
Now raise the lever, pull out the carriage, lift the tympan,
reverse the plate in the press, and repeat the operation.
This should now be sufficient, but occasionally it may have
* It is an excellent plan to have two pieces of millboard of the
thickness of the plate—one on each side of it—as the scraper may be
then set on the millboard, and a proper pull got all over the plate.
TAKING THE IMPRESSION FROM PLATES. 79
to be repeated twice or thrice. Take the plate from the
press, and remove the flannel, when the cutting in the plate
should show plainly at the back, if sufficient pressure has
been applied. The transfer must not now be peeled from
the plate for two reasons —(a) the ink being cold and hard,
will not readily quit the lines; (b) the composition is damp,
rotten, and deficient in tenacity. To bring all into proper
condition, the plate must be gently warmed to soften the
ink and dry the paper, which will then contract, and leave
the plate with very little assistance.
The impression should now present the appearance of
glazed enamel paper, with every line full of ink—distinct
and sharp.
The failures and their causes are as follows:–
The paper does not adhere Damp it more before using.
to the plate. -
The impression is doubled The composition has been
|
in places. too damp, so as to Cause
it to slide under the pres-
SUlſC.
The lines are broken. The pressure may have been
deficient ; the composi-
tion not tough enough ;
or the plate may have
been insufficiently inked. ,
The ink is thin and grey in It has been too much re-
places. moved from the lines in
- wiping the plate.
Another source of failure is, burning the ink in the lines
by overheating the plate. By occasionally washing it out
with turpentine, its condition in this respect may be ascer-
tained. It is sometimes necessary, for the complete removal
of old or burnt ink, to heat the plate, apply turps, and set
it on fire, taking care to put out the flame instead of per-
mitting it to burn out. This method usually is successful,
but in refractory cases stronger solvents, like oil of tar, may
be resorted to with good results. -
If the impression is very full of ink, or the ink be too
soft, so that there is reason to anticipate its spreading in
transferring, it may be laid upon a piece of clean printing
80 THE GRAMMAR OF LITHOGRAPHY.
paper, and pulled through the press, when some of the ink
will adhere to the clean paper. To separate, it will be
safest to warm them slightly. * -
Ioé. TO TAKE RETRANSFERS FROM STONE.-A small
litho roller should be kept for this purpose, because it will
then be always ready, while an ordinary printing-roller
would require scraping both before and after using the re-
transfer ink upon it. This is rendered necessary by reason
of the Soapy nature of the ink making it unfit for ordinary
printing. An ink which may be used without injuring a
drawing in taking a few transfers, might spoil it when em-
ployed in printing a quantity. The non-drying nature of
this ink will be found to keep the roller soft and pliant for
use, with an occasional scraping previous to applying new
ink, and this furnishes an additional reason for appropriating
a roller to this use alone. • *
Take, some of the transfer-paper (15), sparingly damp the
back with a sponge. Wipe off the superfluous water with
a cloth, and in a few seconds the paper will lie flat, when it
is ready to take an impression from the stone without stick-
ing sufficiently to break the composition in lifting. It is
now only required to roll in the work with the ink men-
tioned in par. 17, waft the stone quite dry, and to pull
the impression on the previously-damped paper. It will be
found to adhere strongly to the stone, and must be raised
carefully at the edges, and peeled off.
It is as well to use the ink as strong as possible; but if it
is so strong as to tint the stone, some ordinary lithographic
printing-ink must be mixed with it until it works cleanly.
If these instructions be followed with care and intelli-
gence, impressions from the retransfers will compare so
favourably with those from the original as to be scarcely
distinguishable. *
Io?. TRANSFERS FROM TYPE AND WooDCUTs are very
useful, and, in some offices, have a wide application. The
inspection of some commercial samples will show the
student how they may be applied. It will here be sufficien.
to point out that it is no unfrequent thing to find letter-
press invoice-headings, &c., transferred to stone, and
printed at machine. The advantages are, that transferring
is quicker than Stereotyping ; that four to eight may be
condition OF THE STONE. 8I
printed upon a sheet; and that no impression is made to
show upon the back.
The paper is to be less damp than in the last two
methods; the ink (18) to be used with a letterpress roller,
and a fine card to be laid upon the back to get a nice,
sharp, clear impression. If the ink is not at hand, and the
transfer is wanted quickly, it may be printed in ordinary
stiff letterpress ink, which, containing Soap, is of the
nature of a transfer ink.
108. The fact that all the modes described in articles IoS,
1 off, Io'ſ, may be employed in one piece of work, united with
any of the modes of drawing or writing herein previously
explained, shows that a power, is possessed by lithography
that can be found in no other mode of printing, for, in
fact, it can successfully imitate the other two, while it
possesses advantages peculiarly its own. -
The mode of taking transfers having been, it is hoped,
fully explained, it now remains to complete the subject by
showing the methods employed in putting them on the
stone, to which end it is very necessary to pay particular
attention to the -
Io9. CONDITION OF THE Sº ONE. —The stone for the
reception of transfers should be polished free from per-
ceptible scratches, perfectly clean, and free from gum,
grease, or dust. This latter cannot be easily seen by inspec-
tion, but may readily be detected by wiping the stone with
a piece of dark-coloured cloth, velvet, &c., when the dust is
visible on the stuff used.
The stone must have been dried, but its temperature
may vary according to circumstances. For ordinary work,
it is perhaps safest to have the Stone slightly warm, but it is
undeniable that transfers can successfully be made on cold
stones, and even on damp ones, when, from the nature of
the work, it is desirable to use them. The warming of the
stone is said to open its pores and make it more susceptible
of receiving the ink at the same time that it softens it. As,
however, stone expands less than most other solid sub-
stances by heat, it is clear that the opening of its pores by
such influence cannot be accounted a reason for so using it
in transferring; yet it is known that transfers go down more
strongly on a warm than . On a cold stone, and the cause
G
82. THE GRAMMAR OF LITHOGRAPHY.
*
may be found in the fact that the warm stone softens the
ink by contact, in which state it more easily penetrates the
pores of the Stone. .
The qualities of the transfer-paper will sometimes deter-
mine whether the stone is to be used warm, for there are
papers that will not adhere to cold stones. Such are those
made of parchment size, or other varieties of hard gelatine,
which do not become adhesive unless warmed to some
extent, though they will absorb water at a low temperature.
It frequently happens to these papers that when they are
much damped, and the stone is very warm, the composition
runs almost like water, while if the composition is properly
damp, and the stone moderately warm, the transfer ad-
heres with such tenacity as to necessitate the use of hot
water to bring the paper away. * , $
Transferring to damp stones finds but little favour among
lithographers, because their past experience fully imbues
them with the idea that grease and water are practically.
antagonistic; but any one who has rolled up a weak transfer
before gumming the stone, must have noticed how easily.
the ink catches, even while the stone is wet. * * *
CHAPTER XII.
Transferring.—Three methods of transferring—Transferring to dry
stone—Transferring to a wet stone—Transferring by damping the
transfer and wetting the stone.
A | "HE methods of taking impressions suitable for trans-
ferring having been described in the last chapter, we
proceed now to show the manner of putting them down
upon the stone, so that they may be printed from. There
are three distinct variations of transferring, each having
its own special advantages. g
1st. Transferring damped transfers to dry stone, either
warm or cold.
2nd. Dry transfers to wet stone, and
3rd. Damped transfers to wet stone.
TRANSFERRING TO DRY ston E. 83
I Io. TRANSFERRING TO DRY STONE is the mode usually,
and in some offices invariably, adopted. The stone may
be warm or cold, but in all cases must be thoroughly dry.
If the drawing, writing, copper transfer, or other work,
is of an unusually fine character; or if the ink used is of
a very hard nature, the stone may be warmed with advan-
tage; but it should not be made hot, or the transfer-ink
may spread, as it can hardly be expected but that some
part of the work will contain heavy lines, which would, of
course, be more liable to spread than finer ones.
The damping of the transfer-paper requires care and
experience, and may be done as described in par. IoA. It
has before been stated that the object is to render the
composition sufficiently adhesive to stick to the stone under
pressure, and this may be ascertained by taking a corner of
the paper containing no work, and Squeezing it between
the finger and thumb, to which, if it attaches itself by the
composition, the transfer is ready for the stone. Care must
be taken that the thumb and finger are not damp or the
transferrer may be thereby deceived. A very convenient.
substitute for a damping-book is a piece of thick linen
cloth dipped, in water, wrung as dry as possible with the
hands, and then opened out and taken by the corners, and
well shaken with a jerking motion to straighten it. This is
then folded, and used to put the paper between. If the
coating on the transfer-paper is very soft, a piece of thin
plain paper should be put upon the face of the transfer to
prevent it absorbing the damp too readily.
It is almost imperative that patched-up transfers must be
damped after the damp-book fashion, but single transfers
may be readily damped by preparing a piece of plain
paper with a sponge. Damp it each side, and wipe the
superfluous water off; lay the transfer upon this, and damp
its back in like manner. The composition lying upon the
damp paper will become adhesive more quickly without
becoming rotten, and is, in fact, prepared just the same as
if placed in the damp-book.
Care must be taken that no loose particles of dust, dirt,
or other extraneous matter become attached to the transfer, .
and to this end it is recommended to use a magnifying-
glass to examine it. If any should be discovered, they
. G 2 .
i
84 THE GRAMMAR OF LITHOGRAPHY.
may be removed with the point of a sharp penknife deli-
cately used. It will be found much easier and more
economical in practice to make the transfer clean, before
applying it to the stone, than to make good any de-
ficiencies afterwards.
While the transfer is lying in the damp, or previously, the
stone must be put in the press, and it and the scraper made
level. To level the stone, place over it a piece of clean
paper, bring down the tympan, and adjust the scraper to
give a light pressure at one end ; now try it in the middle
and other end, and if the pressure feels the same at each
place, the stone will do. If a deficiency is found at either
end, it may be made good by packing the stone with a
thick paper called casing, or the wrappers of reams of
paper. The paper is to be form into strips having a feather
edge—one being narrow, another twice the width, a third
three times the width, and so on. These are then to be
put together to form steps as it were, the feather-edges pre-
venting a too abrupt transition from one to the other.
This is now to be put under the Stone at the thin end, and
the pressure tried again.
The scraper may now be taken out of its box, and
examined to see if it be bruised or not. It should then be
placed across the stone in the same direction as it is in its
box. If it will tightly hold a small piece of writing-paper
at any point of its length between it and the stone, it may
be said to be true enough. If any want of truth be found
in it, a sheet or two of coarse cabinet paper is to be laid
across the stone, and the scraper rubbed upon it, until it is
made to touch all across.
The stone and transfer being ready, the latter is to be
laid face down upon the former, and where it is a plain,
single job, such as a circular, it may easily enough be laid
in its place ; but as it frequently happens that the transfer
has to be laid very accurately to a mark, and that it will
not do to shift it about upon the stone to adjust it, it is de-
sirable to handle it in the manner following:—Take a piece
of clean, rather stiff paper, and lay the transfer upon its
upper left-hand corner, so that about half an inch shall
hang over the paper. This, being held in the right hand,
can be readily accommodated to any point upon the stone
TRANSFERRING To DRY STONE. 85
without soiling it; when in position, place the finger and
thumb of the left hand upon the projecting edge of the
transfer, and press it to the stone while the plain paper is
being withdrawn, after which the left hand can be taken
away, and the transfer left in sità.
If several transfers have to be laid upon a stone that is
warm enough to dry them quickly, they must be pulled
through the press singly or in rows of two or three, accord-
ing to the quickness of the workman, for if all were laid
before pulling through, some would be dry, and would not
adhere. To prevent this, they may be mounted upon a
sheet of paper; but it frequently happens that the paper
used for mounting will expand one way in damping, and
the transfers another, causing creases in the latter when
drawn through the press.
Now that the transfers are laid upon the stone, lay over
them a piece of clean printing-paper, and over that a
piece of printer's fine blanket; pull them through once
with a moderate pressure, and increase it a little afterwards
until, say, the third pull; now take off the backing, reverse
the scraper in its box, shift the stone a little in the press
(to overcome any slight defect that may exist in the tympan
or backing), sponge the back of the transfer, and pull
through again. Repcat the damping and pressure twice
or thrice, and then remove the stone to the trough, and
pour hot water over the transfer, which may then be peeled
off, leaving the ink and composition upon the stone. Some
transferrers do not use hot water, but are content to allow
longer soaking, and give more pulling through the press,
so as to drive the water through the pores of the paper.
The composition may now be washed off, and the stone
gumrmed and allowed to dry.
The student's attention is requested to the great import-
ance of a level stone and level scraper; when these co-
exist much less pressure is required to make a successful
transfer, and the risk of spreading the lines is much reduced.
It is also facilitated by the use of the blanket. Those who
do not employ a blanket for transferring, generally substi-
tute for it several sheets of paper, to form a backing, but
these are neither so elastic nor so durable. When the
transfer is very large, and the evenness of the stone can-
86 THE GRAMMAR OF LITHOGRAPHY.
not be relied upon, strips of cardboard or folded paper.
may be applied to different parts of the stone in succession,
both longitudinally and transversely, so as to be sure of
applying sufficient pressure to every part.
Independently of getting a true surface, large transfers
present a difficulty in their liability to s/ur, by the ink
touching the stone when laid down, and shifting afterwards
by the stretching of the paper, thus making two marks
instead of one. It is therefore desirable that no part of
the paper should touch the stone until the instant before
the pressure is applied to such part. This presents a
mechanical difficulty that might be overcome by transfer-
ring with cylinders; but as they are not in use in litho
presses, the difficulty can be got over by the use of the
damp Stone ; or, better, by damp Stone and damp transfer
(see par. I 12).
The transferring of the autographic transfers mentioned
in paragraph 76, comes within this class, and is usually per-
formed as follows :-The paper is sponged at the back with
weak solution of nitric acid in water, laid upon the warm
stone, and passed once through the press under heavy
pressure ; or the back of the paper may be floated upon
the acid solution (taking care not to wet the front), and
hung up to dry. To transfer, damp the back with plain
water, and proceed as before described. If the acid has
been somewhat strong, the paper will adhere sufficiently to
permit of its being passed through the press several times.
To make sure of this point, the paper may be examined
after the first pull through, when, if found to be non-
adherent, do not attempt a second. A convenient way of
floating will be to put a quantity of acid solution on a piece
of clean, level glass ; lay One Corner of the paper upon it,
and push the rest of the paper down gradually.
For another style of transferring such subjects, see para-
graphs 130, 131.
I 1 r. TRANSFERRING To A WET STONE can only be suc-
cessfully accomplished with a transfer-paper that is readily
rendered adhesive by cold water. Such paper may be
coated with any of the varieties of starch or common glue,
mixed or not with gum arabic; but transfer-paper made
with the harder and purer varieties of gelatine does not
TRANSFERRING TO A WET STONE. 87
answer the purpose, though a little may be added to the
starch paste to improve its quality. -
. The advantages of laying down a dry transfer on a wet
stone, when it can be successfully done, are many and great.
It, is easier to damp the stone than the paper; it is
quicker ; patched transfers can be put down without
creasing them, and all can be transferred without altered
dimensions. This last qualification renders it especially
useful in transferring for colour printing, which will be
noticed in its place.
Everything is to be prepared as for the mode of trans-
ferring last mentioned ; but instead of damping the paper,
the stone is to be made wet with a perfectly clean sponge,
linen rag, or wash-leather, the latter being preferred because
it.leaves less loose material from its surface upon the stone.
The quantity of water to be left upon the stone must be
determined by experience, but it may be sufficient to say
that no more is required than will unite with the composi-
tion and cause it to adhere to the stone. Thus, a plate
transfer-paper would take up more water than a writing
transfer-paper. If the stone be wetted to about the same
degree as is required in printing, the water will be found in
about the right quantity.
: If the transfer consists of several pieces, they should be
attached by gum to thin printing-paper. When transfers
are patched up for transferring to dry stones, they must be
attached with flour paste, gum in this case not being suit-
able, because it would become so moist in the damping
process as to squeeze out in the first run through the press;
but in the wet stone process gum will do best, because
the transfer adheres to the stone at the first pull, and the
gum is more readily made soluble by damping the back of
the mounting-paper than paste would be.
The stone being ready, the transfer is laid upon it as in
the first process, and as quickly as possible passed through
the press under proper pressure, about three times over.
By this time the stone should be dry, which may be ascer-
tained by lifting a corner; if not dry, let it remain un-
covered until it is so. If the stone is dry, it may be
assumed that there is no impediment to its union with the
ink, and the back of the mounting-paper may be wetted
88 THE GRAMMAR OF LITHOGRAPHY.
until the gum is soft enough to allow it to be lifted, leaving
the transfers upon the stone.
The transfer may be now considered to be in the same
condition as after the first pulls in the last process, and
may be damped, &c., and finished in the same manner,
the transfer paper allowing of the subsequent damping
without blistering, if the process has been successful.
II 2. TRANSFERRING BY DAMPING THE TRANSFER AND
WETTING THE STONE may be resorted to with great advan-
tage when the transfers are very large, and more especially
so tracings on transfer-paper. These latter are very diffi-
cult to damp properly, because the varnish by which the
paper is rendered transparent fills up the pores of the
paper, and prevents the entry of the water for a long time
in damping the back of the transfer, both before and after
it has been subjected to pressure ; while, if it be put into
a damp-book or cloth, the probability is that the composi-
tion will either be too damp or not damp enough. If it
become too damp, two results will follow in laying it down
on the dry stone—
(a) If the composition touch the stone in a place where
a line or other inkmark subsequently falls, it will prevent
its adherence to the stone.
(b) If a line first touches the stone, and afterwards
shifts, it will attach itself by mere contact to the stone in
the first instance, because the composition has become so
soft; and when he job is transferred, the line will probably
present a broken appearance, thus : - 3.
instead of being continuous, as intended by the draughts-
man. Now, if the transfer be damped upon the back, so
as to render it limp before the composition is softened, the
transfer may be shifted considerably on the stone without
injury N and if the stone be wetted to make it adhere, the
conditions of success will have been, in a great measure,
complied with. After sufficient pressure has been applied,
it should be allowed to dry on the stone (which takes a
little longer when this process is used), and then treated as
before described (par. I Io). *
It may here be pointed out that in the process described
in par. I Io, the dry stone absorbs the damp from the trans-
fer, while in the second method (par. III) the transfer
TRANSFERS PREVIOUS TO PRINTING. 89
absorbs much of it from the stone; but in the way just
treated of, both being damped, the one has no chance of
correcting the other, and must be permitted to dry before
being taken off the stone.”
CHAPTER XIII.
A roving and Printing.—Rolling up—Cleaning—Etching—Taking the
first impressions—Marking the stone for laying down transfers—
Mode of printing.
ÖLLOWING up what has been explained in previous
F chapters, we are ready to enter upon the actual
printing of drawings and writings on lithographic stones.
I 13. TREATMENT OF TRANSFERS PREVIOUS TO PRINT-
ING.—This includes the “proving ” of the work : by which
is meant the rolling up, cleaning, etching, and taking the
first impressions to be submitted to the customer; and the
instructions equally apply to drawings or writings executed
direct upon the stone.
(a) Suppose the drawing to be composed of very fine
lines, the printer may have some doubt as to all the details
being firm upon the stone if rolled up in the ordinary way.
He may then take, in a sponge, some gum-water (free from
acid) of the consistency of oil, and pass it over the entire
drawing, using the left hand, while in his right he has a
pad of soft rag charged with a mixture of turpentine, thin
printing ink, and Stone retransfer ink, which may be rubbed
over the drawing upon the still wet gum-water, with a
circular motion, recharging the pad with ink and the sponge
with gum-water as often as necessary. This should develop
every line of the drawing, and render it quite black. By
keeping sufficient gum upon the stone, there is little fear of
* The transfer-paper may sometimes be very conveniently removed
from the stone by covering it with sufficient water to run upon it, and
then laying on a sheet of paper, and allowing it to soak for some time.
The sheet of paper prevents the water from running off the stone, and
will keep wet for hours if required.
9o THE GRAMMAR OF LITHOGRAPHY.
*.
injuring the drawing, though it will make the stone very
dirty in appearance by reason of the mixture of ink and
gum ; this, however, may be removed by a wash of clean
water, and the stone gummed in with clean gunn and set
aside for the ink to penetrate. In this operation the stone
may be warm but of course it must be set aside after this
treatment to cool.
(b) If there be any idea that the transfer is weak, and if
the stone is cold, it may be rolled up with the roller previous
to gumming it, but this must be done cautiously, because
the ink will, in the absence of gum, attach itself to the
slightest grease upon the stone. It is also very apt to cause
the lines to spread, and is to be recommended only in cases
when the work is wanted quickly and almost anything will
pass muster; such as some kinds of law and parliamentary
work. * -
(c) The common and best way for the ordinary run of
work is to gum the stone, after the transfer is made, with
fresh gum ; allow it to dry, wash off with clean water, and
roll up carefully with ink of medium strength.
Whichever method may have been adopted, the dirt will
have made its ‘appearance, and must be removed. This
may be done by the conjunctive employment of the follow-
ing methods:—
1st. Clean the edges and other parts of the stone where
there is no work with a water-sponge and piece of snake
or pumice-stone, using a small pencil of the same (art.
24) to get between the lines. The principal part of the
dirt may thus be taken away ; but as there will most pro-
bably be specks among the work that cannot be got at
with the Snake-stone pencil, use the acid “stump ’’ as now
to be described.
2nd. Having a water-sponge in the left hand, dip the acid
stump (art. 51) into the gum and acid, and try it upon the
edge of the stone, when it will be found to effervesce
energetically if strong enough. This will also reduce the
quantity on the stump, which may now be applied to the
speck to be removed, rubbing it with the wood point. If
any acid be observed to spread in dangerous proximity to
other lines, the water- or gum-sponge must be quickly used
to wipe it off. This is a rapid and effectual method of
'CLEANING UP TRANSFERS. 9I
cleaning, and a person expert in its use will require little
else ; but the novice had better finish cleaning up his
job with the scraper.
3rd. The finishing touches of cleaning between very
close work, reducing the thickness of lines, &c., must be
done with a sharp scraper, such as a mezzotint-scraper, or
a penknife (see art. 85).
The work having been cleaned, must now be rolled up
again cleanly, but strongly ; and etched in the following
simple manner.
Have ready a small basin or other convenient vessel,
containing acid and water of about the strength of lemon-
juice, or of such strength as to effervesce gently when
applied to the stone. Now, with a soft sponge charged
with this dilute acid, go regularly and quickly all over the
stone with a light hand, and again over the edges and other
bare parts. After this gum in and allow to dry.* º
If the work is to be printed at machine, or to go into
the hands of an inexperienced youth to be printed, it may
be treated with powdered resin (see art. 52). Roll up in
rather thin ink; dust over the resin when the stone is dry ;
wipe off what is Superfluous with water-sponge, and repeat
the operation. Set it aside for a short time for the ink
and resin to incorporate, when, on taking it up again, it
will probably allow of another dusting without rolling up.
The stone may now be acidulated freely without fear of
-injury; either the strength of the acid being increased, or
the application several times renewed. The acid is best
used with gum and applied with a broad flat brush, if con-
siderable relief is desired, but for ordinary work the sponge
and ordinary etching-water will be sufficient.
The stone having been gummed, the ink and resin are
* When the work consists of narrow surfaces like lines and dots,
the etching-water, if used in moderate quantity, is thrown off again as
Soon as the sponge has passed over, by reason of the greasiness of the
work. But if the work contains any broad surfaces of solid black,
more care must be taken, because the repelling power of the ink will
not be strong enough to throw off the acidulated water, which, standing
in patches on such surface, will be likely to find its way through the
ink to the stone, and cause a grey appearance when printed. By using
powdered resin as next described, this difficulty will be overcome.
92 THE GRAMMAR OF LITHOGRAPHY,
now to be washed off with rag and “turps,” or the mixture
described in art. 25, and again rolled up, gummed, and set
aside to dry.
It is desirable, whenever there is time and opportunity,
to allow some hours or even days, to intervene between the
getting ready or proving of the stone, and beginning to
print; though when work is wanted immediately it may be
put in hand at once.
I I4. MARKING THE STONE FOR LAYING Down TRANS-
FERs, &c.—Before proceeding to lay down the transfers,
it should be ascertained whether they are to be printed
on the whole sheet or on some part of it. If the job to be
printed is to run a small number only, it may be transferred
to any convenient part of the stone, because one at a time
will be all that will be found necessary to print ; while if a
large number is required, resort will be had to multiplica-
tion by transferring, and care must be taken to put the
transfers properly in position on the stone. Let a few ex-
amples be taken.
Ist. One or two hundred 8vo, one-page circulars, with
fly-leaf. These may be printed on quarter-sheets of paper
and then sent to the stationer to fold and cut ; but as he
cannot well do it without causing... them to set off in the
cutting, they may be printed upon ready-folded 8vo. paper.
Take the necessary quantity of paper section by section,
open it, and “break its back,” so that it may lie flat and
Open. Lay it inner side uppermost. Lay the next section
across it in the same manner, and so on, to make a heap,
in which each section is distinct from another by the long
way of one being set across the short way of the other.
Now lay the top sheet with its under side upon the stone,
and when taken off, place the printed side up. When the
Section is printed and thus laid, as soon as it is complete, it
may be easily refolded in the same manner as it was at
first, and in like manner the rest may be printed.
This method will answer for any single page, or for first
and fourth, or second and third ; but when first and second
or first and third pages are required to be printed, they are
managed differently. -
Let it be required to print first and second pages.—(a).
Transfer first page to the right and second page to the
left, so .that an inch more space is left between them
LAYING THE PAPER ON THE STONE. 93
than if they were intended for second and third.—(£). Or
transfer the pages one above the other, with space
enough to prevent the paper overlapping. To start
printing, lay a piece of waste paper over page 2 and
the first side of the note-paper over page I, in proper
position and pull impression ; now lay second side of
printed sheet on page 2, and the first side of a clean
sheet over page I ; cover the printed side (which now
lies uppermost on the stone) with a piece of tissue-
paper and pull through the press, when one will be com-
pleted and the other half done. By continuing this method
the whole may be completed and printed on both sides in
as many pulls as there are sheets to be printed, plus two.
They may also be printed first on one side only, and then
completed by printing the second side. In this case, during
the second printing, two printed sides will be uppermost
upon the stone, and a larger sheet of tissue must be used,
so as to cover both. In each case the quantity of tissue
paper required is the same.
To print Ist and 3rd pages, transfer (a) Ist page to
left hand and 3rd to the right, leaving no extra space, but
exactly as if 1st and 4th were to be printed ; or (b) Ist
to right, 3rd to left, leaving no extra Space; or (c),
transfer one above the other. To print, (a) Lay 3rd page
down and then Ist with 4th page overlapping 4th. (b).
First, lay page I and next page 3, when page 2 will fall
on page 2. The tissue-paper is to be used as before.
This system of laying the paper on the stone may be
illustrated graphically thus :- -
To print Ist and 2nd pages lay them on stone thus:–

-
– H
Fig. I.
94 THE GRAMMAR OF LITHOGRAPHY.,
Or in this manner—

---
*-m-m-mºs
\ –’
Fig. 2.
For 1st and 3rd pages lay thus:—

2-
—
These pages may be reversed if the paper be laid in the
reverse order also. Fig. 2 will answer the purpose for
either 1st and 2nd or 1st and 3rd pages, but it will be
found less convenient for laying down the paper.
We have not made any attempt to exhaust the subject of
the methods of arranging work upon the stone, but have
supplied only a few hints for a starting-point. By first
folding and marking the paper, the young printer will soon,
by the exercise of his judgment, find out the best manner
of setting out his work, so as to save time and trouble.
When a large number is required, retransfers may be
taken, and a stone made up in such a manner that both
sides may be printed from it by turning the paper over.
Thus, four pages of an octavo circular may be arranged
thus upon the stone — :
Fig. 3.
LAYING THE PAPER ON THE STONE. 95

- ~
\ J
Fig. 4.
And, of course, any page may be omitted, and the same
arrangement will do for 1st and 3rd, or 1st, 2nd, and 3rd.
This disposition of the pages is, perhaps, the best pos-
sible for the purpose, because in the second printing the
sheet of paper cannot be laid for the pages to back each
wrongly.
The transfers for headings, invoices, and similar jobs are
put upon the stone in this way :— -

3 6 9
2 5 8
I 4. 7
96 THE GRAMMAR OF LITHOGRAPHY,
The paper is first laid on Nos. 1, 2, 3 ; the bottom of the
first piece of paper occupying the position of the dotted
line; then three more pieces are laid upon 4, 5, 6, and
three more are then laid on 7, 8, 9. In this manner No. 2
will overlap No. 1, and No. 3 overlap No. 2 ; SO also No. 5
overlaps No. 4, and so on. When passed through the press,
nine copies will be yielded at one pull.
The printer having his heap of cut paper on his left
hand, draws his right thumb-nail over it, with a motion
towards the left, which spreads the papers into steps, as
it were ; he then takes, as nearly as he can guess, nine
pieces in his left hand, and adjusts them with his right to
make the steps wider. Next, he applies the projecting
piece to the marks on No. 1, holds it with his right fore-
finger and thumb, and draws away the rest of the pieces
of paper. He then applies the next to No. 2, and repeats
the operation until the nine pieces are laid in their proper
position. -
In examining these sheets when printed, it will be found
that the pieces 4 to 9 inclusive will be marked by the pres-
sure forcing them upon the edges of the pieces underlying.
This is avoided in the best kind of work by taking a piece
of cardboard or stout paper nearly as long as the stone
is wide, folding it to the thickness of a florin, and about
three inches wide, and then cutting gaps about half an inch
wide to correspond to the edges of the pieces of paper.
The tympan is now to be taken off, and the notched card-
board inserted between the scraper and its leather covering,
in such a position as to prevent any pressure being applied
to the top and bottom edges of the paper. Put the
tympan into its place, and when another set of impressions
is taken the marks will be absent.
The foreman or printer who wishes to economize time
may make a set of cardboard patterns, with rectangular
openings to place upon the stone, to mark it for laying
the transfer to, and also a set of “stops” to correspond, to
be placed between the leather and its scraper.
I 15. PRINTING.—In the last few paragraphs it has been
necessary, to avoid complexity of description, to assume
that the student knows how to use the printing-roller,
damping-cloth, &c.; but as that was an assumption only, it
TO PREPARE INK FOR PRINTING. 97
is proposed now to deal more fully with this highly im-
portant subject. If the reader will refer back to paragraphs
II and 12, he will get some idea of the nature of the var-
nishes and inks used in lithography, and the theory of
using them under different circumstances.
Let it be now supposed that the student has placed at
his disposal a piece of work on Stone that is in proper con-
dition for printing, and that he desires to take impressions
therefrom. He will require a roller, ink, palette-knife,
sponge, damping-cloth, and a basin of water. As he is Sup-
posed to be as yet unacquainted with the process, he must
not begin at once to work, because the stone is not in
working condition. The first thing to be attended to is its
temperature. If it is warm, the gum may be washed off its
surface, and it may be put to Soak for an hour in cold
water ; or it may be set aside in any cold place as long as
convenient; the object being to equalize the temperature of
the stone to that of the printing-room. If the stone has
been put into a cold, dry place, the first thing to be done
will be to saturate its surface with cold water. This may
readily be done by washing off the gum with a sponge and
water, leaving a pool of water upon its surface, and laying
a sheet of paper on it. The paper will keep the water from
running off or drying in patches, while it is soaking into
the stone. The damping-cloth may be used for the same
purpose, but after being a short time in use it is usually
so full of holes that it would answer the purpose only
imperfectly. - -
While the stone is absorbing water, the ink may be pre-
pared for printing. It has been mentioned in article 13
that the printing ink, as bought from the manufacturer,
is much too thick for use ; in fact, the ordinary palette-
knife is hardly strong enough to remove it from the can,
and a short stiff one should be used for that purpose, if at
hand. If the weather is cold, and the ink stiff, a thin, flex-
ible knife is very likely to be broken, if used for its removal.
Before the printing can be proceeded with, some of
this ink must be reduced with varnish to a thinner condi-
tion. The student before proceeding further is recom-
mended to refer to article 13, and read it as a preface
to the instructions to be given in the next chapter.
H
98 THE GRAMMAR OF LITHOGRAPHY.
CHAPTER XIV.
Arinting (continued).--Preparing ink for Tse—General instructions for
printing—Manipulation of roller as affecting result—Temperature
—Paper—Damping–Preparing India Paper for Printing.
REPARING THE PRINTING-INK FOR USE-—116. With
a suitable knife, remove from the can a piece of ink
of the size of a mut, and place it upon the slab. From the
warnish-canº take as much thin varnish as will lie upon the
end of the palette-knife, and transfer it to the upper part of the
slab. A small quantity of this warnish must now be mixed
with the piece of ink by means of the palette-knife. At
first there will be a difficulty—the ink being very tenacious
will not easily separate, to allow of mixture with the var-
nish; but by industriously working it with the knife it will
gradually yield and be incorporated with it. When this has
once taken place, more varnish may easily be added if
required. It is to be supposed that our students' first essay
at printing will be a simple subject in line-work, a bill-head,
circulay, or such like. The temperature of the room in
which the printing is to be Carried on being moderate, the
mixture of ink and thin vaynish is to be such that it will
run slowly off the palette-knife when held in a position to
allow it to do so. It is better to err in having the varnish
too thick than too thin. . When the ink has been brought
to a proper consistency, it is to be scraped off the slab and
laid upon that portion of it farthest from the printer.
A small portion of ink is next taken up on the palette-
knife, and spread along or placed in small pats upon the
roller, which is now to be rolled over the clear portion of
the slab until the ink is evenly distributed over both. To
do this properly requires a certain “knack.” The roller
must be taken by the leather handles which cover the wood
ones, one in each hand; rolled away from the operator and
* Cans of varyish are frequently secured by soldering a circular
piece of tin over a large hole in the top. A meat and easy way of .
removing this is to hold the can under an open gas-flame, so that the
flame will impinge upon the cover to be removed. In a few seconds
the solder will be melted, when a knife may be inserted beneath the
edge, and the cover lifted off. -
GENERAL INSTRUCTIONS FOR PRINTING. 99
back again to the near edge of the slab; then lifted off the
slab, and by a forward bending of the wrist brought down
again to the place whence it was lifted. This motion, which
should be made with the elbows fairly close to the body,
will change the position of the roller in relation to the slab
so that each point on the roller's surface will come in con-
tact with a different portion of it. By repeating this opera-
tion several times, accompanied by a change of position
laterally, and by turning over the roller so that the handle
which was in the right hand may now be in the left, a good
distribution of the ink will be effected.
Another way of effecting the same object is to lift the
roller off after each push forward, and to set it down upon
the near edge of the slab and repeat the movement. The
printer may use either or both methods as the object to be
gained is an equal distribution by the renewal of the ink-
surface.* The inking-roller being now in proper condition
for work, and the damping-cloth having been prepared, as
described in paragraph 21, the Superfluous water that has
been lying upon the stone may be removed by the sponge,
and the stone then “set” ready for printing, as described
for transferring in paragraph I Io. See that the stone is
marked for the “lay” by means of the lead mentioned in
paragraph 55; that the Scraper is level and in its place ;
that the press is oiled in its working parts; that the back-
ing-sheet is in position ; and that the stone is prevented
from shifting by being set against a piece or pieces of wood
* It may be mentioned that the ink on the roller in the course of
working becomes deteriorated both by absorbing water and gum, as
well as by taking up the “fluff” produced by the wear of the damping-
cloth. If the stone is a little rough, and the damping-cloth not good,
the roller will soon assume a grey appearance, and will part with its
ink with difficulty, necessitating the application of more ink to its sur-
face. In this way the roller becomes charged with a quantity of ink,
and does not, in this condition, impart much of it to the stone ; but
if the same quantity were applied to a newly-scraped roller it would be
altogether unmanageable. It is for these reasons that the damping-
cloth is replaced by a second Sponge in printing from grained stones,
on which the wear of a damping-cloth is so rapid that the roller becomes
comparatively white after a few impressions. Though the damping
material in printing machines is usually of cofton, the action being a
rolling instead of a rubbing one this covering of the ink-rollers is
reduced to a minimum.
H 2
‘IOO THE GRAMMAR OF LITHOGRAPHY,
between it and the front end of the bed. These matters
being all in proper condition, the student may proceed to
try his “’prentice hand” at lithographic printing.
With the sponge in the left hand wet the stone with a
stroke from corner to opposite corner. The damping-cloth
must be held in the right hand, so as to form as flat and
broad a pad as can easily be managed. Commence at the
top right-hand corner, carry the cloth across to the left-hand
corner, covering well the edge of the stone. Drawing the
cloth downwards nearly equal to its breadth, pass it to the
right again, down again, and then to the left, and so on
until you have gone regularly over the stone. This will
take less time to do than to read a description of it; but
what is desired in thus specifying the particulars of the
operation is that it may be performed Systematically and
mechanically, leaving no part to be gone over again. The
stone should now be uniformly wetted, or rather damped all
over; if any part has been omitted, that part will take
the ink in the next operation, If the stone is properly
wetted, no part of it will take the ink from the roller except
the fatty parts that are intended to do so.
Now take the roller in both hands, holding it by the
leather handles, lay it on the stone and cause it to rotate
backwards and forwards. If the work be larger than the
roller will cover, the latter must be shifted about until every
part is gone over. When the roller returns towards the
operator it is to be liſted off the stone and rotated while off
by the motion of the wrist before described, which changes
its position and allows of more equal inking. When from
four to six passes of the roller to and fro have been made
(or more, according to the nature of the ink, temperature,
and hygrometric state of the printing-room atmosphere), the
stone, if not sufficiently inked, will require redamping as
before, and the roller will require “knocking up” on the
ink-slab to redistribute the ink and freshen its surface.*
* In rolling it over the smooth stone, the roller will have become
glazed, and may be regarded as being covered with an exceedingly thin
film of water. When the stone is very damp, the roller pushes the water
before it, and unless it is held very loosely will perhaps slip over the
stone without rotating, which will take off the ink instead of putting it .
on. . When the roller has thus become smooth on its surface and pro-
bably wet, it does not deposit enough ink, and hence the necessity of
freshening it on the ink-slab. w
GENERAL INSTRUCTIONS FOR PRINTING. IOI
The stone must now be inked again with the roller, and
will probably be in a fit state to yield an impression. ->
The next thing to be done is to lay the paper on the
stone in such a manner as to prevent the impression being
“slurred” or doubled. To effect this the paper must not
shift, or be shifted between the time of first laying it on the
stone and taking the impression. Let it be supposed that the
paper is small enough or strong enough to be handled easily
with one hand : the mark to which it is to be laid can then
be made across the stone and a corner marked either next
the printer or away from him at the other side of the stone.
Take now the piece of paper in the right hand, with the
fingers underneath it and the thumb on the top ; keep the
fingers a little bent, so that the pressure of the thumb in
holding the paper will cause it to assume a somewhat con-
cave surface : apply the corner furthest from you to the
mark, and place your left forefinger lightly on it at the
corner; adjust the edge of the paper to the line, and when
there put your left thumb upon it to keep it so; at the
same time let the paper fall from your right hand, and care-
fully take off your left. -
If the sheet is too large or too flimsy to be treated in
this manner just described, it must be laid upon the stone
by taking it in both hands. Suppose the “lay” to be made
along the edge of the stone furthest from the printer. Take
the sheet in both hands, holding it between the thumbs and
second fingers, extend the forefingers so that they will rest
upon the Corners of the paper; lay one corner to its proper
mark and keep the forefinger upon it, while the edge is
being adjusted to the line; place the other forefinger to
hold down its Corner; withdraw the thumbs and second
fingers, and the paper will fall into its place. If the sheet
is not sufficiently strong to be kept in position by this
manipulation, it may be permitted to rest upon the printer's
breast until laid to its mark. It is sometimes more con-
venient to have the line for laying by on the edge of the
stone nearest the printer, in which case the paper is held
by its near corners between the thumbs and fingers, the
thumbs being uppermost. Whatever mode may be adopted,
the principal point to be attended to is, that the edge
only of the paper shall be properly adjusted before the
roz THE GRAMMAR OF LITHOGRAPHY.
rest of the sheet is allowed to come in contact with the
Stone. -
The operation of taking the impression is to be conducted
in the manner described in the articles on transferring, but
the sheet has only to be taken once through the press.
Lifting the paper from the stone should be done carefully,
because it may sometimes tear or break if the ink is strong
and the surfaces are broad.
The impression when lifted off should be examined, to
see whether the operation has been properly performed.
It will, however, require either an experienced or artistic
eye to determine this point, and we now proceed to state
what are the essentials of a good impression —
I. As we have been printing in black ink, the lines of the
drawing or writing must be black also ; or, in other
words, they must not be grey.
2. They must not be wider or blacker than they were upon
the stone; such impressions are called “smutty.”
3. They must not be “ragged” or broken ; or, as printers
call this defect, “rotten.”
Greyness and Smuttiness are respectively the result of too
little and too much ink; while, if the work is good upon
the stone, rottenness of impression is caused by insufficient
pressure. The remedy for the latter is obvious; but as it
is possible to produce impressions either too light or too
dark without altering the quantity of ink, some observations
must now be made on this point.
117. MANIPULATION OF THE ROLLER.—An account of the
theory of the inks and varnishes having been given in para-
graphs II and 12, it will be unnecessary to go over that
ground again. Attention is now directed to the different
results obtained by varying modes of using the roller,
independent of the quality of the ink upon it. It is not to
be understood that the quality of the ink is unimportant,
far from it; but the point we are now establishing is, that
with the same ink and the same number of passes of the
roller over the stone, different qualities of impression may
be produced. If the student will fix upon his memory the
theories of the varnishes and the methods of using them
upon the roller, he will be in a position to profit by the
experience that may be gained in printing, his mind being
MANIPULATION OF THE ROLLER." Xo3
stored with a knowledge of the principles that must govern
the practice. .
1. Aearing keavily on the roller “feeds” the work more
rapidly than bearing lightly on it.
2. / ight pressure on the roller transfers but little ink to
the stone, and also takes off some part of that which
has been previously applied by heavy rolling.
3. S/070 rolling produces similar effects to heavy rolling.
4. Quick rolling produces similar effects to light rolling;
consequently -
5. S/370 and Áedºvy rolling, combined, produce the maxi-
mum feeding effect upon the work; while—
6. Quick and Zigáž rolling combined has the greatest effect
in clearing an already over-inked job, and making
the work look sharp. r
Passing now to the influence of the ink upon the quality
of the impression, the first axioms will be easily understood :
A. Zoo little ink upon the roller will produce grey impres-
sions, under ordinary conditions of rolling.
B. Too much ink will, on the contrary, give smutty
proofs. ; -
These are matters purely mechanical ; but the nature of
the ink has also to form an element in the calculations of
the printer. He may use it thick or thin-f.e. he may
bring his ink into working consisterzcy by the use of
“thin,” “medium,” or “strong” varnish. Now in fol-
lowing out this subject of the ink, we may add to the .
foregoing axioms the following:—
c. 7%in ink feeds the work very freely, and if too freely
used will cause it to thicken and grow Smutty.
D. Strong énk leaves the roller with difficulty, and neces-
sitates slow and laborious rolling.
From a study of the foregoing, the two following may
be arrived at as being the combined effects of a certain
state of the ink and mode of using the roller :—
Sloze, heavy rolling with #int ink will produce the maxi-
noun effect that can be obtained under similar con-
ditions of temperature. And—
Quick, light rolling with strong ink will have the
greatest possible tendency to bring the ink away
from the stone.
IO4 THE GRAMMAR OF LITHOGRAPHY.
I 18. TEMPERATURE is also an important consideration
to the printer. If the weather or the printing-room be too
warm, his ink will practically become thinner. If the heat
is caused by a fire in the room, that of course may be
removed. But if it be impracticable to remove the source
of heat (as in Summer), thicker varnish can be used with a
similar result. In connection with temperature, there is
the fact that the stone dries more quickly in a warm room
than in a cool one. This is an annoyance that will be
intensified by opening the windows with the view of cooling
the printing-room, because the draught from an open
window or door will dry the stone still more rapidly. Under
these circumstances the stone will get dry before the
rolling-in has been completed, necessitating two or more
applications of water, when under more favourable condi-
tions one wetting would have sufficed.
To obviate these defects, the printer may add some sub-
stance to the water used for wetting the stone that will
retard its evaporation. Sour beer is a very favourite
remedy, as, besides not drying so quickly, it possesses a
slight etching quality that tends to keep the work clean ;
but it must be used with judgment, especially in connection
with very minute lines or dots. Glycerine, golden syrup,
neutral salts having a deliquescent tendency, &c., have been
used with varying degrees of success for the same purpose ;
but in using any of them it will be necessary to wash the
damping-cloth or sponge more frequently than is required
when simple water is used. It may be remarked that the
use of these substances is rarely requisite in ordinary black
printing, but in colour-work they are frequently resorted to.
119. PAPER.—The choice of Paper is a very important
matter in lithographic printing, if the beauty of the work is
of any consideration. It is a subject upon which much
ignorance exists generally, as every lithographic printer
must admit. The clerk or other person who receives the
order from the customer, not knowing any better, is quite
willing to execute it upon any proposed paper. He is
probably afraid to suggest to the customer that writing-
paper is not a fit material upon which to execute any kind
of printing. He takes so many orders for letter and
account headings on it that it does not occur to him that
DAMPING. - 105.
there is no necessity for adopting writing papers when
nothing has to be written. Most circular, letters for busi-
ness purposes would print better and cleaner upon glazed
printing paper or half-sized plate paper than upon writing
paper.
These papers may be obtained of beautiful surfaces at
the present day, and we cannot think any customer would
object to them for the purposes named, if this superiority
were pointed out.
Supposing their surfaces to be equal and printed dry, the
following papers are arranged in the order of their printing
qualities, the best being first upon the list —/?idia paper,
A late paper, half-sized plate paper, fine printing paper,
common printing £after (containing more size and earthy
matter), common writing paper, best writing paper (machine
made), hand-made writing, loan, and drazving papers. Enamel
and other surface-papers are not here enumerated, because
they are selected not for their printing qualities but for
their adaptability to fancy purposes; exception, however,
must be made in favour of a dead enamel paper which is
specially manufactured for yielding fine impressions.
It will only be necessary to point out the variety of
materials used in sizing papers to show that their influence
is sometimes positively inimical to perfect lithographic
printing. In various recipes we find mention of potash,
Soda, soap, resin, alum, gelatine, starch, &c. It is thus
clear that the printer will, when he is permitted, do well to
select the paper containing the minimum of sizing matter.
In selecting one of two papers he may choose that which
most rapidly absorbs the moisture from his tongue; for, by
wetting the two samples equally, and then holding them.
obliquely to the light, he will find that the hardest-sized
sample will retain the moisture longer than the other.
I 20. DAMPING paper is not so necessary an operation now
as formerly. It is resorted to for the purpose of modifying
the resistance to pressure, and enabling the printer to bring
the paper into closer contact with the work. The extended
use of steam-driven paper-glazing machines has rendered
the damping of paper less necessary, because paper can
now be obtained, even in common printing qualities, with
so fine a face that it requires but little pressure to bring it
ioë THE GRAMMAR OF LITHOGRAPHY.
into intimate connection with the drawing or writing. As,
however, circumstances may render the damping of paper
necessary, the mode is here given. -
To be able to damp paper properly is an acquirement to
be gained only by experience. The quantity of size con-
tained in the paper, and the thickness of the sheets, are the
chief matters that influence the result. Papers may either
be damped with a sponge or dipped in water, The Sponge
is apt to disturb the surface of plate-papers, and must be
used in such a manner as not to go over the same part
twice. If the paper is to be dipped, several sheets must
be taken and dipped at a time, to save trouble. Whether
dipped or sponged, the paper is to be set up as evenly as
possible in a heap and have a weight placed upon it, so
that the humidity may be equally distributed throughout
the mass. When this appears to be effected, the paper will
probably present a “cockled ” appearance, to remove which
the paper should be separated into Small sections, and
stroked and struck with the hand ; or the paper may be
struck on a board, piled in a heap again, and put under a
weight again until required. Becautious in leaving paper too
long in damp in summer-time, or it may become mildewed.
In damping large-sized plate-papers they will not admit
of being immersed, as their own weight would then be the
cause of tearing them when held by the ends. They are
best damped by sprinkling. Loan and drawing papers
should not be placed under a weight until time has been
allowed for expansion. After an hour's standing in small
heaps they may be beaten with the hand and then put
under a weight, care being taken to prevent drying on the
sides of the heap. -
I2 I. PREPARING INDIA PAPER FOR PRINTING.—There
is an imitation of India paper that is free from the spots
and blemishes of the genuine paper, and though it does
not yield so good an impression, its freedom from specks is
a great recommendation. To both kinds of paper the fol-
lowing instructions will apply —
Take the India paper in full-sized sheet, and brush over
the back with rather thin flour paste, and hang it up to dry.
Damp the plate-paper in the manner described in para-
graph I I 9. Cut up the India paper carefully to the size
DEFECTS AND REMEDIES. Io 7
required, and put a piece between each two sheets of
plate-paper—i.e. one piece for each. The India paper
should be about half an inch or more larger each way
than the work to be printed upon. The larger the work,
the more margin will be wanted. Make a mark upon
the stone to correspond with the size of the plate-paper,
and another to agree with that of the India paper. When
printing, first lay down the India paper pasſed side up, and
upon it the plate-paper ; the paste, being damp, will be
found to adhere firmly to the plate-paper, which is always
slightly damped, after being submitted to the pressure of
printing. It will be seen that this is a combined method
of printing and mounting at the same time. In like
manner photographs may be mounted, where there are
many of them to be done.
CHAPTER XV.
Arinting (continued).-Defects and Remedies—Advice—Slurring—
Setting-off—Proving Chalk-Drawings—Unequal Etching—Soft-
backing.
EFECTS AND REMEDIES. PRINTING.—I 22. We have
digressed to a slight degree, but only to indicate those
conditions which more or less influence the result ; and it
will now be our duty, aided by the principles we have been
considering, to show how certain defects which may appear
in the proof may be remedied, if that be possible. -
DEFECTS. REMEDIES.
A. The proof does not ap- Increase the pressure.
pear so firm as the drawing -
on the stone, yet the ink
looks black upon the
paper. tº e
B. The print looks altogether . There is either too much
too dark. - ink on the roller, or it has
been rolled in by too heavy
pressure, or the roller worked
too slowly. The paper, if
Smooth and hard, may print.
Io8
THE GRAMMAR OF LITHOGRAPHY.
C. The impression though
firm is pale.
D. White streaks occur in
the whole length of the
proof.
E. The impression is always
too light at one end.
F. The impression has one
or more light places that
do not show on the Stone.
better with less impression,
or the ink may be too thin.
These observations suggest
the remedy.
There may be insufficient
ink on the roller. It may
also be too thin. The roller
may have become covered
with gum, or have accumu-
lated a film of dirt from
long use without change of
ink. Try a good “knocking-
up” on the ink-slab, and, if
that does not cure it, Scrape
off the old ink and apply
some more. This defect may
also proceed from rolling too
quickly and lightly.
The scraper is notched or
otherwise uneven. Make it
level with coarse cabinet-
paper or a plane.
There is a deficiency of
pressure there: pack the
stone at that end. -
The stone is hollow, or
the tympan or backing-sheet
thin at such places. Try a
piece of blanket for the
backing, and if that is not
successful, paste small pieces
of paper on the backing-sheet
or tympan where it occurs.
To do this properly, fear the
paper into shape; paste or
gum one side; lay it on the
stone where required, ad-
hesive side up ; bring the
tympan down upon it, when
the paper will be attached
at the defective place.
DEFECTS AND REMEDIES.
Io9
G. The drawing is missing
or has failed to print at
one end.
H. Notwithstanding all pre-
cautions the drawing yields
only pale impressions.
I. The paper tears, and is
partly left upon the stone.
The scraper has been set
too far on the tympan, or not
pulled far enough. -
This can only occur when
the paper is too wet. It
usually occurs when the
paper is not only too wet,
but also highly sized.
This commonly occurs
with plate-paper when it is
imperfectly damped. Give
it more time to lie by. If
that will not do, use a thinner
ink, as that can be used on
plate-paper with success, be-,
cause each impression clears
the stone.
The impression being, it is hoped, what it should be, the
printing may be proceeded with. For each pull the stone
must be first damped, and then inked ; but in these two
operations defects may occur which attract the printer's
notice before he takes the impression. -
J. On the rolling in being
re C om men c e d, black
patches may occur.
K. After rolling several
times the ink begins to
“catch" as before.
L. The roller does not turn
in the handles, but slips
over the work.
M. As the printing proceeds,
the close lines or dots join
together, or the work be-
Comes darker all over.
The stone has not been
damped at these parts.
Damp again properly ; roll
briskly and they will go away.
The stone has become too
dry. It may arise either
from too long - continued
rolling without redamping,
or the temperature of the
room being too high. Re-
medy as in the last case.
The stone is too wet.
The ink is too thin. Wash
out with turpentine and a
little oil, but be careful to
have the stone quite wet at
I [O THE GRAMMAR OF LITHOGRAPHY.
the same time. Roll in again
with an ink made stiffer by
having less varnish in it, or
One of a stronger nature.
Gum in and let it lie by for
a day or two if possible.
This defect is more likely to
occur with hard papers.
N. The drawing grows thin The roller may have be-
and pale. come dirty,+See case C, -or
the ink may be too stiff, in
which case use thinner ink.
123. ADVICE TO BEGINNERS.–In Summer, use medium
varnish to reduce your ink; in winter, add a little thin
varnish to it. This will make the printing more slow than
the use of thinner ink, but you will be enabled to print
without running the risks attendant upon the latter, which
you may use with greater confidence when you have
mastered the use of the thicker.
Avoid wetting the stone too much at a time, or the roller
will not only be liable to slip, but will become so glazed as
not to ink properly until it has been “knocked-up" on the
slab again, in doing which repeat the operation until the
ink is felt to adhere to the roller. - -
After proper damping, Count the number of times that
the roller can be passed over the stone before it begins to
soil it, then in your printing do not make so many passes
by, say, two. This will insure you against too much
rolling. -
When the roller begins to make an audible sound' in
going over the work, it is a sign that it is time to leave off
rolling. Another stroke or two would soil the stone.
Having inked your work, “knock up" the roller ready
for the next inking before taking the impression. This will
allow the stone to dry a little, which is an advantage in
printing glazed writing-paper. A wet stone deteriorates the
polish. -
Be careful to keep the edges of the stone clean, avoiding
rolling over them if possible. If they are once allowed to
soil the backing-sheet, it will be difficult to prevent the
edges from becoming again dirty. The edges may be
, , SLURRING. * - I I I
sponged occasionally with gum and acid, and if necessary
they must be polished again.
Work with as little ink on your roller as is consistent with
obtaining a good impression. Too much ink is apt to
produce ragged lines, and to aggravate “slurring,” besides
the more obvious result of too great blackness of general
effect. -
The beginner will find it useful to touch the stone occa-
sionally with the gum-Sponge, to assist in preserving the
coating of gum upon it. In using it, however, for a long
number of impressions, the cloth must be occasionally
washed to remove what has accumulated in it, so as to
prevent as much as possible its mixing with the ink upon
the roller, for if that happens, the roller will cease to ink
properly, and will require Scraping.
Keep separate Sponges for gum, weak acid, and wetting
the stone. Let them vary sufficiently in size, so as to be
readily distinguishable from each other, which will lessen
the liability to accident, in mistaking, for instance, the “acid
sponge” for the “gum-Sponge.” Keep also another good-
sized sponge for use with perfectly clean water only. This
will be useful When Washing a stone previously to making
COrrectl()]].S. *. g
Have a place for everything, and keep everything in its
place, so that you may be able to put your hand upon what
you require at a moment's notice. This is not unfrequently
of the utmost importance.
124. By “SLURRING " is understood a doubling of the
lines or dots composing the impression at some part of it.
It is usually found at or about that part of the proof which
last received the pressure, and may proceed from one of
several causes, though its immediate cause is always the
same—namely, the shifting of the paper between the
time of its being placed upon the stone and its passage
under the scraper. It will happen when the paper is not
sufficiently flat, and can then scarcely be avoided. The
paper may sometimes be prevented from moving by placing
the hand upon it immediately it is laid upon the Stone, as
it will then adhere to the ink if there be sufficient breadth
of it to hold it until the tympan is brought down. At
other times it may be obviated by placing a small block
I I 2 . THE GRAMMAR OF LITHOGRAPHY.
of wood to receive the end of the tympan-frame in such a
manner that the tympan does not rest upon the stone until
the scraper is brought to bear upon it. The printer must
form his own judgment as to which cause the defect owes
its origin.
125. “SETTING-OFF * is a transferring of some of the ink
before it is dry to the back of the paper of the impression
lying next to it. It ought to be avoided in careful work.
It is chiefly owing to one of two causes: first, the hardness
of the paper, and second, to the use of ink unsuited to the
paper. Hard, smooth writing-papers are very liable to it.
When the copies are placed one above another until a heap
is formed, the under ones receive most pressure and are
more liable to the defect. Black printing-ink dries very
slowly, but the printer does not like to use dryers in it,
because it necessitates the use of some solvent for removing
it effectually from his roller, the frequent use of which
deteriorates that instrument very materially. The turpen-
tine used, and the amount of time involved in washing the
roller, are, of course, items that cost the employer some-
thing, so that it is usual to put such works into small heaps,
to lessen the weight upon the bottom impressions and to
give them more time to dry.
It frequently happens, however, that circulars and other
work are wanted for immediate use. The customer may be
accommodated at a trifling extra expense, by the application
of powdered French chalk.” It is to be applied with a
small pad of cotton wool, first dipped into the powder and
then rubbed over the impressions, after which they may be
handled and folded with impunity. The French chalk
being semitransparent, the colour of the ink is reduced in
only a slight degree ; and for this reason, and that of its
not imparting any unpleasant grittiness to the paper, is
preferred to other substances, which—such as magnesia—
may be used for the same purpose. While upon this subject
we may inform the student that a similar use may be made
of this material when proving chromo-lithographic work to
prevent the last-applied colour “setting off” on the stone.
* This is the common name of the mineral steatite, a variety of
talc, of granular structure and Soapy feel ; hence it is frequently called
soap-ſtone.
PRINTING CHALK DRAWINGS. II.3
“Setting-off” also occurs when both sides of the paper
have to be printed, unless that which was first done has
become quite dry, for which time should be allowed if
possible. The “set-off” is found upon the backing-sheet,
and when the ink is partially dry may at first very little
re-set-off on the work now being “backed,” but it soon
accumulates and shows upon all the subsequently printed
sheets. This may sometimes be avoided by oiling the
backing-board and then rubbing as much off as can be
removed with a clean cloth. The backing-board thus loses
in a very great degree its power of absorbing the ink,
because the pores are already closed by the oil. When it
is necessary to print on both sides of the sheet in quick
Succession, a piece of tissue, or other thin smooth paper,
must be laid on at each impression, and this paper, if kept,
will answer for many similar jobs if time be allowed for it
to become dry. When hard, smooth paper is the material
which has to be printed on each side, and no time is
allowed for drying, the first printing should be rather darker
than the second, so as to make allowance for what will be
removed by the tissue-paper.
I 26. PRINTING CHALK DRAWINGS.—If the student has
mastered the theory of the inks and varnishes, and applied
them in the practice of printing from ink drawings, he will
now be able to take in hand printing from a chalk drawing.
There are some differences between the ink and chalk
printing, which it will be well to point out before proceeding
with the instructions for printing. In the first place, the
Stone being granulated, the dots whose aggregation make up
the drawing, do not lie in one plane. This necessitates the
use of a roller having sufficient “nap” to reach the bottom
of the grain. 2. The grained surface also disposes the stone
to remain longer damp than does a polished one. 3. The
rough stone so rapidly wears away a damping-cloth that
two sponges must be used, one to apply the water, and the
other to spread it. (See the second note to par. I 16.)*
* Where an assistant is employed at the press, it seems to us that a
roller similar to the inking roller, but covered with a suitable material,
might be used for damping the stone, as is done in machine printing.
We think a boy with a little practice would thus damp more evenly
I
II4 THE GRAMMAR OF LITHOGRAPHY.
4. Stronger ink and more rolling will be necessary in chalk
printing. 5. The drawing consisting of an innumerable
quantity of points or dots frequently touching each other, is
more liable to become Smutty than work of a more open
character, as are the majority of ink drawings. 6. The
chalk with which the drawing is made contains a larger
proportion of soap than is used in ink. This necessitates
the use of acid in preparing the drawing for the press, and
if this be imperfectly done, the drawing is very liable to run
“smutty” in printing. If the printer will bear these differ-
ences in mind, he will more readily conquer the peculiar
difficulties of chalk printing. After all, the most important
qualification for a chalk printer is to have a good eye for
pictorial effect. There are many printers who scarcely
know a good impression from a bad one, whose chief guide,
in fact, is to avoid blackness and greyness, and who have
no appreciation whatever of the principles that guided the
artist in the production of the drawing. A good chalk
printer will usually be found to be a man who is fond of
pictures, and can probably draw a little himself. Such a
person is more likely to produce good prints than a niere
mechanic, whose chief ambition is to draw his wages at the
end of the week. - -
Taking the first-proofs from a chalk drawing is an ope-
ration of great delicacy and importance, as affecting the
quality of the after-prints; and it is an axiom among printers
that the particles of chalk composing the drawing, require
fo be removed as early in the printing as otherwise con-
venient, so as to get rid, as soon as may be, of any super-
fluous soap which may not have been decomposed in the
etching process. Two methods are in use for effecting this
object; but as each in the hands of good printers yields
equally good results, it is to be presumed that more depends
upon the workman than upon the process he employs.
The first way to be described would seem, if there is any
real difference, to be that most fitted for delicate drawing.
After a good soaking, and carefully removing the surface
gum, the stone is to be rolled in with ink of medium
than by the use of a sponge. The drawing would suffer less abrasion,
and would probably yield a greater number of impressions.
PRINTING CHALK DRAWINGS. II5
tenacity. If too thin, the dark parts will ink up too fast,
and if too strong, the delicate light tints may nearly disap-
pear. If the roller and slab have been newly cleaned, very
little ink will be required. Keep as much gum upon the
stone as is consistent with the proper working of the roller,
and damp and ink up about three times. Take now an
impression upon thin, dry plate-paper, and if the operations
have been properly managed, the proof will yet be too
light; but may be expected to consist partly of the chalk
that was upon the stone. Repeat this for several impres-
sions, during which the proofs should become gradually
darker by the Substitution of printing-ink for chalk, until at
last the drawing looks about the same upon the paper as it
did upon the stone when it left the hands of the artist;
making due allowance for the difference between the colour
of the paper and that of the stone. This change from the
stone to white paper is often the cause of great disappoint-
ment to the inexperienced or amateur lithographer ; and
the printer should, if possible, submit to him a proof upon
paper as near the colour of the Stone as convenient. Again,
there is not only a difference in the colour, but the granu-
lation of the paper is reversed to that of the stone. On the
stone the drawing was on the fifts of the grain, and the
hollows between helped to soften the shade; while on the
paper the ink is in hollows caused by the pressure of the
same points upon it, and the un-inked portion of the paper
is in relief, and catches the light. The paper-impression,
from these causes, always seems less satisfactory than the
appearance of the drawing on the stone would lead an inex-
perienced person to expect.
The other method of removing the chalk is not
only a more direct one, but much to be preferred
when it includes very dark masses of drawing. After
the stone has in the soaking process well absorbed
water, a little turpentine is put upon a soft rag or
Sponge, or sprinkled upon the damp stone, and the rag
applied to it with a light circular motion until the chalk is
removed. Put some more clean water upon the stone, and
wipe it and the turpentine off together. The drawing will
now appear of a grey colour; or will even appear to have
gone away if much turpentine has been used. Now use
I 2
I I6 THE GRAMMAR OF LITHOGRAPHY.
the Sponges as before, and roll up gently, endeavouring to
keep a little gum upon the stone; in doing which be
careful that the gum is not sour, as the drawing may be
easily injured until it has fully received the printing-ink.
There will be no need for taking an impression until the
drawing resumes the appearance it had before it was washed
Out. º
By the careful use of strong ink, good proofs may be
taken, even if the drawing has not been properly etched;
but it is likely that it will show an early tendency to run
“smutty” from this cause, and the printer will do well in
correcting the error, by—
127. RE-ETCHING.—It must be understood by the young
printer that when the chalk has been once removed, the print-
ing-ink alone has less power to resist the action of acids than
the chalk had, and requires some protection, previous to
the renewed acidulation of the stone. Inks containing
copal-varnish, asphaltun, and similar substances, might be
used for this purpose ; but an effectual and simple method,
which does not involve the use of another roller, consists in
dusting powdered rosin over the work after rolling-in, and
permitting the Stone to dry (see paragraphs 52 and II.3).
In the absence of powdered rosin, common bronze-powder
may be used, but it is not so resistive of the acid, and more
resistive of the turpentine in the subsequent process of
washing-out; for which reason it is less to be recommended
than the powdered rosin. After the application of the
rosin, let the stone remain a little while before applying the
acid and water, which may be done in any of the ways
described in the chapter on Ftching, or in the more
“rough and ready” mode generally adopted by printers,
with a sponge. The stone having been gummed-in and
dried, the rosin is afterwards washed away by spirits of
turpentine, as described in par. 126, and the work rolled-in
as before. It should now be, in the hands of an expe-
rienced printer, in a condition to print properly and
cleanly.
128. DEFECTS SOMETIMES ARISE FROM UNEQUAL ETCH-
ING, and show themselves in printing as darker spots and
patches than the surrounding parts, which were even
enough when the drawing left the hands of the artist.
*
I) EFECTS ARISING FROM OVER-ETCHING. II 7
These can only be remedied by etching the parts that are
darker, and so bring them to a level tone with the rest, by
the application of a camel-hair pencil containing dilute
acid, and immediately wiping away the acid with a sponge
to prevent its acting further than intended. With a little
care, and dexterity in the application of the acid to the
exact spot required, this kind of defect may be much
improved if not entirely removed. The acid must be quite
weak, or injury may result, as its effect is not immediately
visible. When the roller is passed briskly over this part, it
will remove the ink in proportion to the effect produced by
the acid; and by this operation the printer will be able to
judge whether the part has been sufficiently etched, and
can repeat it until the desired result is gained, after which
the part should be gummed and permitted to dry.
129. DEFECTS ARISING FROM OVER-ETCHING.—When the
drawing has had too much acid applied in the etching
process, the light tints are perhaps so reduced that the
drawing has a worn-out appearance, as if a very large
number of impressions had been taken from it. Most
printers have their own pet way of improving such defect,
though sometimes they succeed in quite spoiling the work
in the attempt to make it better. We cannot, therefore,
give any infallible information on this subject, and will be
content to point out some of the methods in use and the
principles upon which they are based. The broad prin-
ciple upon which all these methods are founded is, that the
chalk was not entirely removed, but only its hold upon
the stone weakened in the etching process. If it were
entirely removed, it is clear that nothing but re-drawing
could replace it.
1. This defect may sometimes be cured by using a smal/
quantity of thin ink upon the roller, which will be ſound to
attach itself to any part that has only a slight tendency to
greasiness. If the proofs then appear Satisfactory, the
printing may be carefully continued until the drawing is
re-established upon the stone, after which, the strength of
the ink may be gradually increased, as may seem necessary.
In following out this or any other method having the same
object, care must be taken that the dark parts do not
become too black.
II.8 THYE GRAMMAR OF LITHOGRAPHY.
2. If the printing-ink be replaced by a more fatty sub-
stance, the latter will tend to strengthen the work. In
practice this is done by damping the stone with gum-water,
and applying palm oil, green oil, or a similar substance, upon
a piece of flannel, until the printing-ink disappears. The
stone must then be damped and inked-up as before. A
thin scum of ink will probably be found adhering to the
whole surface of the stone ; but it may be removed by
repeated damping and rolling-up with the printing roller.
3. The ink may sometimes be made to adhere to the
weaker parts by spreading a little turpentine on the wet
stone and rolling-in. The first effect is to blacken the
stone all over; but that gradually disappears if the stone be
kept damp, and it becomes clear again.
4. Soap and water shaken into a froth may be applied
with a pad, as described for the use of palm oil. It is a
powerful and dangerous expedient, and one that should not
be attempted by the inexperienced printer. y
5. Having got up the drawing as strong as may be
required, by one of the foregoing methods, roll-up in thin
ink and dust with rosin, as described in re-etching. Wash
with warm water; finally remove the gum with perfectly
clean very dilute acid, and set aside to dry. The parts
that are sufficiently dark must be gummed in with a hair
pencil, to prevent their becoming darker. If the stone be
now warmed in front of an open fire, the light parts will
probably spread a little and thus become stronger. Set
the stone aside to become cold, after which it may be
gummed, dried, washed out with turps, and rolled-up
in the usual way. The principle of this method will be
better understood by the student if read in conjunction
with the instructions for re-touching in paragraph 97.
These methods of repairing the errors of etching must
not be relied upon for producing any very marked improve-
ment, or in any way to compensate for errors of drawing. To
be successful, they require to be used with judgment and
experience, and these qualities employed in the first etching
(if the drawing has been properly done) will usually
effect a result in which no repairing will be subsequently
needed. -
If the principles laid down for the use of the roller
TRACING PHOTOGRAPHS, ETC. II9
and printing-ink be well mastered, they will apply equally
to printing any kind of drawing, and we shall consequently
not have to repeat what has already been said in regard to
printing generally.
In addition to the differences mentioned in the beginning
of paragraph I 26, it may be added that the backing-sheet
should be an elastic one ; and that recommended for trans-
ferring—viz. a piece of fine printer's blanket fastened on
cardboard, will answer admirably. In default of such a
one, two or more sheets of plate-paper will serve the
purpose.
If the paper to be printed be a thick plate-paper, the
elasticity of the backing will be of less importance, because
the paper itself will possess sufficient body, under the
influence of the pressure, to enter the grain of the stone.
It is believed that this chapter contains all the instruc-
tions concerning plain printing from Stone that can be
conveyed to the student in words; and we pass on to
another chapter, in which will be given various auxiliary
processes relating more or less to the subject of chromo-
lithography, but to which it does not necessarily belong.
C H A P T E R XVI.
Miscellaneous Processes—Tracing from Photographs, Pictures, &c.—
Key-stones for Colour-work—Autographic Transfers—Reversing
Transfers—Transposition of Black and White—Other Methods.
ITH a view to avoiding confusion in the treatment
of our subject, we here refer to a few processes
which do not frequently come within ordinary practice, but
which, nevertheless, should be understood, on account of
their occasional usefulness. Some of them might have
been included in a previous chapter, but it has been thought
best to allot them a separate one.
130. TRACING PHOTOGRAPHS AND OTHER SUBJECTS OF
INDISTINCT OUTLINE.--It often happens that the litho-
grapher requires an outline tracing of a subject which,
though tolerably clear in itself, becomes very confused
when seen through the ordinary tracing-paper. There are
several methods of overcoming this difficulty.
I 2 O THE GRAMMAR OF LITEóGRAPHY.
I.—Very transparent tracing-paper may be made by
coating fine tissue paper with crystal varnish. Coat it on
one side, and let it dry, and then coat it on the other. The
varnish may be made by adding spirits of turpentine to
Canada balsam until thin enough to be used with a varnish-
brush, the solution being effected with a gentle heat.
II.-French tracing-paper, papier végétal, may be oiled,
to render it more transparent; but care must be taken to
avoid bringing the oiled surface in contact with the stone
or transfer-paper. -
III.-Ordinary tracing or other thin paper may be wetted
with spirits of turpentine or benzoline, and the wetted side
applied to the glass or paper photograph. The tracing may
then be made in pencil The liquid will soon evaporate;
but if the paper becomes opaque in consequence, a corner
may be lifted and another drop of the fluid introduced,
which will instantly restore the transparency. When the
tracing is completed, it and the photograph will dry rapidly,
and the latter will remain uninjured.
IV.-Sheets of transparent gelatine may be laid over
photographs or paintings, and the tracing made by Scratch-
ing the outline with a sharp steel point. The scratches
thus made are to be filled with powdered red chalk, dusted
on with Cotton wool: the scratches being rough, retain the
powder, which is rejected by the smooth surface of the
gelatine. If the gelatine, thus prepared, be laid upon a
stone and passed through the press, a red chalk tracing will
be left upon the stone. The scratches may also be filled
in with lithographic writing-ink, dissolved in spirits of tur-
pentine, wiping it clean off the smooth part of the gelatine.
This being laid upon the stone as before, and subjected to
pressure, will leave an ink outline that may be rolled up as
an ordinary transfer. Or the gelatine may be treated,
after filling-in with ink, as an ordinary transfer, by damping
it between sheets, applying it to a warm stone, passing
through the press, and finally washing it off with hot water.
It requires a very slight etching before rolling-up.
V.—If the photograph to be traced is of no further value
than furnishing a copy for the draughtsman, it may be
treated in the following manner:—With india-rubber, paper-
cleaner, or ink-eraser, remove from the surface of the pho-
TRACING PHOTOGRAPHS, ETC. I 2 I
tograph all tendency to greasiness; outline every detail with
lithographic writing-ink, which, after the cleaning referred
to, will adhere readily to the photograph, treating it as far
as possible as a sheet of transfer-paper. Set a stone in the
press, and make ready as for ordinary transferring ; pour
spirits of turpentine upon the stone, and spread the spirits
all over. Let it stand a few seconds to be absorbed With
one stroke of the squeegee (par. 56) remove the superfluous
turpentine. Now quickly lay the inked-in photograph upon
the stone, lower the tympan, and pass once through the
press, under heavy pressure. The stone having been uni-
formly damped with the turpentine, the latter acts equally
in softening the ink, which is then absorbed by the stone.
If there should be too much turpentine, the ink will spread;
and if too little (which may happen if the stone is allowed
to dry somewhat before the photograph is laid upon it),
sufficient ink may not be absorbed to roll up. However,
with ordinary care on the part of the draughtsman and the
printer, success is certain. The stone having been gummed
and rolled up, impressions may be taken. If a key-stone
be wanted for colour-work, nothing but the register-marks
will require to be added; but as that subject will be fully
treated further on, we say no more about it in this place.
We have successfully used this method in obtaining a
correct outline for an architectural subject in chalk. Having
obtained a slightly grey impression on printing-paper, we
put it, face downwards, on the grained stone and passed it
through the press, which then gave a faint set-off. The
small quantity of grease thus added to the stone was removed
by the etching after the drawing was finished, and was found
to give no trouble whatever. tº
As, however, some might prefer a red chalk outline, we
may state that it can easily be obtained as follows. Instead
of taking a weak impression on printing-paper, take a full
one on highly-sized and glazed writing-paper; place upon
it a quantity of finely-powdered red chalk ; holding the
paper by opposite edges, raise and lower each hand alter-
nately, until the chalk has been brought into contact with
every part of the outline; pour off the Superfluous chalk,
and finish by giving it a smart jerk or two to remove the
remainder from all parts except the lines. The prepared
122 THE GRAMMAR OF LITHOGRAPHY.
print may then be laid upon the stone and passed through
the press, as before described. This method is very appli-
cable for drawings in ink.
This method of transferring to stone for the purpose of
obtaining a mere faint tracing for a guide in the actual
drawing, may appear more complicated than the Ordinary
tracing and retracing; but where the details are minute
and numerous, it will be found that time is saved by its
adoption ; while the artist, being saved the drudgery of the
intermediate operation, will approach his task with better
spirit, knowing that a more correct trace is before him than
would have been obtained by any other method.
131. AUTOGRAPHIC TRANSFERS BY TURPENTINE.-The
method of transferring by means of turpentine, described
in the last paragraph, is capable of still wider application.
Writings in lithographic ink, and recent impressions from
stone and type on plain paper, may be transferred success-
fully in a similar manner; indeed, we much doubt whether
they may not be more certainly and better executed by this
method than by the Anastatic process.
132. REVERSING TRANSFERS.—Circumstances sometimes
arise in which the lithographer desires to reproduce auto-
matically subjects which involve much labour when executed
by hand. Of designs which are repeated, like some kinds
of borders, a portion only may be drawn upon the stone or
transfer-paper, and be completed by taking retransfers of
such portion, mounting them in the manner required upon
a piece of paper, and transferring the whole to the stone,
when any defects may be remedied by the methods we
described when treating of corrections. It sometimes happens,
however, that the design is of such a character as not to
contain elements that are often repeated, but which re-
quire a duplicate in reverse, in regard to right and left.
The design may be an ornamental one, involving much
intricate drawing, and the artist may be desirous of avoiding
the tracing, retracing, and drawing that would be necessary
to repeat the design for the other half of the border. The
printer may sometimes save him this trouble by the following
process.
Take a transfer from half of the design, and lay that upon
another piece of transfer-paper, face to face, and pass it.
TRANSPOSITION OF BLACK AND WHIITE. 123
through the press so as to obtain a set-off upon the second
piece of transfer-paper. A reverse will be obtained, and
the two, being properly Cut and mounted in position upon
another piece of paper, may be transferred to the stone and
the border completed. This process will be found very
applicable to borders of show-cards, almanacks, &c.
133. TRANSPOSITION OF BLACK AND WHITE. — It is
sometimes desirable to be able to change dark letters, &c.,
on a light ground to light letters on a dark ground. This
will be found of great advantage in some kinds of colour-
printing, as in the instance of printing in bronze or silver
on dark glazed paper. It may be accomplished by either
of the methods following, giving preference to them in the
order they are placed.
I.—If the subject be a copperplate engraving, the transfer-
ink or letterpress printing-ink may be applied directly to its
surface by means of a letterpress-roller, using it lightly and
with as little ink as will answer the purpose of transferring.
The impression may be taken at the lithographic press, but
instead of laying a soft material at the back of the transfer-
paper, a piece of very Smooth cardboard should be used.
If this is properly done, there will be no difficulty in trans-
ferring it by one of the methods hereinbefore described.
II.-In this system, any subject that can be printed from
a polished stone may be changed from a light ground to a
dark one, or vice versá. The subject having been protected
by rosin (paragraphs 52, I 13, 127), is to be acidulated until
it stands perceptibly in relief, the thickness of the resinous
coating being allowed for. Wash the ink, &c., away with
turpentine, and the whole stone quite clean with water,
using clean water, containing about one per cent of acid,
for the final wash. The stone having become dry, cover
the work to the extent desired for the ground with litho-
graphic writing-ink, which must be permitted to dry, when
the whole may be rolled up in printing-ink. This covering
with lithographic ink may, if the operator wishes, be done
after the etching operation, allowing the stone to dry. The
work and the ground being now equally black, the ink has
to be removed from the parts in relief, so that they may be
reversed from black to white. Take a piece of snake-stone,
make it quite flat by rubbing it upon the margin of the
I 24 THE GRAMMAR OF LITHOGRAPHY.
stone; then polish away the surface of the raised portion
until the design becomes quite clear. If any part of the
ground should be accidentally damaged, it must be touched
up with lithographic ink to repair it. Gum the stone, dry,
and roll up. It may be again rosined and etched, in the Sanne
way as before, if it is thought worth while, to reduce the
parts in relief to the level of the ground. Many examples
of this kind of work will be found among labels and show-
cards,-the uninitiated sometimes thinking they are printed
in white, more especially when the sampli has first been
set up in type.
III.-If an impression of the subject to be transposed
be taken in a strong ink, it may be dusted over with finely-
powdered dry gum-arabic, or with dextrine, which may
“ubsequently be placed in a damp place until it becºmes
stucky. In this state it may be laid face downwards on
a damp stone, and the gummy coating transferred to the
stone. The margin may now be protected by gumming it
round to the shape and drying it. If a roller with greasy ink
be applied to the dry stone, it will be covered all over; but
on subsequently washing with water, the ink will come away
where the stone was protected by the gummy covering
transferred to it from the design.
IV.-At least partial success may be obtained by gum-
ming the stone all over, drying it, Washing it off, and again
drying. The transfer in greasy ink is now to be made with
care. A zery weak etching-water must next be applied to
clear the stone of gum only, with the exception of that
lying under the design. Dry again, and roll in with printing-
ink. If the stone be now damped and rolled in with very
stiff ink, the parts of the design where the gum was not
etched away will probably yield the ink of the transfer and
become white, which may then be kept pure and open by
another application of the etching-water.
V.-A process similar to the last is the following:—
Apply to the surface of the stone a solution of silicate of
potash (commonly known as water-glass); make the trans-
fer; dust with powder rosin, and remove the water-glass
with a solution of alum; ink in, and proceed as before
described.
VI.-Z}ansposition may be effected by photo-lithography
MAKING-UP SHEETS OF LABELS. I25
(7.7).). Take a piece of sensitized photolithographic paper,
print the design upon it, and dust it with bronze powder, to
make it more impenetrable to the action of light; expose
it to light, and treat it as a photographic transfer.
Without any pretence of having exhausted all the methods
that are possible, it has been shown that Transposition may
be conducted on at least six different principles, the fourth
and last methods being known only to a few. -
*-* *
CHAPTER XVII.
Miscellancous Processes (conſizzyzed)—Making-up Labels—Bronzing—
Gilding—Dusting—Dabbing Style—Remarks.
AKING-UP SHEETS OF LABELs, &c.—134. Having
determined upon the size of the sheet, or portion
of the sheet, upon which it is proposed to print, it must be
set out with a pair of dividers, and ruled with pencil into as
many Squares, oblongs, or other shapes as are to be printed
at one time. By the method already described for taking
transfers, pull as many transfers as required, taking notice
that each one is good enough for the purpose. Trim them
round neatly with a pair of scissors, a little within the size
of the space marked on the paper, holding them in such a
manner as not in any way to soil them. With a small stiff
brush, or other convenient instrument, lay a little thick
paste at the corners of the spaces marked, and care-
fully lay the transfer upon it, sliding it or shifting it
into position by the help of a pointed penknife, or any
similar tool, using the same to press the transfer upon
the pasted portion of the paper, so as to maintain it in
place. See that it is right by the help of a straightedge
or parallel ruler, and proceed to the next transfer ; and so
on until all are done. When the pieces to be handled are
very Small, and have comparatively no margin, a pair of
Spring forceps, such as are used by watchmakers, will be
found very convenient in laying the little pieces in position.
When much of this kind of work has to be done, the fol-
lowing simple piece of apparatus will be found very con-
venient. Let an ordinary drawing-board be fitted up with
126 THF. GRAMMAR OF LITHOC, RAPTHY.
a bridge, similar to the hand-board described in paragraph
31, and in such a manner that the transfers and the paper
can be just moved about underneath it without being in-
jured. This will be found more convenient than a loose
straightedge or parallel ruler, because the paper may be ad-
justed under the fixed guide without rubbing the transfers,
and notice can be taken whether the border line, or any
particular line of lettering, corresponds with the pencil line
upon the paper.
It is necessary to arrange the transfers in this exact
manner, in order that they may run in lines fit for cutting
at a machine. Where different sizes of labels are put upon
the same sheet, they must be so arranged that they can be
divided straight across or down the sheet at intervals, and
these strips be cut across again, and so on, until all are cut.
The sheet when complete and dry must be put to damp
in the damping-book mentioned in the chapter on Trans-
ferring; but if the paper be of such a nature as not to be-
come “sticky" without remaining there a long time, the
stone may be damped, as well as the sheet of transfers.
Damping the back with a sponge is of no use in this case
until the transfers are upon the stone.
In printing labels, every care must be taken in laying the
sheet exactly to the mark, so that when carefully “knocked
up” they may be exactly over each other. Sometimes the
sheet has a cross or other mark printed at each end of it,
which forms a guide to thread the sheets on two fine wires,
so as to get them in exact position.
The subject of “sticking up ’’ coloured labels will, how-
ever, be treated of in the chapter devoted to Chromolitho-
graphy. -
135. BRONZING, DUSTING, and METALLING, though
more usually connected with colour-printing, will be de-
scribed in this place, because they are often required, un-
accompanied with other colours.
The principle of the operation is very simple. An im-
pression having been taken in a suitable adhesive ink, the
bronze powder, silver or gold powder, or dust-colour, is
applied to the wet ink by means of a pad of cotton wool,
proportioned in size to the space to be covered, the super-
fluous powder being afterwards removed by a soft cloth.
BRONZING, DUSTING, AND METALLING. 127
When dry, much brilliancy may be added by rolling the
impression on a finely-polished metal plate.
In selecting a paper for this work, regard must first of all
be had to the purpose it is intended for. Writing-paper
answers very well, because it is, when good, sufficiently
sized as not to absorb the ink, and Consequently enough
of the ink is left upon the surface to retain the powder.
Enamelled and plate papers, having an absorbent ground,
require more and stronger ink, so that at least Some may
remain on the surface.
The ink is sometimes of essential importance, though at
other times almost anything seems to answer the purpose in
a more or less efficient manner. . If work be wanted in a
hurry, and only a few impressions required, a strong, quick-
drying varnish may be added to the ink already upon the
slab. . A mixture of Canada balsam and copal varnish, or
some japanner's gold size, may be used for this purpose.
Most colour-printers have a favourite ink of their own for
this kind of printing, and no doubt there are many equally
good compositions in use ; and where so many answer the
purpose it would savour of some conceit on our part to
attempt to point-out the best. The ink should dry quickly,
but not so fast as to be a hindrance to the manipulation of
the roller, and should be sufficiently adhesive to hold the
powder or metal firmly. A preparation answering these
conditions may be bought of the printing-ink manufacturer,
but for the benefit of those who would like to prepare their
own, we give the recipe :—
Middle varnish .............................. 2 parts.
White wax .................................... I , ,
Venice turpentine ........................... I , ,
Patent or other dryers ..................... Q. S.
Burnt umber, or similar pigment ......... Q. S
The whole to be ground together to form a dark brown ink,
which is found to be about the best colour for the gold
ground. If the ink be required for dusting a colour upon
it, a suitable tint must be chosen for the ink; for example,
a light blue ink would answer for dusting a blue or green.
Many printers grind up a tablespoonful each of stiff flour
paste and bookbinders' glue in a pound of ink made with
middle varnish, and find it answer their purpose remarkably
I 28 TH 3 GRAMMAR OF LITHOGRAPHY.
well. The principles underlying the composition of this
ink having been indicated, its composition may be safely
left in the hands of the intelligent printer.
Metal is, of course, applied differently to the powders.
Dutch metal, Planier metal, and Lane's metal may be
brought to a suitable size by cutting through the book which
holds it. The “laying-on * is performed by a boy, who,
removing the printed sheet to a convenient table, takes the
book or part-book of metal and lays it upon his left hand,
with its joint towards the right ; folding back the thin
upper paper, he turns it under the book, thus exposing the
leaf of metal. Taking the joint of the book between the
thumb and finger of the right hand, he dexterously turns
the sheet of metal over into its place on the printed sheet.
This is repeated until as much as required is applied, by
which time the printer will be ready for passing the next
sheet through the press. The boy now lays the newly-
metalled sheet upon the back of the one about to be
printed, and both go through the press together, which
brings the metal into perfect contact with the ink. The
metalled sheet is now set aside to dry, and the new one
treated as already described. When all are dry, as they
will be in a day or two, the superfluous metal may be
rubbed away with an old silk handkerchief, or other suitable
duster. It may be well to mention that this process is un-
suitable for work having fine detail, for which the bronze
powders, subsequently rolled, will be found to answer better.
Area/ go/ö/eaf is more difficult to handle, and, being so
exceedingly thin, cannot be applied immediately after print-
ing without the ink coming through ; consequently some
time must be allowed to elapse between printing and
gilding. The recipe, containing the wax will be found use-
ful for this purpose. We would recommend those who
have not had experience in manipulating leaf-gold to use
those books wherein the gold is slightly adherent to one
side of the paper, which it easily leaves when presented to
a more adhesive surface. There is also a thicker gold
in use among illuminators which may be found useful in
the best lithographic work. The following is the method
employed among gilders for applying the gold :—
The tools are—a CUSHION, TIP, KNIFE, DABBER, and
CUSHION, TIP, KNIFE, ETC. I 29
SoFTENER. The CUSHION is a kind of wooden palette,
about 9 by 6 inches, covered with Smooth leather, stuffed
with wool. The TIP is a peculiar kind of brush, consisting
of a thin line of badger's hair placed between two pieces of
cardboard. The KNIFE is similar in appearance to a
palette-knife, and is made to cut along One edge only.
The DABBER is a tuft of cotton wool covered with some
very thin silk. The SoFTENER is a long-haired brush, used
to remove the superfluous gold.
The manipulation is as follows: The leaf of gold is
first removed from the book, and laid upon the cushion by
means of the knife, which alone must touch it. This
operation requires some experience in order that it may be
properly performed. A gentle breathing under the leaf
should so lift it as to permit of the knife being inserted
under it. It is then lifted to the cushion, and flattened
upon it by a similar emission of the breath. The gold is
divided into strips, squares, or oblongs of suitable size for
the work by the aid of the knife. The “tip” being drawn
across the gilder's face or hair, and applied to the gold on
the cushion, will lift it off. It may then be laid down on
the prepared surface, and pressed gently into its place by
the dabber. The whole being covered, it is set aside to
dry, when the superfluous gold may be removed with the
softener.
136. THE DABBING STYLE of Lithography is one of the
processes invented by the pioneers of the art, but, from
being practised so seldom, an account of it will be new to
most readers of this treatise. Its object was to substitute
an easier and more mechanical method of producing fine
even tints for the laborious process of laying them in with
the point of the crayon.
The tools required are very few and simple. Circular
pieces of light wood, varying in size from that of a shilling
to a half-crown, or larger, about three-eighths of an inch in
thickness, are to have a groove turned in their edge. They
are then to be covered with fine kid leather, stuffed between
it and the wood with cotton wool, so as to make the surface
convex, tied round with thread, and the superfluous mate-
rial cut away. Across the back a light wood handle, six to
eight inches long, should be glued, so as to form a kind of
K
I 3o THE GRAMMAR OF LITHOGRAPHY,
light hammer. A clean ink-slab, a grained stone for trials,
some fresh gum-water containing a little ox-gall, a stick of
the ink whose composition is described in our Appendix,
sable pencils, a bottle of oil turpentine, and a small palette.
knife, will equip the artist for this kind of work.
Grind up a small portion of the ink with turpentine, put
it on one corner of the slab, and clean the rest. The stone
for receiving the tint must be a grained one, and must have
received the tracing of the work, as in other kinds of draw-
ing. First gum round the margin of the work, and any
part that is wished to remain white; and while this is
drying prepare the dabbers for use. Take a small portion
of ink on the largest dabber, and apply it as evenly as pos-
sible over a portion of the ink-slab. On this, charge one of
the dabbers that is intended to be used on the drawing ;
when it is thought to be fit for use, try it upon the trial-
stone, and if found to be so, commence laying in the tint,
with light taps, going regularly over the surface to be
covered, and avoiding striking twice in one place. When
the charge of ink is exhausted, it must be renewed in the
same manner. Any kind of extraneous matter must be
carefully avoided, as must also every unevenness of the
ink-charge, otherwise spots and marks will be created.
The first tint being satisfactory, the portion that is intended
to remain of that strength may be gummed over to pre-
serve it, and the remainder of the work completed in a
similar manner to that described for the sprinkled method,
in paragraph 83. Defects may be repaired with the needle-
point, and lights may be scraped as in chalk-drawing.
French lithographers, in employing this system, use a
different set of tools, which give more mastery over it. The
tints are laid in with a small india-rubber roller * without
seam. This should be charged very carefully, no ink being
allowed upon its ends, otherwise lines of ink will be formed
upon the stone. The tint having been laid, any part may
be graduated by using the ink upon india-rubber stumps of
various sizes suitable to the work. -
If only one laying of the tint (which, by the way, may
* Probably small seamless typographic composition rollers would
31I] SWer. -
' '. ENGRAVING ON STONE. . 131
be graduated), and no second gumming, be employed, the
drawing may be completed by the crayon, after the stone
has been set aside to harden the ink. Drawings of this kind
will stand scarcely any etching, and require very careful
printing. -
137. We have now described all the methods of pro-
ducing lithographs in one Colour, in which the application
of suitable ink or crayon to the surface of the stone has
depended upon the manipulative skill and knowledge of
form possessed by the artist. We have also described the
various methods of transferring. There still remain to be
treated of—Ist. Engrazing on Stone, as completing our
subject as far as lithography in one colour; 2nd. Zinco-
graphy, as an application of the principles of lithography to
printing from metal plates; 3rd. Chromo/i/hography, as an
extension of the same principles to printing two or more
colours upon one sheet of paper; and 4th. A hotography, as
applied to producing designs suitable for printing direct
from the surface of stone or zinc. Our next chapter will
therefore be devoted to Engraving on Stone and Printing
therefrom.
CHAPTER XVIII.
Engraving on Stone— Tools—Preparation of the Stone, Red and
Black—Tracing—Engraving—Corrections and Filling in-Dabbers
—The Printing.
NGRAVING ON STONE may be said to be con-
nected with Lithography only by the chemical
nature of the processes of printing; for in every other
respect it is an entirely distinct mode of reproduction. We
describe it in this place, however, in accordance with our
plan of first describing all those manual methods of Litho-
graphy in which one colour only is used.
138. ENGRAVING ON STONE is performed by Cutting
through a film of gum on or in the surface of the stone, and
filling up the incised parts with a fatty ink. The print-
ing is performed by a combination of the dabbing method
of copper/afe and the damping method of Ziffiographic
printing. Its advantages are — facility of production ;
. K 2 w
I32 THE GRAMMAR OF LITHOGRAPHY,
accuracy of drawing; minuteness of detail; and clearness
of impression. It is especially applicable to the reproduc-
tion of drawings by architects and civil and mechanical
engineers when drawn to a small scale; and being performed
by tools analagous to those employed by the architect and
engineer themselves, errors due to freehand engraving or
drawing can be entirely avoided.
139. THE Tools.-These will not involve the litho-
grapher in much extra expense, as he may make some of
them himself. A diamond point is undoubtedly a very
useful instrument, but it is expensive, and will cost as much,
perhaps, as all the rest of the tools put together. Added
to this, the beginner will find that it requires more practice
to use it properly, and will not equal the precision of the
steel points about to be described. From a tailors'
trimming warehouse, or elsewhere, obtain a packet of
strong needles, such as tailors use for sewing on buttons;
their cost is about 3d. From a toy-shop procure a com-
mon cane, about as thick as an ordinary lead pencil, and
cut it into pieces about three and a-half or four inches long,
rejecting the joints. These pieces should be cut square
agross, and a centre made with a point, as accurately as
possible. Having obtained access to a vice, oil the needle
and screw it up lightly in a horizontal direction, leaving
about a quarter of an inch of it projecting; adjust the
marked centre to the needle, hold the cane in a line
with the needle, and push it on until it reaches the
jaws of the vice; loosen the vice, screw up again,
leaving a little more of the needle to project, and push the
cane further on as before. Repeat this until nearly the
whole of the needle is pushed into the cane. By adopting
this method of supporting the needle in the vice, and
pushing the cane on to it by degrees, we are enabled
to effect our purpose without breaking the needle.
The cane may now be cut in the manner of a black-
lead pencil, and the point may be shaped upon an
Arkansas oilstone. Two conical points will be required,
one long and tapering—almost as much so as the original
point of the needle,_and the other more obtuse, for
stronger lines. For shade lines, rub a flat side on the
thicker part of the needle, and opposite to it make it round ;
PREPARATION OF THE STONE. I 33
this will make the point somewhat spoon-shape, and will
be found to have the most useful form for ordinary work.
The flat side is intended for the cutting part. When broad
points are desired, the eye of the needle may be left pro-
jecting, instead of the point. A very good tracing point
may be made by first breaking off about one-eighth of an
inch of the needle, and then rubbing the broken part on the
oilstone until it becomes round and without any angle
which would scratch the paper. When found to be free from a
tendency to scratch, it may be polished on a piece of leather
covered with crocus or red oxide of iron. The compasses
for engraving may be the best Lancashire spring dividers.
Choose two of each of the sizes suitable for the work.
Make one leg a smoothly-pointed cone,—the Smoother and
more pointed it is the better, as it will then hold to its
work, and may be kept to a smaller centre hole than it
would otherwise require. The other legs should be brought
to a V shape and spoon shape respectively,–the one for
fine lines and the other for enlarging them into shade lines.
For the smallest circles, a bow pencil with a stiff spring may
be used, by substituting a steel point for the pencil. The
points for the fine lines will require frequent sharpening in
the course of the work, and the oilstone must be constantly
kept by the engraver's side. Very nice but expensive
tools may be bought suitable for this class of work, but
those just described will produce as good a quality of
work as any.
140. PREPARATION OF THE STONE.-The instructions
usually given recommend a film of gum to be left upon the
surface of the stone. This may be regarded as impossible
in practice, for the film is certain to be thicker in some
places than others, and if any mode of wiping has been
used streaks will be left, over which the tool will partially
jump, and cause an uneven line when a fine one is
attempted. Fortunately it is unnecessary to leave any
gum upon the surface of the stone, all that is required being
to fill the pores of the surface.
The stone should have as perfect a surface as possible.
This being obtained, the stone must be dried and then
gummed, and dried again. The gum must not be too thin, but
it will be sufficiently thick if it dries upon the Stone with a
I34 THE GRAMMAR OF LITHOGRAPHY.
good gloss. If a little nitric acid be added to the gum
the subsequent coloured coating will be darker, but we
think that the acid makes the stone harder to cut. If the
stone has been warmed to dry the gum, it should be allowed
to cool again. The stone is now to be covered with water,
until all the gum has become dissolved ; if the gum was pre-
viously strained, this dissolving will soon take place, but if
the surface before moistening appeared rough, the hand had
better be passed over to feel if any specks are left upon the
stone. All the gum being now in a state of solution, the
stone must be placed in a slanting position, and plenty of
water poured over it to wash off the gum. It is best not to
rub the stone with the hand in this operation, because all
the gum that is in the stone should be kept there. When
the stone is dry it will be seen whether it has been
sufficiently washed, by its presenting an even appearance;
if it shines in streaks or patches it was not washed enough.
As in executing this style of work the lines are to show
up light on a dark ground, it will be necessary to colour its
surface. For a black ground rub in some best Paris black
until the ground is as dark as it can be made. The super-
fluous quantity must be removed with a soft cloth, or the
tracing will not adhere. A red ground may be laid with
zed cha/4, but be sure it is red, chalk, as sometimes common
Venetian red is substituted for it. Red chalk may be known
by being smooth to the touch, and will polish when rubbed
with the finger. Anything gritty or abrading must be
avoided in laying grounds, and any scratches made in this
operation will print. The red chalk may be used dry, but
it is preferable to use it in the following manner, which
produces a darker and more intense ground.
Take a little powdered or scraped red chalk and a little
water, rub it over the stone with the palm of the hand until
the stone becomes almost dry, or “dead” looking, but not
dry; it will probably be rather streaky, but that may be
removed by rapidly passing the fleshy part of the right hand
over the stone towards the left hand, on arriving at which,
wipe the right hand quickly upon it so as to remove some
of the chalk. Commence at the bottom edge of the stone,
and continue regularly to the top, wiping the right hand
upon the left at each stroke. By this operation, neatly and
TRACING, ETC. , - Í35
quickly performed before the stone becomes dry, nearly all
the superfluous chalk may be removed, and the stone left
with a beautifully smooth covering. If any specks are left
they may be removed by rubbing them with the finger or
with a piece of paper. -
Some engravers gum and wash the stone as before
described, and then lay on a wash of colour containing just
sufficient gum, and no more, to prevent the pigment being
removed by rubbing; but the previous method is preferable,
as there is less material to remove in the process of work-
ing upon it. -
The advantages of the red chalk ground as compared
with the black are, that a better tracing may be made upon
the former, and that sketching may be easily seen, if made
with a lead pencil.
141. THE TRACING is best made on the black stone with
paper prepared with chrome-yellow ; but on the red stone
it must be done with a paper covered on one side with
Paris black, the Ordinary black-lead paper not being suffi-
ciently intense. Where great accuracy is required, the tracing
may be neatly made in indian-ink, to which a little Sugar,
gum, and ox-gall have been added. The proportions may
be found by trial, and the mixture kept in a small bottle, if
a drop of carbolic acid be added. The tracing having
been made, is to be placed between damp sheets of paper
for a few minutes, so that the ink may become slightly
moist. When it is found to shine, it must be laid face
downwards upon the stone and passed once through the
press, when sufficient of the ink will have set off to enable
the draughtsman to see his work very well. This may
appear somewhat troublesome, but it must be remembered
that the retracing is accomplished at the press in such a
manner as to admit of no error of hand or eye, and con-
sequently some time is saved by having to refer less seldom
to the original.
I42. THE ENGRAVING is so simple as to scarcely require
description. It more resembles etching upon copper than
engraving, but as the term etching is in lithography appro-
priated to the acidulation of the stone, usage has decided
in favour of this mode being called engraving upon stone.
Let it be supposed that the subject to be engraved is a
136 THE GRAMMAR OF LITHOGRAPHY.
piece of machinery. Begin by determining the junction of
the circular arcs with the straight lines, marking them with
a pencil. As it is easier to join straight lines to circular
arcs than the reverse, it is preferable, in most instances, to
put the curves and circles in first, with the compasses. In
doing this care must be taken that in making small circles
the stationary leg of the Compasses must be slightly longer
than the moving one, or it will be apt to slip out when
making the cut with the other leg. A sharp point, practice,
and perseverance will enable the young engraver to do this
without making a large centre-hole. The circular portions
having been executed, proceed to the straight lines by the
help of the parallel rulers and a point not too fine. The
facility with which thin lines may be made in this process
generally tempts the student to employ them for outlining
the subject. This is a mistake. They should be reserved
for tinting and shading, especially in those parts that
approach the light. When the whole has been firmly
Outlined, the compasses having the spoon-shaped point
may be used for thickening the shade-lines, and a similar
point, with the ruler for a guide, for strengthening the
straight lines on the dark side.
The thin, taper, and very sharp point may now be used
for the delicate lines of cylindrical and other shading next
the light, deepening the lines, and exchanging the point
for a broader tool as the darker portions are reached. A
little practice, and the study of good examples will teach
the student more of this work than can possibly be con-
veyed by writing.
The engraving having been completed, the centre-holes
and other parts that must not be printed may be stopped out
with a little acidulated gum-water, coloured with any con-
venient pigment to enable it to be seen, and applied with
the point of a sable pencil.
In working, avoid the condensation of the breath upon
the Stone, which may cause the gum in the stone to spread,
and injure the more delicate lines. For a similar reason,
guard the stone against the reception of any kind of
mucilaginous matter.
I43 CORRECTIONs in this kind of work must be avoided
as far as possible. If it be imperative that any should be
CORRECTIONS. I 37
made during the progress of the work the part must be
scraped out as smoothly as possible, and a new ground
laid. This may be done by painting over the place neatly
with the ordinary cake water-colours of any convenient
tint. Red chalk or light red will do very well, but it must
be understood that this, though an effectual “stop,” will not
be so pleasant to work upon as the original ground.
If the work has already been inked in, the scraping must
be deeper, because the ink penetrates the stone below the
incised line. Where practicable, it will be best to polish the
part with the Water of Ayr stone, which leaves a better
surface than the scraper. The stone may then be dried,
gummed, &c., as described in the preparation of the stone
in the first instance. If the correction consist of an
addition only, the stone will merely require to be washed
of superfluous gum and the surface coloured previously to
the addition being made. -
Let it be supposed that the work is finished; it must
next be made ready for the printer. Take, upon a soft rag,
some thin printing ink, boiled oil, thin varnish, tallow, or
in fact any kind of grease, and rub it into the lines forming
the engraving. Though any of these substances will answer
the purpose, yet, in practice, thin printing-ink will be found
most convenient, because it is always at hand, and shows
distinctly when the lines have been filled, which is very
important. After being sure that every line has received
some ink, remove the superfluity from the stone, and cover
it with gum-water. The ink has most likely tinted the
surface of the stone, but if it be rubbed with a piece of
printers' blanket or other woollen cloth and gum-water this
will in most part be removed, the more refractory parts
usually yielding to the fingers. There is no need for being
alarmed, for the lines are below the surface, and the grease
will hold firmly only to them, the surface still retaining its
preparation of gum. Any specks of grease formed by the
dirt from the engraver's hand or other cause having had
more time to penetrate, will be more difficult of removal,
but even they will succumb to the influence of a little gum
and acid applied with the “stump.” The scraper should
not be used for this purpose if it can be avoided, as any
unevenness of surface is apt to catch the ink in printing
138 THE GRAMMAR OF LITHOGRAPHY.
Slight scratches, or a tendency to tint, may be removed by
rubbing it with a little putty powder, or rouge, applied with
gum-water on a piece of buff leather or flannel.
I44. DABBERS are used for inking instead of the rollers
used in other styles of lithographic printing, and may be
made as follows:—Take two pieces of wood of a convenient
size for the stone to be printed, and about two inches thick;
the underside, which must be quite flat, should be covered
with the coarsest and thickest printers' blanket, strained
over and tacked to the sides. Cover one of them in a
similar way, and the other with a piece of fine blanket.
Charge the coarse one well with thin ink, and the fine one
with stiffer ink, and work it about on the slab until only a
small quantity remains on its surface, and it will be fit for
use, its office being to clear the stone of superfluous ink.
I45. PRINTING.-Damp the stone as if for printing with
the roller. Take the coarse dabber, well charged with thin
ink, and apply it to the stone, with pressure from the
shoulders, at the same time twisting it about until the stone
is gone all over, when the dabber may be moved about in
circular strokes to remove some of the superfluous ink.
Putting this upon the ink-slab, take up the fine dabber, and
use that in the circular, wiping manner only. The stone
should now be pretty free from surface-ink, but a wipe with
the damping-cloth will finish it. If the stone become dry,
it must again be wetted. After the dabbers have been got
into working order, the fine one will effectually clear the
Stone without the subsequent use of the damping-cloth, and
will do it more clearly and effectually. The position of the
printer should be such as to avoid all chance of any dirt
falling from the ceiling, &c. If the part of the room over
his head be without ceiling, some sheets of paper should be
nailed up to form a temporary ceiling, because if any grit
get upon the dabber, the stone may be scratched, and the
scratch inked in at the same time. This may in part be
avoided by the use of gum in the damping-water, which
will be found an excellent precaution, because the surface
of the stone being submitted to more friction than in the
use of the roller, the coating of gum is sooner removed, and
the stone more susceptible to the effect of scratches. The
stone having been fully inked in, may be etched all over
ZINCOGRAPHY, ETC. - I 39
with weak etching-water, to finally remove any scum arising
from the first inking, and afterwards gummed and dried.
The other essentials in printing are an elastic backing of
printers' blanket as described under backing-sheets, and
some damped paper. The printing, when all is in working
order, may be carried on nearly as quickly as when using
the roller. The roller is entirely unnecessary in printing
from engraved stones, though sometimes recommended for
taking off the superfluous ink, in doing which it usually
takes a portion of the ink out of the lines as well. This
will be understood when it is considered that in rolling, the
surface of the roller in contact with the stone is successively
lifted nearly perpendicularly, while the action of the fine
dabber is almost exclusively a wiping one, and consequently
leaves the ink in the lines. -
CHAPTER XIX.
Zincography. Its Principles—Scraping, Polishing, and Graining the
Plates—Re-preparation of Old Plates—Etching Recipes—Transfers—
Printing. -
HIS important branch of the art will require only a
short chapter, not because we underrate its merits,
but because nearly all that has been said on drawing and
printing on stone, is equally applicable to working on metal
plates, and consequently no necessity exists for extending
the previous instructions on those points.
146. THE PRINCIPLES OF ZINCOGRAPHY are almost
identical with those of lithography; and all ordinary styles
of drawing may be performed upon zinc plates instead of
on stone; the chief distinctions being that blacklead
pencil-marks are apt to roll up in printing, and that the
two- and three-line lettering-gauges used by copperplate
engravers may be used to mark direct upon the zinc.
The materials used are the same, and the mode
of printing is identical. Zinc plates have the advantage
over large stones, in being less in first cost, and being much
more portable. Hence, they are used very extensively in
many printing establishments for a variety of work; the

140 THE GRAMMAR OF LITHOGRAPHY.
chief among which, it may be mentioned, are large plans
and wall-advertisements. As neither ink, crayon, nor gum
penetrates the zinc in the same manner as they do stone,
the printing is more liable to accident, and requires
great attention and skill on the part of the printer.
One very marked difference between the zinc and stone, is
that the former is subject to oxidation by contact with a
moist atmosphere. For this reason, great care must be
exercised in drying the plates off quickly after their pre-
paration for drawing, and during the printing, to prevent
the gummy preparation from being actually removed. The
principal difference in the treatment of the zinc plates by
the printer, as compared with lithography, is the substitu-
tion of infusion of nut-galls for nitric and hydrochloric acids.”
I47. PREPARATION OF THE PLATES. —Zinc plates may
be obtained ready polished or grained, of the dealers in
lithographic materials; but as their subsequent preparation
will in all probability have to be done at home, it will be as
well to describe how they may be made ready for use after
being purchased, as they may sometimes have to be, of the
metal-dealer.
GAUGES.
I8 I7 I6 I5 14 13 12 II Io 9
Zinc plates may be had in almost any size and thickness,
but our illustration shows the strengths most frequently in
* In a note to par. 91 we gave Mr. M. Hanhart's view of the nature
of the drawing in combination with the stone. He holds a similar
yiew in regard to the drawing on zinc. The theory is shortly this :-
That the drawing-ink and chalk form a metallic soap with the zinc
plate. That this metallic soap has a great affinity for the zinc, so that
the ink on the roller has little influence in pulling it off the plate.
That the brown insoluble compound produced by the action of the
nut-galls upon the plate, resists the printing-ink in a similar manner to
the gum upon the stone. . That these two opposite forces acting at the
same time enable the printer to take a larger number of impressions
than could possibly be the case if the only principle involved was that
of the antipathy of grease and water. -

| PREPARATION OF THE PLATES. . . . 141
use, and the numbers by which they may be ordered of the
dealers in litho materials.
The zinc must be of the quality known as “best rolled Vieille
Montagne.” It may be made into convenient sizes, by cutting
a groove with a V-pointed chisel and hammer, in the direc-
tion required, but the cut must be quite straight across the
whole. It is only necessary to cut about half through, when,
by bringing the groove just over the edge of the table, the
plate may be broken through by a sudden pressure on the
part overhanging. The rough edges and corners may now
be taken off with a file. Next, place it on a stone in the
press, smoothest side uppermost, lay on a few sheets of
paper, and pull through under heavy pressure. If the
plate is found to be generally flat, it may still further be
tested by drawing some pencil-lines across the plate with an
HB lead pencil. If the plate is fairly level, these lines will
show on the paper when pulled through again. Convexity may
be remedied by putting some blanket or soft paper on the
stone, and pulling through the press with convex side up,
with light pressure first, increasing it gently until the effect
sought is obtained. If there should be any bruises in the
plate, it may be sent to a coppersmith to remedy them.
The surface of the plate as it comes from the rolling-mill
and as usually sold, is contaminated with scale and Oxide,
which must be cleared off. This is done by removing the
surface of the zinc by means of a sharp scraper. The
scraper used by the cabinetmaker will answer the purpose.
It should be set in wood to get a convenient “grip " upon
it, and may best be sharpened by burnishing its edge,
holding the burnisher in such a manner that it may be at a
right angle to the scraper. This will, if properly done,
produce a good Scraping edge on each side. A tool that
will answer still better may be made of an old smoothing-
plane, the face of which has been somewhat removed at its
front part, so as to bring the knife more upright. The
knife must be ground at a very obtuse angle, so as to pro-
duce more of a scraping than a direct, cutting action. If
the surface be removed by this tool, it will be done more
evenly than by the other kind of scraper, because the wood of
the plane prevents the knife sinking into any hollow places.
The plate having been scraped level all over, is to be
142 THE GRAMMAR OF LITHOGRAPHY,
treated as described for stone with pumice and snake-stone.
However, unlike stone, all drawings on zinc, whether in ink
or chalk, should be executed on a grained surface, to pro-
duce which proceed exactly as in graining a stone, substi-
tuting, however, a muller of zinc for one of stone. A plate
about 24 by 18 inches will take a man an hour or more to
grain, because the zinc is less easily abraded than the stone.
When the plate is done, wash it well, finish with hot water,
and rear it up to dry off quickly, so as to prevent Corrosion.
If a plate has been used already, it may be prepared
anew in the following manner. Ist. Remove the ink with
spirits of turpentine. 2nd. Wash it with a strong alkali,
such as pearl-ash or caustic soda. 3rd. Wash with water.
4th. Pour over the plate for two or three minutes some of
the following dilute acid:—
Sulphuric acid (oil of vitriol) ... I part.
Hydrochloric acid (spirits of Salt)... I ,
Water tº e g ... 24 partS.
5th. Wash in plenty of water. And 6th, Regrain.
Some persons prepare the plate by washing with tur-
pentine, followed by a sharp acidulation with sulphuric or
other acid, and then wash the latter well off.
148. PRINTING FROM ZINC.—The drawing having been
done precisely in the manner described in our chapters on
drawing on stone, is handed to the printer, who etches it by
applying the following mixture with a flat Camel-hair brush:-
Decoction of nut-galls ...: ... # pint.
Solution of gum (thickness of cream) # ,
Solution phosphoric acid ... ... 3 drachms;
letting it stay on half a minute or more according to the
nature of the work. To make the decoction of nut-galls,
steep 4 oz. in 3 quarts of water for 24 hours, and then
boil up and strain.
To make the solution of phosphoric acid, put some sticks
of phosphorus into a bottle, taking Care not to handle
them with the fingers. Pour water upon them, but not
quite sufficient to cover them. Close the bottle with a cork
having a notch cut out of its side to admit air. Set the bottle
aside for a few days, and the air will oxidize the phosphorus,
making phosphoric acid, which will be dissolved by the water,
and the solution in that time will be strong enough for use.
PRINTING FROM ZINC. * 143
Another etching solution which is in use in Germany may
be made thus:--I} oz. of bruised nut-galls is to be boiled
in I}lb. of water until reduced to one-third ; strain, and
add 2 drachms of nitric, and 4 drops of acetic acid.
Though these solutions are, no doubt, well suited to the
purpose and well recommended, we prefer in our own
practice the most simple formulae when we find them answer
the purpose as well. Thus in this case we use the simple
decoction of nut-galls, and do not think there is any need
of complicating it by additions of other acids.
After etching, wash off, gum in, dry by the applica-
tion of heat, and then proceed as follows.
Wash off with turpentine without removing or moistening
the gum, and roll in the plate until quite black. Now
sprinkle it with water, and continue rolling and throwing
on water until the plate becomes clean and the work rolled
up. We find this is safer in the first instance than washing
out in the ordinary way. -
If the work rolls up weak, it may frequently be much
strengthened by rubbing up with thin ink and plenty of gum.
The lay for printing may be made on the zinc plate by
means of the edge of a silver coin. It will be remembered
that a piece of lead was recommended for stone.
The plate may be supported during printing on any
convenient surface, but perhaps the most convenient is a
block of rather hard wood, such as beech (made quite level),
to which the plate may be screwed.
The transfer method may be applied to zinc in precisely
the same manner as to stone, but after washing off the
transfer-composition the plate must be etched as before
described. It is not necessary in the transfer process to
grain the plate, as a polished one will do equally well.
The polishing may be begun by pumice-stone and water,
and finished when dry with No. O emery-cloth, or it may
be finished with emery and turpentine, which must be well
wiped off and then washed with benzoline.
In washing out subjects on zinc, add a little oil to the
spirits of turpentine. *
Printing from zinc is conducted in exactly the same way
as from stone, only greater precaution must be taken to
have every appliance and material in good working order.
£44. THE GRAMMAR OF LITHoGRAPHY.
In consequence of the adhesion of the ink forming the
drawing being less complete than in lithography, where the
stone is more porous, it is not allowable to use ink contain-
ing strong varnish. The thinner the ink can be worked,
consistently with a good quality of impression, the better;
but at the same time it must be understood that the gum
does not adhere so firmly to the metal, and judgment
must be used in preventing the spreading of the ink.
CHA PTER XX.
CHROMOLITHOGRAPHY. General Conditions—The Key-stone, how
Prepared — Set-off, or Feint; Different Modes of Preparing—
Order of the Colours—Bronzes—Dusted Colours.
N treating of Chromolithography, we propose first to
point out those conditions and processes which are
common to all the various methods of producing coloured
effects; then we shall give a description of simple colour-
work, suitable for plans, labels, show-cards, &c.; next, of
tinted lithography, which is used in subjects of more artistic
character; and, finally, that combination of the former
methods which is usually denominated Chromolithography
or Oleography, when applied to the reproduction of artistic
subjects. In this manner we shall have occasion to intro-
duce some things in the first part which it will not be neces-
sary to repeat in the other two, of which the methods of
making sets-off and registering the sheets may be cited as
examples. •
I49. GENERAL CONDITIONS.—It may be stated generally
that all lithographs in two or more colours are printed
from two or more stones. That being so, it will be seen
that some method must be employed, first, to get a correct
trace of the subject on the first stone made upon the second ;
and, Second, of being able, in printing, to lay the sheet So
Correctly in position that the second printing may fall
exactly into its place upon the first. To attain the first of
these conditions we must have what is called a key-stone.
I5o. KEY-STONE.-In the ordinary run of show-card and
* }
KEY-STONE. I 45
label-work this stone is used for finishing, but in work of
more artistic character it is usual to employ this stone as a
means of getting all other colours in their place, and generally
to omit it in printing. It is necessary, in making this key-
stone, that there should be lines to indicate either the junc-
tion or separation of every colour from each other, wherever
any kind of distinction has to be observed. In show-cards
it is usual to edge nearly all the colour with an outline, and
this is then all that is necessary for the purpose of a key-
stone; but circumstances may occur in which it is necessary
to bring two printings into juxtaposition without the inter-
vention of a separating line of black or other colour.
To make our meaning more clear, we will cite a familiar
and simple example. Suppose it to be required to have a
line of letters in which the upper half is red and the lower
half blue, with a stroke of white to divide them. In this
case it would be almost indispensable to make in the key-
stone a black line, to represent the white one in the finished
print ; but for this purpose it would not be necessary to
make a distinct key-stone, because such a small matter as
the line we have been describing might be taken out of the
stone after the sets-off were made. If the colours were
intended to soften into each other, or to overlap each
other to produce another tint, the line would then be
used as a mark whereat to stop the solid colour, the soften-
ing effect being continued beyond it on each side.
The case we have cited involves nothing that cannot
easily be comprehended ; but when we come to an example
of a key-stone to be used for the imitation of a landscape,
the uninitiated will encounter nothing but a hopeless mass
of confusion, as even the sky will, if cloudy, be found to
contain a number of lines that only tend to render the
complexity greater.
In our chapter on “Miscellaneous Processes” we have
given methods of tracing which may be adopted in making
key-stones, and it is unnecessary to repeat them in this
place. We may, however, take this opportunity of inform-
ing the student that he must on no account attempt to
make a key-stone in a hurry, such a course being certain to
end in confusion. He should take every possible care
to make the key-stone thoroughly trustworthy, studying each
L -
I46 THE GRAMMAR OF LITHOGRAPHY,
bit as he proceeds, so as to find out the best mode of pro-
ducing the imitative effect required. -
151. THE SET-OFF, or FAINT.—By this is meant the trace
produced when an impression from the key-stone is laid down
upon another stone and pulled through the press. Now, the
one essential condition of this is that the trace, set-off, or
faint impression, shall be exactly of the same dimensions as
the original from which it is made ; for if it be not, it is
quite evident that impressions from the two stones will not
fit each other when printed upon the same piece of paper.
To ensure this, attention must be given to the following:—
1st. The impression from the key-stone must be pulled
upon dry, well-rolled paper. 2nd. The key-stone should be
allowed to become dry before the impression is taken, so
that the chances of the sheet absorbing moisture, and
thereby expanding, may be reduced to a minimum : and
3rd. The impression when taken should be laid down upon
the stone as soon as possible, so as to prevent the sheet
either expanding or contracting by any change in the state
of the atmosphere.
We think that a sheet of good, thick, cream-wove letter-
paper, that has been well rolled, is as suitable as anything
that can be used for this purpose, because the hard size
which it contains prevents in some degree the absorption
of damp from the stone. If the set-off should, for any
reason, be required to be very strong, the print may be
treated in the style described in the fifth part of par. 130.
In a general way, however, it will be necessary that the
set-off shall not be liable to roll up among the new work,
to prevent which several expedients may be resorted to ;
but the following one possesses every advantage in practice
and is so simple that we need give no other. Take the
strong impression upon well-glazed paper ; place on it some
finely-powdered red chalk; then take up the sheet by the two
hands, and alternately raise and lower each hand until every
part of the ink has been brought into contact with the red
chalk, which may then be run off and set aside for future
use. Now hold the sheet by one corner, and tap the back
of it, to shake off the non-adhering powder. The sheet
thus prepared may be laid upon the stone and passed
through the press, when sufficient of the red chalk will
SEQUENCE OF COLOURS. 147
remain upon the stone to answer the purpose of the artist;
but when it is passed over to the printer it will wash away,
much in the same manner as a red tracing. It is essen-
tial that red chalk should be used for this purpose, because
no other substance that we are acquainted with adheres so
well to the stone. . . .
I 52. THE ORDER OF THE, COLOURS. — The order in
which the colours should succeed each other in the course
of printing is a matter of much importance, not only as re-
gards the effect of the finished print, but as regards economy
of time. In a case in which bronze powder, metal, or any
dust colour, is used, this Ought to precede the other print-
ings. The reason of this is obvious ; viz., that an ordinary
printing may succeed a dusted one almost immediately,
but if it were required that a dusted one should follow an
Ordinary one, it would be necessary that the latter should
be so thoroughly dry that there should be no tendency in
it to hold the bronze or other powder colour. When the
bronze must be introduced after other printings, it will be
found almost imperative to prepare the sheets with some
semi-transparent powder, such as talc, rubbed on and well
dusted off, to prevent the adhesion of the bronze, which
would otherwise attach itself to any part that might not be
thoroughly hardened. t
There is another order of succession, which is based
upon the fact that while some colours are opaque others
are transparent. As a rule, the transparent colour should
succeed the opaque one, because the former allows the
latter to be seen through it, and is modified by it, for which
reason the transparent colours are usually reserved for the
finishing ones.
Further, it may be stated that another order may depend
upon the hue of the colour desired ; thus, for instance, a
Prussian blue over a chrome yellow might make a dark,
cool green, but the reverse order would give a warmer and
lighter green. For the same reason a crimson-lake over a
blue yields a richer purple than the opposite order would give.
For positive colours it may be stated, as a general rule,
that they should succeed each other as follows:– Ist,
Bronzes or Dusted Colours ; 2nd, Blues; 3rd, Reds ; 4th,
Yellows ; and, 5th, the Outline or Finishing Colours.
T. 2
148 THE GRAMMAR OF LITHOGRAPHY.
In the matter of transparency, the student may observe
that those colours which are dark in the mass are usually
transparent and fit for finishing with, while those which appear
much the same in the lump as upon the paper are opaque.
But there are some exceptions, notably raw sienna and
emerald-green. In this connection it may be stated that,
though the opaque should generally precede the transparent
colours, there are instances in which the reverse order is
to be preferred.
Having indicated the general principles upon which the
order of colours may be arranged, we must leave the skill
and judgment and the experience of the lithographer to
find out and master the rest, as the circumstances of each
piece of work vary so much that no precise rule can be
given. In another place we shall have more to say respect-
ing the pigments most suitable to the purpose, and will now
dismiss this part of the subject and pass On, in the next
chapter, to the different modes of registering.
CHAPTER XXI.
REGISTERING. By Lay—By Needles—By Fixed Points—By New
Method — Registering-Machines — Influence of Paper — Dry
Paper—Damp Paper—Drying-room—Surface of Stone—Dusting
to prevent Set-off.-Application of Principles. -
EGISTERING.—153. By this term is understood the
adjustment of an already printed sheet to the stone,
in such a manner that the further work about to be printed
on it shall coincide with the spaces intended for it.
This is one of the most important matters that can
engage the attention of the chromolithographer, for it is
quite clear that all the care of the artist, having this end in
view, will be thrown away if the printer fails to make the
Colours fall into their proper places.
There are several methods more or less adapted to
obtaining this important object, but it must be observed
that in each case, the key-stone must have applied to it
appropriate marks adapted to facilitate the Subsequent
operations. and that this preparation varies somewhat in
REGISTERING BY LAY. I49
each method. To facilitate reference, we will number these
methods, commencing with the simplest —
I. By Zay.—This, in many hands, is a very effectual
means of obtaining register, and is the simplest possible;
but the size of the paper to be used should be determined
before the set-off is made. It is true that this is not abso-
lutely essential to the method, but it greatly facilitates it in
every way. The size of the paper having been fixed upon, a
“lay,” corresponding to the edge of the paper, is made on
the stone, by which the subject is brought into proper
position upon the sheet, and this lay is then drawn with
fine lines in lithographic ink in such manner as to print
upon the Sets-off and to remain all through the printing. A
set-off is now to be made for each colour, and this “lay”
mark is to be made permanent. If the colour to be printed
be a dark one, the mark may be carefully inked over at the
same time that the rest of the work is done ; but if the
printing is to be a light colour, some method must be
devised of making this mark not only indelible, but dark,
so as to be readily seen by the printer; and this may easily
be accomplished as follows.-Cover the place with gum,
through which, when dry, make scratches to coincide
exactly with the marks they are intended to replace. With
a pen and common writing-ink, go over these scratches,
and when dry, if the gum be washed away, well-defined
marks will be left that will last all through the printing.
In using this system all that is necessary is to accurately
adjust one corner and edge of the paper to these marks all
through the printing ; but care must be taken that the paper
possesses well-defined corners and edges. If the paper
should be found to expand a little, a good workman will, by
laying the sheet a little over the mark in the direction
required, be able to make the necessary allowance to
preserve the register. In many kinds of work this system
will be found all that is required, and indeed in many houses
scarcely any other is used.
II. Ay AVeedles.—In this mode sufficient marks are usually
to be found among the work to answer the purpose of
registering; but occasions may arise in which a small dot
or cross may be made near the centre of the shorter edges
of the paper on opposite sides of it. - f
I5o THE GRAMMAK OF LITHOGRAPHY.
. To take an example: let it be supposed that the border
line of a subject be chosen for registering by : make, with a
sharp-pointed scraper or other convenient tool, fine holes
in any two opposite corners of the Set-Off upon the stone.
Some registering-needles must now be provided, and may
be made thus –Two pieces of wood or cane about 1%
inch long, of the thickness of a blacklead pencil, are to have
inserted in each of them a moderate-sized sewing-needle,
with about an inch of it projecting. If the point be
inserted in the wood and the eye end broken off and
repointed, the tool will be better. Another similar piece
should be provided with a needle of the same size having
its point preserved. -
Thus equipped, the printer may proceed. The sheet
printed first must be pricked through exactly at the
corners which are intended to be used, and which corre-
spond to the holes in the stone. Through these holes in
the sheet the needles are to be inserted from the back. The
printer now takes the sheet, contriving to hold the needles
and the paper at the same time, and, inserting each point
into its proper hole, allows the sheet to drop from his
fingers on to the stone. He then holds the sheet in
position with his little fingers, while he withdraws the
needles, and afterwards carefully withdraws his fingers; .
thus leaving the sheet, if the operation has been carefully
performed, in its proper position upon the stone. When
it is required to make allowance for expansion of paper, the
needles may be inclined in the direction necessary to correct
the error.
Though this system is, perhaps, the one most generally
employed, we regard it as little superior, in point of
accuracy, to the one first mentioned, while it is certainly
much slower; but when, as is sometimes the case, the paper
is larger than the stone, it is a very useful method.
III. Ay Aixed Points.-The previous method may be
varied by setting the two needles in a lath of wood, so as
to correspond with the holes in the paper and the stone.
With a lad to assist, this way will be found a quicker one
than that of using the needles separately, but will possess
the disadvantage of not permitting them to be inclined in
opposite directions, as is sometimes necessary.
REGISTERING BY POINTs. I5 I
We have an opinion that a perfect method of register
should admit of the following conditions —a, That it should
depend for its exactitude upon the sense of touch : 5,
that the guides should be attached to the stone itself: c,
that the guides should be capable of being moved so as to
accommodate any expansion of the paper Subsequent to
the first printing: d, that there should be no necessity for
pricking holes in the sheets by hand, as that introduces an
element of error.
We are happy in being able to describe two methods by
which this can be accomplished.
IV. By Aoints in Stone. —Get the following materials
and tools : —Some lengths of lead such as is used for ba-
lancing ivory and bone-handled table-knives;* a drill that
will make a hole of the same diameter as the lead ; a brace
for rotating the drill ; some steel music wire, about 22 of
the Birmingham wire-gauge ; a small chisel or a broken
palette-knife ground off Square and sharp ; a small wood
mallet ; and a fine flat parallel file, about one inch wide,
with safe edges, but no handle.
Thus equipped, the lithographer may proceed. We will
for the present suppose that the stone and sheet to be
printed are about equal in size. The case of a stone larger
than the sheet will be treated of subsequently. -
At the centre of each end of the key-stone, about half
an inch from the edge, drill a hole about half an inch deep ;
cut off a piece of lead five-eighths of an inch long, and
with the mallet slightly taper one end. This must now be
driven into the hole, and the projecting part cut level with
the stone by means of the chisel. A piece of the wire is to
be slightly pointed with the file, and then a notch made
about one-fourth of an inch from the point at which it may
be broken off. Drive this into the lead until only one-six-
* If there is any difficulty in obtaining these pieces of lead, they
may be made in the following manner —Procure a piece of straight
brass tube, 3 in. in diameter, and about 3 in. long. With a fine saw
cut it entirely through, lengthwise, and carefully remove the burr from
the inside where it has been cut. Holding this piece of tube in a
pincers or hand vice in such a manner as to close the slit, rest it on
something to close the bottom end, and pour into it some molten lead.
When set, the tube may be loosed, and will by opening a little at the
slit, permit of the lead cylinder being pushed out. -
152 THE GRAMMAR OF LITHOGRAPHY.
teenth is left projecting. Over this place a bit of stout
writing-paper, and with the safe edge of the file resting
upon the paper, bring the bit of wire to a fair point.
In the same manner treat each end of each colour-stone,
as far as the insertion of the lead goes, but put in a point
at one end only.
In taking the impressions of the key-stone for the set-off,
simply lay the sheet to a mark; but before it is lifted from
Zhe stone, press the finger on the points so as to make them
puncture the paper. Each set-off will thus be pricked exactly
in the same manner. In laying these upon the stone, one
hole is to be placed over the point, and the other hole over
the lead without a point; near which end a little strong gum
should be placed, so as to temporarily hold the sheet. The
set-off sheet having been submitted to sufficient pressure
(taking care that the scraper only acts upon that part of the
stone between the points), a hole must be accurately
pricked into the lead through the hole in the paper. This
having been properly performed, the stone is ready for the
artist, as the insertion of the second point may be omitted
until the stone is placed in the printer's hands for proof,
when it may be inserted as previously described.
In the actual process of printing the first impressions are
laid to a mark, and the sheets punctured as described
for taking the set-off impressions. The subsequent ones
are obtained by laying the holes over their proper points,
the printer being able, with very little experience, to feel
the points through the holes with his forefinger. Any ex-
pansion of the sheet can be provided for by driving a small
dull punch into the lead alongside the point, which is
thereby shifted in the opposite direction, and will so remain
until again moved by similar means.
If it be necessary to use stones larger than the sheet of
paper, it is clear that it will not do to drill a second hole
far up the stone, as that would probably spoil it for future
use : in that case, the mark, instead of being made upon
the lead, must be made upon the stone, and a cross
scratched through it with lines about one inch or more
long. For a point, get a piece of thin brass, about three-
fourths of an inch square, and let the tinman tin it at the
back, and drill a hole to match the wire near one corner,
REGISTERING BY NEW METHOD. 153
and solder it (the wire) in, letting it stand one-sixteenth
high, as before. By means of a blowpipe and a piece of
shellac this may be firmly attached to the stone, the point
being set at the junction of the cross scratches. This point
may be slightly moved at any time by warming it by means
of the blowpipe. When done with, it may be removed
altogether by Setting a square-edged punch or dull chisel
against it, and giving it a sharp tap with the mallet.
Some of the few drawbacks to this method of registering
may be got rid of by drilling the holes in the side edge of
the Stone and using only lead foundations for the points.
If they are put, say, 14% in. apart, they will serve for crown,
post, royal, and demy folios; and larger stones may be
similarly treated for larger sizes.
Where the cardboard or paper is too small, pieces of
paper to carry the point-holes may be gummed to the edge.
These pieces of paper can be torn off when the printing is
Completed. - *
V.—We have used with considerable success the follow-
ing method, which enables the printer to see as easily what
he is doing as in the simple way described first. Where
there is sufficient margin, it is not only the easiest but much
the quickest system.
Two pieces of brass, about three-fourths of an inch long,
and shaped like the letters I and L respectively, are to be
tinned at the back as before described, and fastened to the
stone with shellac, corresponding to the edge and Corner
of the paper in the following position
–
the L-shaped one being towards the tympan. The Scraper
must be set in its box in such a manner as to avoid these
brass register-marks when the impression is being taken.
A pair of these having been fitted to the keystone, the
set-off sheet is to be carefully set in the corner of One and
against the other, and the impression taken. Similar marks
must be put to each stone, and the set-off sheet being laid
against them exactly as at first, an exact register must be the
result when the paper is applied to them in a like manner
in the printing,
I54 THE GRAMMAR OF CITHOGRAPHY.
With good paper, having clearly-cut edges, and a fair
margin, this method is simply the perfection of registering.
In some of the processes now described, it not un-
frequently happens that in the attempts to lay the paper
in situ, it becomes slurred. This may be avoided by get-
ting an assistant to keep the paper from the stone by means
of a lath of wood, which is to be drawn away when the
sheet is adjusted.
Registering-machines have also been employed by some
lithographers with Success, and though they are not usually
on sale by dealers in lithographic requisites, they may be
had to order. The annexed figure shows one of these con-
trivances adapted to a stone. The mode of using it will
easily be found out on examination, but it may be as well
just to point out its general principle.
It consists, in the first place, of a frame adapted to the
stone by means of Set screws, which answer the double pur-
pose of securing the frame to the stone and adjusting it in
position. To the frame which surrounds the stone is
hinged a lighter One, upon which two adjustable slides
carry points, which can be covered up by thin flaps of brass.
While the stone is being rolled in, the lighter frame is
thrown back Out of the way ; in which position the sheet
may be laid upon the points and the flaps placed over
them to keep the sheet upon them. The inking having
been completed, the frame with the sheet upon it is turned
down upon the stone, and the paper held in position with
one hand while the frame is thrown back again with the
other. The tympan being then lowered, the operation is
completed by taking the impression.
We cannot say that these machines will not work pro-

INFLUENCE OF PAPER UPON REGISTER. I 55
perly, but the other methods being so much more simple
and applicable to all sizes of Stones, machines are very
rarely to be met with in use.
154. THE INFLUENCE OF THE PAPER UPON THE REGISTER
is frequently very great, and we will point out some of the
conditions necessary to Success in registering.
I. A after for colour-printing must be zwell rolled, so as to
stretch it as much as possible. This is very important,
because printing-paper as received from the mill, under
ordinary pressure used in litho-printing, will stretch suffi-
ciently at the first pull to make “slurring” almost inevitable.
II. The temperature and hygrometric state of the printing-
room must be maintained as equa/ as fossible, as it is no un-
common thing to find the sheets printing in register one
day and out the next, in Consequence of a wet day succeed-
ing a dry day, or zice versá. This effect is sometimes set
down by the printer to the action of the press in stretching
the paper; but where that has been well rolled, such is not
the case. Paper that has been subjected to the rolling
machine sufficiently to glaze it, will not stretch under the
lighter pressure of the lithographic press. The influence,
however, of the damp Stone and a moist atmosphere is very
considerable. It sometimes happens that the sheets ex-
pand in width instead of in length ; in which case it cannot
be the action of the press, and the cause must be sought
elsewhere, and will be found to be due to expansion by the
absorption of moisture, either from the air or the stone,
or both combined. If a sheet of writing, printing, or draw-
ing paper be taken, and a strip be cut from its length,
another from its width (both being of one size), then dipped
in water for a second or two and laid upon the table, it will
be found that one will become larger than the other, without
any pressure being applied. If replaced to where they were
cut, it will be found that while one has scarcely moved at
all, the other has expanded from one-hundredth to one-
fiftieth of its length.
It will sometimes be convenient to print views and other
similar work in one or more tints, on damp paper; in which
case care must be taken, by keeping them in a heap, to
prevent their becoming dry at the edges, which causes
them to cockle, and slur in the printing. It will be well,
I56 THE GRAMMAR OF LITHOGRAPHY.
then, to remove them from any current of air, and to keep
them covered over when they are left for any length of time.
Damp paper will do very well for black, and one or two
tints; but when more decided colours are employed and
they are of greater body, the ink must be dried between
each printing, a proceeding which is incompatible with the
use of damp paper,
In these cases it is therefore necessary to commence the
printing upon dry paper, and to allow free access of air to
the sheets between the printings, which can most easily be
accomplished by setting the impressions in a pile, and
keeping each separate from the other by means of laths of
wood, printer's reglet, or strips of Cardboard. For the
thinner varieties of paper, however, some kind of perforated
shelves, placed in racks, similar to case-racks, will be found
most suitable. These shelves may be framed of thin wood,
and pieces of small twine may be laced across them as a
support for the paper. *
This provision for the drying of the ink has the dis-
advantage, however, of exposing the paper to all the alter-
nating influences of heat and cold, and dry and damp. To
reduce these to a minimum, it would be well to make pro-
vision for maintaining the room in which the impressions
are dried at a sufficiently high temperature to keep it and
the paper dry. To insure the full effect of this arrangement
for the attainment of good register, it will be requisite, in
most instances, to thus dry the paper before commencing the
first printing, and so make sure of the paper going to the
Stone always in the same condition.
To moderate the absorption of water from the stone, it is
usual with Some printers to apply a coating of zinc-white
and varnish to the paper by means of the printing-press;
but in much of the work done this is hardly necessary, as
the first printing of a warm tint over the paper, to give tone
to the Subject, answers almost the same purpose.
I55. OF THE SURFACE TO BE GIVEN TO THE STONE.
—In Ordinary colour-work it is customary to employ
polished stones whenever the pen or brush is used for pro-
ducing the required effects. When it is necessary or
desirable to use chalk, or employ tints, grained stones must
be used. Grained stones are employed in tints, even
APPLICATION OF PRINCIPLES. I57
though there may be no gradation of colour required,
because it is found by experience that they carry the ink
more evenly, and produce more level printing than do
polished ones. The nature of the grain to be employed
will depend upon that of the work ; but as a general rule, a
somewhat coarser grain is given to stones for colour than
to those for black work. -
156. SETTING-OFF OF COLOURS GPON THE STONE may
be prevented by dusting the previously printed sheets with
powdered talc, magnesia, powdered chalk, or other similar
substances; but the process should be avoided as much as
possible, as it somewhat injures the brilliancy of the colours.
(See paragraph 152.)
157. APPLICATION OF PRINCIPLES TO PRACTICE IN
THE PRODUCTION OF A SIMPLE Colour JoB.—For an
illustration of this subject we will suppose that a show-card
is to be printed in the following colours: gold or bronze, a
warm tint, emerald-green, vermilion, and black. +
The first thing to be done is to make a coloured sketch,
in which the arrangement of colours must be definitely
settled, because it will not be advisable to deviate from it
during the making-up of the stones. When this has been
done, the artist must draw a keystone, in accordance with
the principles laid down in par. I5o, not forgetting to make
such provision for registering as may be necessary, accord-
ing to the particular method to be adopted, which in this
instance we will suppose to be that of the fixed points upon
the stone. With this in view, the drawing must be placed
upon the stone in such a position as to accommodate it in
regard to the place of the fixed point.
After the printer has rolled up the work, he must affix a
second point to the Stone, as described in par. I 53, and then
prepare four other stones to receive the other colours.
Four impressions having been taken on well-rolled paper,
three of them are to be dusted, as mentioned in par. 151, and
laid upon polished stones, while the black one, not dusted,
is put upon a grained Stone. These set-offs, having been
pulled through the press, are to be marked for register, in
accordance with one of the methods previously given.
The grained stone is intended to receive the tint, which
may be prepared in the following manner:—The margin,
158 THE GRAMMAR of LITHOGRAPHY,
and all other parts which are to remain white, should be
stopped out with gum, as explained in pars. 81 and 82.
This will be found to be an easier method than painting in,
with lithographic ink, all those parts which are to remain as
tint. If there should be time to permit of the drying of
this tint thoroughly before the next stage, it will be as well
to allow the tint to be underneath the bronze, more espe-
cially if the paper or card has an absorbent surface. If the
tint be a light one, it may underlie any other colour which
may be intended to be dusted on. The reason for having
the tint thus to underlie the dusted colour is that the paper
shall be less likely to absorb the ink, and weaken its power
of holding the dusted colour. Another advantage it would
have would be that of not showing any little inequalities of
registering. When the gum-ink is dry, the stone may be
covered with drawing-ink and turpentine, or in fact almost
any kind of greasy matter free from water. Some time
should then be allowed for it to penetrate the stone, after
which the gum may be washed off and the work rolled up.
The other stones may be drawn upon with lithographic
ink, care being taken to keep each colour to its proper
stone; but where two colours can be kept sufficiently apart
to be applied by the dusting-on process, they may be
drawn on one stone. Thus, in the instance before us,
as we have to use an emerald green, the varnish for it
may be coloured to pale blue, and that will take also a
blue dusted colour, so that, if not too near each other, both
may be employed on the one printing, with a little care.
In filling in the stones the artist should observe that by
Covering his outline with each colour he will improve his
chances of good register; and where there is a broad black
line he may carry his colour considerably beyond its edge, be-
cause the black printing will effectually hide the under-colour.
When those colours which are dusted are applied to the
show-card, the vermilion, and then the black, may be
printed next in order. In making up the red stone, it will
be as well to so arrange it that the colour may underlie the
black, which will thus have a greater richness. Care should
at the same time be taken that the red is kept well within
the outline of the black, so that it may not show when a
little out of register. -
TINTS, I59
It must be borne in mind, that as the colours are to be
printed over each other, they should have dryers in them .
to facilitate the work. Under the ordinary circumstances
of one printing, the absorption of the ink by the paper will
hasten the drying, but where one colour is superimposed
upon another this does not take place, and it becomes
necessary to add dryers to the ink. (See par. I 71.)
Ty
CHAPTER XXII.—TINTS,
CHROMO-LITHOGRAPHY (continued). Different Methods of Making
Tints—Tints in which white Chalk is imitated—Tints of several
gradations of One Colour—Washing Out Tints—Etching Tints—
Various kinds of other Tints.
T the end of the last chapter we described the manner
in which to a simple job in colours might be applied
the methods previously detailed for making keystone, set-
offs, and registering. In the practice of Chromo-lithography
it is, however, very necessary to become acquainted with
the methods of making tints which imitate more or less
effectually light washes of colour, as seen in water-colour
drawings, &c. These methods we proceed now to point àut.
158. OF THE DIFFERENT METHODS OF MAKING TINTs.
—The method of producing a tint given in par. I57, though
the simplest one, is only adapted for producing one uniform
colour, and therefore is very limited in its application. If
the student will examine some of the subjects frequently to
be met with, which are printed in black and one or two
tints, he will notice that each colour or tint consists of more
than one gradation. If he will study also those imitations
of chalk drawings on tinted paper which are generally im-
ported from Paris, he will find that the lights appear as if
they had been laid on with white chalk. To obtain these
effects in a more rapid manner than could be done by the
methods of drawing previously described, is the object of
tint-making, though all of them are frequently introduced in
one work in the higher branches of the art. Tints, as
understood by the lithographer, usually mean masses of
somewhat light colour spread over large spaces. They con-
I6o THE GRAMMAR OF LITHOGRAPHY.
sist of two or more gradations, though the term is equally
applicable when variety of light and shade is not attempted.
The modes in common use of producing tints depend
upon the principle of laying some fatty matter on the stone
in such a manner that, if left in that state, it would roll up
of full strength all over, unless part of it had been removed
by etching with dilute acid or scraping, or both combined.
I 59. TINTS IN which WHITE CHALK IS IMITATED.— For
this method a somewhat coarse, but very sharp-grained
stone must be employed, and the set-off of the drawing
must be made upon it in such a manner that the subject
can be distinctly seen during the several subsequent stages.
As this imitation of white chalk is to be produced by
scraping, it is desirable that the artist should have his
ground colour sufficiently dark to enable him to estimate
properly the effect he is producing. A dark ground would,
however, obliterate an ordinary set-off, but if it be laid
down with turpentine, as described in the fifth part of par..
130, it will show through the ground. If the ground for the
tint is, on the other hand, so dark as to obscure even this
kind of set-off, a dusted one may be laid on the top of the
ground after the latter has been put on.
The practical treatment will be as follows:–On the
grained stone make the set-off. With gum and acid stop
out the margin and high lights. Then lay the ground. If
the set-off do not now show sufficiently, an impression
dusted over with red chalk or vermilion may be registered
upon it, and passed through the press with light pressure,
provided the ground is hard enough to permit of it. -
The ground forming the tint must possess the following
properties:–It must be hard enough to allow of the Scraper
removing it in parts without smearing. It must resist the
action of the acid sufficiently to roll up solidly, after an
etching which is strong enough to keep the scraped parts
clear. Thus it must not be too greasy, but must be soluble
in solvents that dissolve fatty matters. There are several
Substances which can be used for this purpose, but perhaps
the most convenient are asphaltum or Brunswick black, and
copal varnish, the latter of which will require Some colour-
ing matter added to it to enable the artist to see what he is
doing. The coating must be even, but not too thick, and
TINTs. I6 I
may be best applied by means of either a letterpress or glazed
litho roller, both of which can be more easily and effectually
cleaned with turpentine than can an ordinary leather one.
The ground, having been laid evenly, must be left until
dry enough to permit of the use of the scraper, by which
the lights may be put in so as to imitate the stroke of the
white crayon as closely as the circumstances will allow.
Thanks to the grain underlying the varnish, this may be
accomplished more easily than would at first sight appear
possible. The scraper must be quite sharp, and should be
held lightly in the hand, so as to obtain the necessary
freedom in manipulating it.
The scraping having been done, the stone will require to
be etched, in order to preserve the lights. The strength of
acid necessary for this purpose will depend a good deal
upon the thickness of the varnish. Though the exact
strength cannot be stated, little difficulty will be expe-
rienced if the following expedient be resorted to. Select
a portion of the tint for experiment that is to remain
solid or of full colour, and commencing with very dilute
acid, try it upon that portion of the stone until, by the
addition of more acid, the ground is attacked. Then by
diluting the acid it will be brought gradually to such a
condition that it will not attack the ground, but will be
efficient in keeping the scraped parts open. The solid part
that has been used for the acid test may be restored by
rubbing upon it a little soap, which will effectually restore
it to a full tint when rolled up. Any of the methods
described for etching chalk drawings may be used in this
process, after which the stone may at once be rolled up by
the lithographic roller in black ink, until the lights become
clean and the dark parts quite solid. It may, previous to
the rolling-up in black, be washed with a mixture of turpen-
tine and oil. -
After rolling up in black, if the tint is found to be satisfac-
tory, it may be dusted with very finely-ground rosin, and
acidulated until a perceptible depth is reached. In this
way relief will be imparted to those portions representing
white chalk when the tint is printed in its proper colour on
Soft paper.
16o. TINTS OF SEVERAL GRADATIONS. — Any of the
M
I62 THE GRAMMAR OF LITHOGRAPHY.
methods employed in making drawings on stone may be
used for the purpose of producing tints of various grada-
tions, and are, in fact, so used where exactness and defi-
nition are essential in the practice of Chromo-lithography.
The method about to be described is, however, best adapted
when two or three tints are required to be added to a
drawing in black, or in the broader tinted effects in land-
Scapes, &c., in Colours.
The stone must have a sharp grain, as in the last-described
method, but as this is a more complicated one, special
attention is requisite to the subject of set-offs. If an ink
which will permit of a black set-off being seen through it
be used for rubbing in the ground, as described further on,
such set-off may be made with a good drying ink and
allowed a day or two to dry. If, however, the ground be
too dark, or time cannot be allowed for the set-off to dry
properly, the parts of the stone required to be defined in
the various gradations are usually Scratched with a sharp
point through the lines of the set-off. Sometimes a very
fine gum outline will be found preferable, or common black
writing ink, if not too gummy, may be used for a dark
outline. The white parts should then be determined upon
and stopped out with gum and acid, and the stone, when
dry, will be ready to receive the ground, which, however,
must not be laid in with the roller, as in the last method,
but as follows:— -
Set the stone before a fire, and get it hot equably all over.
Now rub over its surface a piece of rubbing-in ink,” and
* This ink may be obtained of the dealers, but as its composition is
not of any great importance, most printers who are conversant with
the process described above have their own favourite recipe. Beeswax
alone is a very good substance for this purpose, but is better when made
dark by the addition of some black pigment. Tallow may be added
to the beeswax to make it softer and more easy to rub in on a moderately
hot stone. Wax, tallow, and cuttings of lithographic chalks, also
make a very good ink, the latter ingredient rendering it sufficiently
black to enable the artist to see the effect of his scraping. These dif-
ferent compositions will be found to vary in their power of resisting
acids, and we would consequently recommend the student to keep to
one kind as soon as he finds it to answer the purpose, as he will thus
be able to know what degree of etching he has to give to obtain any
wished-for effect. -
TINTS. * I63
continue rubbing until the grain of the stone is filled in.
Experience will soon determine the degree of heat neces-
sary for this operation, and it will vary according to the
nature of the rubbing-in ink. The superfluous ink is next
to be removed by rubbing the face of the stone with a
large piece of an old coat or other woollen fabric, changing
the dirty part of the cloth for a clean one, as may be
necessary, and continuing until a perfectly even surface is
obtained.
The Stone, having become cool, may be wasned with
water to free it from the gum, so that the effect of the
scraping may be more distinctly seen.” This washing should
now be done. *
The next thing to be determined is, how many gradations
of tint are required. For many purposes, what is called
full-and-half tint will be sufficient in conjunction with the
scraping; it will do very well for ordinary fine-weather clouds,
and is thus performed :—After the scraping is done, the parts
intended to be full tint must be filled in with thick litho ink,
Brunswick black, or copal varnish. It must be observed,
however, that gradation between full and half tint may be
attempted by the use of crayon laid on in the usual way, or
Lemercier's Stumping crayon, applied with the stump; but it
must not be relied upon for producing the same effect after
etching as is seen upon the stone. The margin and any broad
white parts should also be covered with varnish, but not
with litho ink, which might penetrate the gum. The reason
for so covering the margin is this :—In the process of etching
it will be found that the acid will recede from the edges of
the tint, when there is a space of clear stone alongside it;
consequently, such part of the tint is less acted upon, and
prints darker than is required. If, however, such margin
or other broad spaces be stopped out with a resisting
varnish, the etching fluid will act more equably where it is
required. - f
* The inks we have indicated in the previous note will permit of
washing, but it is quite possible that one bought from the dealer in
these materials may have so much soap in its composition as to render
washing a dangerous operation ; if so, it must be deferred until the
tint has been once etched, but the scraping must be done previously.
M 2 •.
164 THE GRAMMAR OF LITHOGRAPHY.
The ink or varnish used for stopping out having become
fairly dry, the stone may be etched by any of the methods
described in treating of etching chalk drawings, but the
acid should be used in a less diluted condition. The
strength of the rubbed tint will determine how strong it
must be used ; but, speaking generally, the acid may be
employed sufficiently strong to produce a brisk effervescence.
If the method of etching with gum and acid, applied by a
brush, be adopted, it will require dexterous management,
on account of the tendency of the greasy ground to throw
it off. Some parts, in consequence of this, will receive
less etching than others, and the tint will become
“spotty.” This unequal biting of the acid may be much
modified by setting the stone quite level, and applying
plain gum-water to its surface until there is sufficient liquid
upon it to lie there without receding from the greasy
ground-tint. -
A large flat camel-hair brush is now charged with gum
and acid, and boldly swept over the stone, mixing it well
with that previously there, until an effervescence appears
all over the tint. The action having been continued a few
seconds, the fluid must be washed off. It Ought to be borne
in mind that, by reason of the stone being covered with
plain gum-water at the outset, the etching preparation must
be used proportionately stronger.
One of the methods of flooding the stone before de-
scribed will afford a better chance of even etching if it be
thought worth while to set up the necessary apparatus. In
any case, however, good work will ultimately be accom-
plished by noting the amount of effervescence taking place
upon a ground of known resistive power. A little fresh
gum, free from acid, may now be applied, and the tint
washed out with turpentine and oil. It is then to be rolled
up in black ink to test whether the process of etching
has been successfully carried out. If there is not suffi-
cient distinction between the full and half tints, the
etching may be repeated with more dilute acid applied by
flooding. If, on the one hand, it seems to be overdone,
a thinner ink used in printing will tend greatly to restore
the half tint without increasing the strength of the full
One.
TINTS. I65
Tints of more than two gradations are produced in a
similar manner. The parts desired to be of full strength
having been preserved by the stopping-out varnish, the stone
is then etched for the next lighter tint. This will need, in
proportion, less etching than for halftint, but it must be borne
in mind that more acidulation is required to produce the first
than subsequent gradations. The stone is next washed and
dried, and if only acid and water containing no gum have
been used for the etching, it should be gummed in with
weak gum-water. It is then stopped out with varnish, and
the same operations repeated for the next gradation, Con-
tinuing the process until the number of tints necessary to the
effect sought have been obtained. Theoretically, there
is no limit to the number of gradations that may be
got by these means, but in practice it is usual to limit
them to two or three between the deepest tint and white
paper.
TINT-PRINTING requires considerable experience and
judgment. We may point out, as a general rule, that thin
inks produce soft and wash-like tints, while stiff inks
make the tints look more granular, and keep them in better
condition while being printed. The lighter the tint is, the
less easily can any defects be seen while they are being
inked; but as light tints show the grain of the stone less
distinctly than darker ones, it follows that stronger ink may
be employed for the purpose of keeping the work clear.
The colour which needs most attention in this respect is
yellozº, which, on account of its lightness, is very apt to
catch unobserved upon what should be the clean parts of
the stone. The commencement of this defect is best
detected by Occasionally looking obliquely across the stone
towards the window, or other source of light, when the
stone will be seen to be distinctly greasy where it should be
clean. The best preventive of catching is strong ink. A
little stale beer may also be used in the damping water.
When necessary, it must be washed out, and rolled up
in black to better examine the condition. If the tint is
found to have extended itself, it must be etched with very
much diluted acid. This will require great care, and had
best be performed for the student by some one more
experienced, as it is next to impossible to give verbal
I66 THE GRAMMAR OF LLITHOGRAPHY.
directions. The student may, if he has mastered the prin-
ciples we have already laid down, be successful in re-
storing the stone to its previous condition, by a careful
etching, after it has been dusted with rosin. Previous to
applying the rosin, it will be well to take an impression
in black, to see if the full tint prints quite black; for if it
does not, there will be danger of further reducing it in the
deepest parts.
I6 I. WASHING OUT TINTS AFTER THEIR FIRST PRE-
PARATION. — Care must be taken when washing out
these tints if they have been stopped out with varnish
made with turpentine. This solvent sometimes dissolves
the ink used in laying the ground, and when the whole
comes to be washed out with turpentine alone, there is
a likelihood of those parts of the tint not rolling up
properly. This difficulty may easily be overcome by
adding a little grease or oil of any kind to the tur-
pentine used for washing out. After it has been once
successfully inked in, turpentine alone will usually be
sufficient for washing out when removing the black ink
to prepare for colour. It must be borne in mind, how-
ever, that the mass of ink is so much greasy matter,
and that when the dirty rag is changed for a cleaner one,
the quantity of grease is reduced with the next dose of
turpentine. If, then, the cloth, or sponge, or water should
be slightly acidulated, mischief may be done to the tint in
the last stage of washing out. Having due regard to these
matters, we may recommend the following mode of pro-
ceeding. Let the stone be gummed in with thin fresh gum-
water, or if the stone has been previously gummed, apply
water until it (the gum) becomes thin upon the stone.
Now apply the turps, and rub it with a soft rag until all
the ink dissolves. After absorbing as much as possible
of the dirty matter, a cleaner rag must be taken, and
a fresh application of turpentine applied, the stone being
still kept wet. If the stone now looks fairly clean, but
yet requires a final washing, a little oil may be added to
the turpentine to obviate any danger that may otherwise
arise from the use of too much. Though not actually
So, yet it will be well to act upon it as a principle, that
it is possible to wash the grease out of the stone with
TINTS. - r I67
turpentine. The printer will then add grease or oil to
this solvent to prevent any ill effects consequent on too
much cleaning.
I62. THE ETCHING OF THESE TINTs may be facilitated
by the following operation —After the ground has been
rubbed in, the gum used in stopping out must be thoroughly
washed away and the stone dried. Set the stone in the
press ; lay upon it a sheet of paper of the thinnest and
evenest substance procurable ; upon this place a thin
Smooth sheet of metal, such as is used for paper-glazing,
and pass the whole through the press with a light, even
pressure. The result will be that some of the ink will be
removed from the upper points of the grain, leaving them
in a better condition for the action of the acid. The stone
must then be stopped out, and treated just as described in
par. I60. This brings us to
163. ANOTHER METHOD OF PRODUCING ATINT of several
gradations with one etching. Any kind of set-off is first
put down, So that the margin may be neatly and accurately
gummed out. An impression is then taken upon tracing-
paper, or an impression upon ordinary paper is laid upon
grey or somewhat dark paper, and passed through the press
so as to get a reversed key. If the corners of the margin
be cut away exactly to the corners of the work, the impres-
sion may be accurately registered to the corresponding
corners upon the stone and fastened to the margin, after
the tint has been rubbed in with a soft ink. The tracing-
paper impression, being turned over, will give the same
results as the reversed impression upon the grey paper, and
be equivalent to a set-off. If the desired effect be now
worked up with hard white crayon upon the paper, a pro-
portionate amount of ink will be removed from the stone
by the back of the paper. It may here be mentioned that
a more absorbent surface than the tracing-paper will effect
this object better, and consequently the grey paper is to be
preferred. In drawing in this manner, the hand-board or
bridge must be used to rest the hand upon, because, if the
hand rested upon the paper it would have a similar effect
to the pressure of the crayon, and remove the ink where
such is not intended. The tint ink is thus removed in
proportion to the pressure of the crayon. -
I68. THE GRAMMAR OF LITHOGRAPHY.
These tints may be etched by either of the methods
Previously described, but perhaps the most effectual is
putting on a bordering of wax, pouring on the dilute acid,
and pouring off again, when the bubbles of gas have become ,
as large as pins' heads. * \ ..?
I64. ONE OF THE MODES INVENTED BY SENEFELDER
FOR PRODUCING INDIA INK EFFECTS may also be employed
for tint-making. A grained stone is first prepared with
soap-water, which, when dry, is removed from the surface
by Washing with turpentine. The drawing is then made
with washes of hard ink, containing a considerable pro-
portion of soap. When completed and dry, the drawing
must be rubbed over with a piece of flannel or other
woollen cloth, so as to better expose the points of the grain
to the action of the acid. Even the deepest shades pre-
viously laid will now be assailable; therefore those parts
which are to remain quite black must be laid in after the
rubbing-in has been finished. We think that the principal
difficulty of this process consists in making the drawing.
In practice it is found that the working of the lithographic
ink on stone is so different to that of India ink-on paper
that other modes are resorted to in preference, even though
they may be more laborious. When these drawings are
completed, they are best etched by surrounding the work
with banking wax, and pouring very dilute acid on the
work, letting it remain on until bubbles of gas arise and
attach themselves to the points of the grain. When the
work is thus covered with gas-bubbles the acid is poured off,
and these bubbles are thereby broken up. Another applica-
tion of dilute acid is made, and the same action permitted
to go on again. This is repeated until sufficient etching has
been given, according to the subject. It is necessary that
* This method seems to be based on one of Senefelder's. He first
prepared the stone with gum, as for engraving, and then covered it
with soft ink. He then drew with black crayon upon white paper
placed over the soft ground. The stone was then etched with acidu-
lated water without gum, and consequently the gum was removed from
the stone only in proportion to the manner in which the action was
regulated by the quantity of ink left upon the stone. The stone being
then washed and dried, would receive most ink where it had been most
etched. *
TINTS. I69
the bubbles should be broken, or they would become
enlarged, and prevent further action at those points.
The acid would then seek new points to attack, and
the consequence would be that the effect would be less
brilliant than when the same set of points are repeatedly
etched.*
165. STUMPED-IN TINTS.—The set-off having been made
on a sharp finely-grained stone, the high lights are to be
stopped out with gum. Take a piece of soft wash-leather,
strain it over the finger, and charge it with some of Lemer-
Cier's lithographic stumping crayon. Now go all over the
stone for the light tint, with a light circular motion of the
wash-leather, re-charging it with the stumping crayon as
often as necessary. The nature of the work will determine
the precise method to be employed. Rolled wash-leather
Stumps may be used to lay in forms of clouds, &c. The
Scraper may be used to give precision in lights, and the
Crayon or ink for the deepest parts. If it be desired to
imitate repeated flat washes of colour, it may be done in the
following manner. -
The light tint having been laid, as before described, the
parts that are to remain of that tint are to be stopped out
with thin gum, to which a little ox-gall has been added.
When this is dry, the stumping crayon is again used to give
the next gradation, which is in turn stopped out to preserve
it. For each gradation the same process is gone through.
When the whole is complete, the stone is to be flooded
several times with hard water, until the gum is all removed
* In the year 1840 Mr. C. Hullmandel took out a patent for an
improvement upon this method of producing effects upon stone in
imitation of Indian ink drawings, which he called Lithotint. The
drawing having been made in washes upon the stone was subsequently
covered with a solution of rosin 43 oz., pitch # oz., and strong Spirit:
of wine I quart. When dry it was etched with one part of nitric acid
in six parts of gumwater. Some of the drawings done in this style
were remarkably fine ; but the process, like that of aqua-tint on
copper, has gone out of use. In 1855. Mr. J. Aresti, patented a
different means of attempting to secure similar results, by Subsequently
transferring a granulated ground over the drawing, and then etching
it. The results were inferior to Hullmandel’s, and little was after-
wards seen of it beyond a book of samples and description, called
“Lithozographia.”
I7o THE GRAMMAR OF LITHOGRAPHY.
without injury to the work. It should then be permitted to
dry spontaneously, when it will be seen, from the absence
of shining patches, whether the gum is equally removed.
It may then be gently etched by any of the modes pre-
viously described, and further treated as if it were a chalk
drawing.
I66. TINTS FORMED BY TRANSFERRING LINES, &c.—
In par. 82 we treated of transferring lines, in connection
with ink-work. The same system may be pursued in
getting light tints in Colour-work with good effect, and for a
simple light tint in conjunction with full colour the mode
there described will be all that is necessary. These lines from
plate, however, may be used very effectively, and four dis-
tinct gradations obtained with one printing, by following the
instructions about to be given.
The plate to be used should, of itself, form what may be
denominated a quarter-tint. The parts which are to be of
full strength are drawn in with litho ink, and those which
are to be white are to be gummed out. The lines from the
copper or steel plate are then to be transferred, in a horizon-
tal direction. When this first transfer is complete, the stone
must be washed as clean as water will make it. It must
then be prepared, either by an acid, such as acetic acid, or
a salt, such as the mixture of alum and Sal ammoniac (See
par. 86); the latter being what we prefer. In this process
it is necessary that particular attention be paid to this pre-
paration of the stone. To make the process more certain,
it is well to wash off the salt with a Small pad of soft
cotton, covered with prepared chalk or whiting, which,
by a gentle friction that does no harm to the work,
removes the scum formed by the wash. When the stone is
dry, those parts which are not to receive the Second Series
of lines are gummed out. The direction of this Second
series of lines is very important, and must make an angle of
60° with those first transferred. A piece of cardboard may
be cut into an equilateral (equal-sided) triangle of any Con-
venient size,_say six inches on each edge. One edge being
applied to the lines already on the stone, a pencil line
should be drawn along one of the other sides. The new
transfer is cut along one of the lines at or near the edge, or
is marked similarly on the back, and is then laid upon the
TINTs. 171
stone, so that the lines will run in the direction previously
marked, that is, forming an angle of 60° with those first
transferred. After transferring, the stone is to be prepared
a second time, and a line put upon it to complete the
triangle. The third transferring is then done, and the
result should be that the lines coincide in direction with the
three sides of the triangle :-thus A.
The reason for putting the lines so exactly in this
direction is, that the production of any set pattern is thereby
avoided. During the operation this may be verified on an
unused part of the stone. Let the first two transferrings be
crossed at right angles, and the third divide them equally.
A kind of striped pattern will now be produced that would
look very much out of place in a sky, for instance. Prac-
tically, then, if we want three transferrings, we must put
them in in the manner before explained. For the same
reasons, we are /imited to three transferrings. This number
answers very well, and will produce a very fair sky effect
in subjects having a small number of Colours, or in views
having two tints.
At this stage of our work it is hardly necessary to remind
the student that the process just described is best suited
for polished stones, and that it will print more easily than
the rubbed-in tints previously treated of. The same may
be said of the next method.
I67. TINTS FROM STIPPLED PLATES.—In paragraph 74
we spoke of a paper prepared by rolling it on a stipple-
plate. In stipple or similar colour-work upon polished
stones, where it is small, a sky or other effect may be chalked
upon this paper and transferred in. Where the surface is
large, the plate itself may be inked in, as for copperplate
transfers, and transferred to produce a tint. This method
may be also further utilized by chalking upon the transfer
and adding ink to produce darker effects, the lights being
Scraped out previous to transferring. This, however, is
Scarcely applicable where there is more than one colour in
the sky, as it then becomes necessary to work to the set-off
On the stone so as to secure register. In the pursuit of the
art it is almost imperatively necessary to be practically ac-
quainted with all these methods, so as to be able to employ
the One best suited to the work in hand.
172 THE GRAMMAR OF LITHOGRAPHY.
I68. We have now gone through all the usual methods
of making tints. They certainly play an important part in
the production of a chromolithograph or oleograph. It
will easily be conceived that all the methods adopted in
lithography are more or less used in the production of a
chromolithograph. Chalk, ink, and Scraping are frequently
employed on one stone, and the artist must have taste and
experience to know where to employ each to good effect.
It may be well, therefore, to give a few hints to the young
student upon the best manner of proceeding, leaving it to
his further experience to show to him where he may depart
from rule.
The picture must be first well studied, and the number
of printings approximately determined, before proceeding
to work. To this end, a scale of tints and colours should
be prepared of the full strength it is intended to work them,
and this should, if possible, be rigidly adhered to until the
work is completed, as far as these patterns permit. A
similar series, of a square form, may be put upon the stones
so as to print side by side upon the edge of the subject.
As it is difficult to judge of the precise hue and tone of a
colour when it is surrounded by others, a small hole may
be cut in each of two pieces of white and black paper.
The printing colours can thus be fairly compared with that
of the picture ; for if they appear exactly similar when
viewed by means of the white paper and also by the black,
it may fairly be assumed that, practically, a perfect match
or facsimile has been attained.
In going through the colours of the subject to be copied,
the pure hues of the primary colours must have especial
attention, as they cannot be produced by over-printing, like
the secondaries and tertiaries. Thus, the yellows, blues,
and reds should first be determined, especial notice being
taken whether any very deep bit of colour cannot be got
by dusting powder-colour on the print, so as to save a
working. Assuming that some of the secondary colours,
green, purple, and Orange, may be produced by printing
two primary colours over each other, we may next seek for
any Special pervading hues of citron, russet, olive, grey, or
brown. If any of these occupy a prominent place in the
picture, they must have printings to themselves. This is
'TINTS, I73
usually the case with greys and browns, and often, also,
with green. As there is a limit to the intensity to be
obtained in printing some of the colours, it is often neces-
sary to have two printings of full strength of the same
colour, not, however, from the same stone. For a finished
picture we may require something like the following list —
A pervading warm tint is generally required to tone down
the rawness of the white paper in landscape and other
artistic work where brilliancy is not the first requisite. This
tint may in some cases be deepened towards the foreground
by adding more colour to one part of the roller than to
another. Of course this tint may be omitted in parts
requiring great purity of colour. Then we may reckon
upon two yellows, three blues, three reds, a green, two
greys, and two browns, besides a finishing brown. We
thus reach fifteen printings, which circumstances may
modify by requiring less or demanding more, the presence
or absence of important figures making considerable differ-
ence. Thus, if there were no figures at all, some of the blues
and reds might be modified or dispensed with. The varying
requirements of softness and texture will often determine
where ink or chalk must be used, and whether it is to be
used neatly, or delicately, or coarsely. Wherever chalk is
used, it should, if possible, have a solid colour underneath
or over it, so as to soften and modify that harshness which
would result from contrasts with other tints of a solid or
lighter colour. The effect of granulation in producing
intensity and depth is very important, and is thus more
effectively obtained than by printing one solid colour over
another. This may be got by using either ink or chalk, or
both combined, the One colour showing between the
other.
174 THE GRAMMAR OF LITHOGRAPHY.
CHAPTER XXIII.
CHROMOLITHOGRAPHY — PRINTING. Pigments employed for
coloured inks—Treatment of colours—Dryers—Ink for tints—Oleo-
graphs—Roughing—Decalcomanie—Multiplication of colour subjects.
HE two last chapters treated principally of the different
modes of putting the chromolithographic Subject
upon the stones, and the means of securing their proper
register. We come now to the printing of these stones, and
shall first of all refer to the qualities of the colours without
entering into the question of their harmonies, a subject
which has been fully treated of by more competent authors.
I69. THE PIGMENTS EMPLOYED IN LITHOGRAPHY em-
brace nearly the whole of those produced by the
colour-makers, but they are not all equally suitable for
lithographic printing. The two necessary qualities are
permanency and ease of working, but these are pos- .
sessed in quite different degrees by the different pigments.
The following inexpensive works may be consulted
with advantage —“Hints on Colour and Printing in
Colours,” by P. B. Watt. London: Wymān & Sons.
“Colour,” by Professor Church. Cassell, Petter, & Galpin.
“The Principles of Colouring in Painting,” by Charles
Martel. Windsor & Newton. Fortunately nearly all the
most trustworthy pigments can be successfully used in
printing, but some of the most brilliant ones are not only
unpleasant in use, but fugitive in colour. This question of
permanency of colour is either much misunderstood or not
Sufficiently attended to by many among the colour-printers of
the present day. The demand for cheap inks is probably one
great reason why so many of our productions fade so rapidly,
and it is not in lithography alone, but in typographic block-
printing as well, that this defect frequently exhibits itself.
There are three enemies to permanency of colour
...that are found to act inimically on colour prints. They
are, light, impure air, and the chemical action of one
Colour upon another. We shall mention the pigments
THE PIGMENTS EMPLOYED,
I75
which are more or less affected by the first two causes;
but detailed treatment of the third will be beyond the space
We can afford, demanding as it does almost a treatise to
itself.
The works of Field* may be consulted if fuller
knowledge is desired. The following are the pigments
which are most suitable for making lithographic inks, but
the list does not comprise all that may be employed.
Vermilion.
Indian red.
Red ochre.
Venetian red.
Madder lakes.
Crimson and scar-
let lakes.
Red lead.
Chrome lead.
A'ed's
Yellow Ochre.
Raw sienna.
Cadmium yellow.
Yellow lake.
Chrome yellow.
Mineral yellow.
Yellows
| Raw and burnt
umber.
A7070/7s
| Vandyke brown.
Burnt Sienna.
York brown.
Mineral Orange.
Orpiment.
Orange lead.
Chrome orange.
Laque minerale.
(Ultramarine (dust-
ing).
Cobalt.
Oriental, Chinese,
and Prussian
U blues.
Greens Scheele's greens.
7% Green lake.
| Mauve ink.
* Mixtures of blues
Oranges
A/ues
with reds.
The following selection of pigments may be regarded as
fermanent, under all the ordinary circumstances to which
a chromolithograph is likely to be subjected —
Vermilion.
Indian red.
Red Ochre.
Venetian red.
Madder lakes.
º Zinc white.
Włżes { Baryta white.
zoºs ſ Raw, and burnt
“’ \ umber.
A'ed's
Burnt sienna.
Oranges (York brown.
Mineral Orange. .
- Ultramarine.
A/ues { Cobalt.
|yellow ochre.
Yellozws & Raw sienna.
\Cimºn yellow.
* “A Grammar of Colouring,” by G. Field. London : Lockwood & Co.
176 THE GRAMMAR OF LITHOGRAPHY.
The following colours may be used, in addition to the
above, when they are more or less protected from ſight, and
are, therefore, useful in book illustrations :-
Crimson lake. ," Mauve ink.
A&eds { Scarlet lake. Aurples { Purple lake.
Oriental blue.
Yellow Yellow lake. Alues & Chinese blue.
Orange Orpiment. Prussian blue.
The following colours withstand light and pure air, but
are liable to injury by damp, shade, and implere air –
Red lead. Alues Cobalt blues.
A'ed's h d g
Chrome red. Mineral green, or
Orange red. Greezes green lake.
Oranges & Chrome orange. Scheele's green.
Laque mineral. Flake-white and
... ſ Chrome yellows. Włżes other lead-
Ye/Zozº's { Mineral yellow. whites.
The following pigments should not be used with ſlake-
white or other lead colours :-Indian yellow, yellow lake,
Italian pink, Orpiment, red lead, Crimson and other similar
lakes, Carmine, and indigo.
Colours which should not be used with others containing
iron —Silver white, King's yellow, patent yellow, Chinese
yellow, carmine, scarlet lake, blue verditer.
From the following pigments may be selected the colours
for finishing printings, on account of their transparency —
Raw Sienna, Indian yellow, Italian pink, yellow lake,
madder lakes, crimson and Scarlet lakes, cobalt, Chinese
and Prussian blues, Mars Orange, madder purple and purple
lake, Vandyke brown and burnt umber. Black ink, or other
opaque dark colour, is used for finishing, on account of its
Cutting-up quality. -
Many colours are keptin stock as inks by the ink-makers,
but even if they are bought ready-made, the pigments should
be kept by all who have not the advantages of carrying on
their business in the metropolis. Another point to be
attended to is the quality of the colours, which should be
obtained usually from the dealers in lithographers’ materials.
TREATMENT OF COLOURS. 177
sy
It is unfortunately a fact that some of the most brilliant
colours are not permanent, and this fact ought to be
carefully kept in view by the conscientious printer. His
first consideration should be whether the work to be done
demands permanency. Much colour-printing is of a kind.
in which present brilliancy and prettiness are the qualities
chiefly sought after. Among this sort of work may be
enumerated, valentines, Season cards, box tops, playing-
card backs, &c. For these any colours may be used that
are brilliant and work well. When, however, colour is to
be applied to chromos for framing, show-cards, and Subjects
of permanent character, the pigments ought not only to be
the best of their class, but they should be selected accord-
ing to whether they will stand the test of time, and this
should be done even at the sacrifice of a little present bril-
liancy. For copying pictures this will not be found difficult,
because artists rarely employ pigments of a fugitive
character. In the case of show-cards, brilliancy is fre-
quently considered a sine guá mon, but if it cannot be had
by the use of one colour, it can be got in another; thus we
may usually substitute vermilion for scarlet and Crimson
lakes. In doing so, we may not at the time obtain so
pretty an effect, but if the two were compared after six
months' exposure to the light of a window, the one printed
in good vermilion will be found to have retained its hue
and brilliancy, while the other has lost much of its force,
and its colour has become dirty. - i
170. TREATMENT OF COLOURS.—The proper manage-
ment of Colours is only to be acquired by study, ex-
perience, and observation. We may be able, however,
to give a few hints on this subject, but would premise
that it is only by practice that the practical details
can be adequately fixed upon the printer's memory. We
have previously (par. 13) explained the manner of grinding
colours, but in this place there are some special details of
the subject which ought to be mentioned.
Colours differ in their physical qualities: some are bad
dryers, while others dry so quickly that they print with diffi-
culty. The obvious remedy for this latter defect is to add
some substance which will retard the drying and render the
ink more easy to work. We find this desideratum in the
N
178 THE GRAMMAR OF LITHOGRAPHY,
animal fats and other similar natural products. A little of
any of these added to mineral Orange, Orange and red lead,
&c., will make them manageable. The like addition is also
frequently of advantage when enamel paper or card is found
to break away and leave some of its composition adhering to
the ink upon the stone. The fat, without reducing the
stiffness of the ink, weakens its tenacity, and enables its
particles to separate, so as to readily leave the stone. This
is a secret much treasured by some printers, and jealously
guarded from the knowledge of outsiders.
Colours differ also in the manner of their grinding. Some,
such as Carmine, emerald green, and ultramarine, can
scarcely be used at all for litho printing-inks, and require to
be dusted upon lighter inks of suitable colour. Some others,
like the cochineal lakes, print better when first ground in
water or turpentine, though their brilliancy is thereby some-
what reduced.
Some pigments may be ground more easily than others,
some being soft and unctuous, while others are hard and
gritty. Much, however, depends upon the previous
preparation of the pigment by the manufacturer. Thus,
there are natural colours, like York brown, which are ground
easily ; while others, like Vandyke brown, are difficult to
reduce to the necessary fineness. These and other colours
may be bought after having been ground by steam power,
by which much time is saved. A much better colour may
sometimes be bought at one place than at another, and such
apparently little matters must be learned by experience.
The ink-maker will make ink of any colour to order, but some
colours are constantly kept in stock, so that they can be had
at a moment's notice. All these are important items of
business knowledge, and can only be adequately gained by
years of experience. Several of the large country colour-
printers who employ many machines on chromo work, have
small ink-mills, by which they grind their own inks. In
this there is the advantage of knowing precisely of what
pigments the inks are made.
It is advisable to pay a reasonable and sufficient price, in
order to secure good materials. We have seen red ink
which printed well and was fairly a good imitation of ver-
milion, at three shillings per pound, but when exposed to
T)RYERS. L79
light, in the course of a few days it showed a perceptible
fading, and finally deteriorated to the hue of a poor orange.
171. DRYERS.–We have spoken in the last paragraph of
certain colours which dry too readily. Some colours, on
the other hand, have the opposite quality, and dry with
difficulty. It is now necessary to refer to the substances which
may be added to the ink to obviate this latter disadvantage.
What is known as “patent dryers ” is a preparation of
litharge, ready ground in oil, and it may be added to those
colours for which it is suitable. “Patent dry dryers ” is a
white powder, which requires very little grinding to incor-
porate it with the ink. Acefaze of lead, or, as it is commonly
called, sugar of lead, is one of the most useful dryers, and
does not injure the brilliancy of the most delicate colours.
Su/phate of zinc, or white vitrioſ, or white copperas, as it is
variously called, is less powerful than lead acetate, but better
suited for some colours. These two substances should not
be used together, as if so used they would probably de-
Compose each other, producing suſp/aſe of Zead (which is an
opaque white), and acetaſe of zinc, which is a bad dryer.
Japanner's gold size is oil boiled upon Mitharge, and may be
used as a dryer for lakes. These various dryers properly
used will generally completely answer the printer's purpose.
Too much of the dryers defeats the object of their applica-
tion, and renders the inks Saponaceous.
The following may be taken as good rules, for the general
use of dryers. 1. Not to employ them too freely, as they
then retard drying. 2. Not to use them in inks which dry
fairly by themselves. 3. Not to add them to the ink too
longsbefore it is used, which would make them “livery.” 4.
Not to use more than one dryer at a time. 5. Not to use
secret mixtures recommended by others; but those simple
dryers with which you are acquainted.
As dryers, we may use oil boiled upon manganese, or
verdigris, in a similar manner to that boiled on litharge.
These will do for dark colours. Some of the fast drying
pigments may also be used as additions to dark colours,
such as verdigris, or acetate of copper, red lead, massicot, and
manganese-brown. -
It will be seen that the printer has a variety of dryers at
his command; but were it not for rendering the colours too
IN 2 º
18o THE GRAMMAR OF LITHOGRAPHY.
liable to dry upon the slab during printing, he might use
in addition some of the quick-drying varnishes, such as
copal or Canada balsam. A mixture of these two may be
kept at hand for occasional use, where a few impressions in
bronze, for instance, are wanted in a hurry. The mixture
may be added to the ink upon the slab, and used even with
common black ink, upon an emergency. -
Dryers usually require well grinding at the same time that
the ink is ground, but the patent dryers in powder, the patent
dryers, and the drying oils, such as japanner's gold size, may
be well mixed with the ink by means of the palette-knife.
172. ON INK FOR TINTS.—Tinting inks are those which
are employed to produce light gradations of colour, such
as those found in skies, clouds, flesh, &c. They are pro-
duced in two ways, each of which has its own advantages
and defects.
The reader will easily understand that the greater the
quantity of varnish used, in proportion to the colour, the
paler and more transparent will be the resulting tint when
printed. In this state it should be used in nearly all cases
where the under printing is intended to show through it.
There are occasions, however, when it is desirable to have
the tint of an opaque character. It is then usual to grind
Some kind of white pigment with the ink, and as the whites
made from lead possess the best covering qualities, they
are frequently employed for this purpose. These whites,
however, are so subject to change from various causes, more
especially from their union with certain other pigments, that
it is generally preferable to use zinc-white.
The use of white in tinting ink should be confined to the
early printings. Whites are, indeed, very useful in obtain-
ing effects in imitation of water-colour painting. This
appearance is sometimes enhanced by the subsequent use
of a dusting colour of a very light similar tint, or the ink
may be dusted with white only. Another advantage of the
use of white in the ink is that, on account of its requiring to
be printed in greater body, its effect when on the stone is
more easily seen than that of light transparent Colours.
In the production of chromos, many of our best printers
almost entirely discard the use of white, which they consider
inimical to softness and brilliancy. For economical con-
PRINTING TINTS. I8I
siderations it is desirable to reduce the number of printings
to the minimum in producing the desired effect, and this has
been found to be more easily done by employing only trans-
parent inks; those colours being printed first which are in
themselves opaque, such as chrome-yellow and vermilion.
These are followed by the stronger colours of blue, red, &c.,
and they are glazed over by transparent printings of the
lighter tints, which, having no white in themselves, will
deepen and soften the previous ones without hiding or
dulling them. -
The kind of varnish to be used for tinting ink will depend
upon the nature of the tint to be printed. If it be quite a
plain tint, the varnish may be of the thinnest, but if it be an
etched tint, or one which possesses much fine work in it,
the varnish should be stronger. An ink made with thin
or tinting varnish will lie soft and even on the stone, while
too strong an ink will give too great a disparity between the
light and dark parts. -
173. OF PRINTING TINTS.—After what has been said of
the nature of tint ink in the last paragraph, little remains to
be told as to the method of printing with it, for all the princi-
ples previously laid down, in regard to printing in black,
apply to the printing in colours or tints. A great help to
printing tints well and quickly is the use of proper rollers.
These should be quite even on the face, of a fine texture,
and the seam quite invisible. It will save much time, and
add to the probability of clean work if five rollers be
employed —one each for the blues, reds, and yellows; one
for light tints, and another for the dark, broken colours.
Especial attention must be paid to the thorough cleaning
of the rollers, both by scraping, and washing with turpentine.
This is essential to printing pure colours, for if it be not
properly done, the previous colour, if different, will be found
to soil the new one. The darker the colour previously used,
and the greater its contrast with the one to be used, the
more likely will it be to injure the latter. The light pink
will be most injured by the dirt from a previous dark green,
and orange by a dark blue, so that the same roller should
not be used for these opposite colours.
On account of the difficulty of cleaning the ordinary
roller, the glazed roller (see paragraph 50) is sometimes
182 THE GRAMMAR OF LITHOGRAPHY.
used, because, its pores being filled up, the ink lies entirely
on the surface, and can be removed by a wash of turpentine.
The use of glazed rollers, however, is restricted almost
entirely to colours which print of full body, and in con-
junction with polished stones. -
Many attempts have, from time to time, been made to
make a roller applicable to lithography, which should
possess the qualities of good surface, elasticity and
impermeability to printing ink. Those made of treacle and
glue, which are used by letterpress printers for block or
type printing, possess these qualities, but in lithography, the
water used in damping the stone rapidly destroys the surface
of such a roller, so that eventually it will not hold the ink.
Some additions to these substances have been tried to
obviate this difficulty with a certain amount of success, and
rollers made which seem to answer very well as long as
they keep in good condition, but they are liable to Crack on
the surface after a few months’ use. These cracks
hold the dark colour, which gradually contaminates the
newly-applied delicate ink when such is used upon it.
Were it not for this defect, these rollers would be of much
service. These defects are overcome by a recent invention
—Lanham's Patent “Victory” Rollers, which are formed
principally of india-rubber, and possess all the good quali-
ties of the glazed roller, while they are permanently soft
and elastic on the face, and possess a certain amount of
nap in which the ordinary glazed roller is deficient. They
are in use by some of the best houses in the trade, and
are highly appreciated. -
174. OLEOGRAPHS.—The distinction between oleographs
and chromolithographs is only one of name, the real
difference consisting merely in making the print imitate an
oil painting as much as possible. To this end the finished
print is mounted on canvas, sized and varnished. Some-
times the imitation of canvas is produced in the press by
the finished print being pressed in close contact with what
is technically known as “a roughing-stone.”
In our opinion the olcograph is a mere vulgarity, which
possesses no superiority to the ordinary chromograph. It
is simply an imitation of the accidents of painting, and One
in which these accidents are intensified, and thrust promi-
ROUGHING. I83
nently forward. Attempts are frequently made to imitate
even the thickly laid-on pigments used by some painters,
and the Canvas is shown coarser than any painter would
Care to use it. The embossing is as frequently as not out
of register; the effect on an educated eye is far from
producing an agreeable impression. It affords, in fact, a
proof, the most convincing, that the picture is not a painting.
The lithographer is called upon to produce these effects,
however, and it becomes our duty to record how they may be
obtained.
175. ROUGHING.—Some of the most successful copies
produced by chromo-lithography have been those of water-
Colour paintings. Among the advantages claimed for water-
Colour paintings are the even granularity of the paper and
the absence of glaze. There are no patches of thick
colour to suggest that it is paint we are looking at, and this
grain of the paper is useful in preserving those aérial effects
in which water-colour paintings excel all others. It was
soon seen that the lithographic imitation was wanting in
some important particulars, viz. ;—that its surface was too
smooth, and lacked the atmosphere seen in the original.
The defect once observed, the remedy was obvious—to give
the picture the necessary granulation, by subjecting it to
pressure on a rough stone.
The roughing-stone may be surfaced by using very coarse
sand under the levigator; but if this is not thought to be
rough enough, it may be intensified in the following or a
similar manner. After the stone is dry, it may be rolled over
with a glazed or letterpress roller until all the points of the
grain are covered with ink, the bottom of the grain remain-
ing bare. Brunswick black may be used instead of ink; but
if the latter is adopted, the stone may be wetted, rolled up,
and dusted with rosin. These points will now resist the
action of weak nitric acid, so that the interstices may be
bitten until the desired effect is attained.
A similar result may be obtained by applying stumping-
chalk to the tips of the grain with wash leather, subsequently
rolling it up and treating it as before mentioned.
If it be desired to have an exact imitation of rough
drawing-paper, the latter may be sent to the stereotyper,
who will furnish a cast of it which may be used instead of
H.84 THE GRAMMAR OF LITHOGRAPHY.
the Stone. In the same manner a cast may be taken from
a piece of Canvas, if it be first well sized with starch.
When it is more convenient to use the stone for this
purpose, the canvas can be first stiffened with glue thin
enough to be absorbed by it. When quite dry, this will
become stiff enough to stand considerable pressure. The
stone may then be rolled in with a thick coating of transfer
ink, the prepared canvas laid upon it, and pulled through
the press with a light pressure. The ink will take the
impress of the canvas, and the stone being subjected to the
etching process, will be bitten in where the ink is thinnest.
Another convenient way of applying a ground to the stone,
is to roll it up in ink, and then dust over it some powdered
rosin before applying the canvas. If the stiffened canvas be
brushed over with gum, it may be applied to the stone with
very light pressure, and some of it will set off on the stone
in the form of the canvas. When dry, the stone may be
Covered with grease, rolled up, dusted with rosin, and etched.
A reverse effect will be obtained by rolling the canvas with
transfer ink, and transferring that to the stone.
When it is required to introduce embossing, a set-off from
the key Stone is put down, and the forms to be in relief are
pencilled in gum, with a little nitric acid added. The stone
is then inked and the canvas impressed upon it as before.
When it is etched, the forms in gum will come away and will
be bitten somewhat deeper than the rest.
If stone be used for this embossing, or roughing, it may
be damped when the print is applied, to prevent its sticking,
and the print will not need to be so dry as when an un-
damped stone or plate is used, because the water on the
stone prevents adhesion.
176. CHROMO TRANSFER PRINTS OR DECALCOMANIE.-
These are chromographs which are intended to be transferred
from the paper on which they are printed, to some other
surface.
Take some thin plate-paper, and brush it over with flour
or starch paste. When this is dry, the paper may be again
treated with a strong Solution of gum, or gum and starch.
When again dry, it is to be well rolled. The printing is
done on this paper, but the colours are worked in the
reverse order to what they would be in ordinary work.
MULTIPLICATION OF COLOUR SUBJECTs. 185
The transparent colours must be printed first, and the
opaque ones last; SO that when transferred the two will stand
in their proper order. If these transfers are intended for
being transferred to glass, the natural order must be observed,
because they will be seen through it.
The mode in which these pictures are transferred is very
simple. Either the surface they have to be applied to, or
the back of the print, is brushed with a varnish, such as
copal. When this becomes tacky, the two are rubbed into
close contact and allowed to dry. If the paper now
be sponged upon the back, it may be pulled off after soaking
for a few seconds, leaving the printing firmly attached to the
other surface.
I77. MULTIPLICATION OF COLOUR SUBJECTS BY TRANS-
FERRING.—No doubt most of our readers have seen sheets
of chromos in which the subjects are repeated so as to make
a sheet-full. These are not drawn so many times, but are
transferred. The ordinary process of transferring will not
do for this purpose. To insure success, means must be
taken to prevent the expansion of the work.
There are two methods in use for this purpose. In the
first, what is called “unstretchable varnish ’ transfer-paper
is used. Register corners are put to each subject in each
colour. In pulling the transfer, care must be taken to have
the stone dry for each impression. The principal colour,
or the key, is printed upon paper that has been well rolled,
or it may be printed upon a thin sheet of zinc. The
transfers are cut accurately at the register corners, and are
gummed or pasted exactly to the corresponding corners on
the sheet of paper or zinc. The stone having been adjusted
in the press, the sheet is laid upon it and pulled through
once under good pressure, when it will be found to have
absorbed most of the ink from the pieces of transfer-paper.
It is afterwards treated as an ordinary transfer.
When paper is used as the medium of carrying the
transfers, it will be found a great convenience to have a
framed piece of thick glass which can be set nearly upright
or sloped to any convenient angle. The paper key is secured
to the glass by pasting at its corners. The glass being set
against the light of a window, a piece of white paper or other
reflecting surface is used to throw the light through the
I86 THE GRAMMAR OF LITHOGRAPHY,
glass. The register-marks can be plainly seen through the
transfers, which may thus be placed in position with great
accuracy. This instrument is called the “sticking-up" frame.
The second method is perhaps used more extensively.
than the one just described, on account of its possessing
some advantages peculiarly its own. The transfer-paper is
transparent, or nearly so, being prepared on One side with a
transfer composition which will easily adhere to a wet stone.
Paper coated with a solution of gum-arabic will answer.
The transfers are pulled on this paper and trimmed
round, but not so closely as in the other method, because to
do so would be unnecessary. They are now fitted over the
key (which can be sufficiently seen through them to insure
accurate adjustment), and the corners gummed to keep the
transfers in their places. The gum being dry, they are ready
to be transferred, which is done in the manner described in
paragraph I I I. Zinc may also be used to attach the transfers
to in this, as in the other method, but the cement used must
not get dry, because it is important that the transfers shall
adhere to the stone, instead of the zinc. They may be
temporarily attached to the zinc by means of a little stiff
varnish, golden Syrup, and strong gum, or other similar
adhesive matter that will hold them in place, and yet allow
them to separate from the zinc when necessary. Thus when
they are transferred to the damp stone they must adhere to
it sufficiently for them to be pulled away from the zinc plate.
If opaque paper be used, the transfers may be accurately
set up to register in the following simple manner. Corners
are drawn in the key-stone, which are inked over in each .
Succeeding colour. In each label of the stone first made
F- T] |
| | | |
up, the corners are allowed to remain; but in attaching the
transfers of the other colours, part of each corner, the
extreme angle, is to be cut away, so that when one is laid
over the other it can be seen plainly whether the lines cor-
PHOTO-LITHOGRAPHY. 187
respond. The diagrams will show more completely what is
meant.
The breaks in corners of the second diagram show what
is cut away. This figure is to be laid over the first, so as to
complete the corners accurately. Scotch transfer-paper
well rolled can be used for the transfers in this way, and
the sheet, when completed, transferred to a wet stone.
178. We have now described the processes of litho-
graphy in colours, with sufficient explicitness and accuracy,
we hope, to enable those who have mastered the printing
in black, to start upon the road to success. To those
who have not advanced so far we do not address ourselves.
For this reason we have made our descriptions as concise
as possible. It would have been easier, perhaps, to have
written more fully, but we are desirous of keeping our
treatise within reasonable limits. We believe we have
omitted nothing of importance, and that we have in many
instances written what has not been in print before. Our
object all through has been to make our “Grammar” a
trustworthy guide, and we have not been intentionally
unmindful of anything essential to success.
With the subject of colour-work we conclude those opera-
tions which are concerned in drawing on stone or transfer-
paper, and printing from them or transfers of engraved
plates or type blocks.
Our next chapter will treat of those modes of pro-
ducing subjects for printing from stone which depend
upon the action of light, and are known by the name of
Photo-lithography.
CHAPTER XXIV.
PHOTO - LITHOGRAPHY. General Principles—Lenses—Cameras—
Negatives—Sensitive Paper—Inking and development—Transfer-
ring—Modified processes—Gradations—Direct processes—Al-
bertype—Heliotype.
N treating of Photo-lithography we do not intend to
describe the various general photographic processes,
as there are many cheap and good treatises on the subject
already published. Most of these photographic manuals,
188 THE GRAMMAR OF LITHOGRAPHY.
however, address themselves to portrait and landscape
work, and we shall briefly point out the specialities of
certain instruments which are best adapted to the technical
purpose in view. Before doing so, however, we must give
our readers an idea of the Complete process of photography,
so as to enable them to understand the details afterwards
to be presented.
179. Photo-lithography is a method of producing a copy
of a print or drawing in line of the same or altered dimensions.
This print is of such a nature that it can be multiplied from
stone or zinc at the Ordinary lithographic press or machine.
It is necessary that the Subject to be copied should con-
sist of visible lines or dots to insure distinctness in the
reproduction. The copying is done by photography upon
glass. What is technically called a “negative" is first of
all produced. If this negative is viewed by transmitted
light, it will be seen that those parts which correspond to
the white ground of the original drawing or engraving are
more or less dark and opaque, while the copy of the
drawing itself consists of transparent lines.
This negative is put into a photographic printing or
pressure frame, and a piece of chemically prepared paper
is placed face downwards upon it, in contact with that side
of the glass upon which the picture has been produced.
The back is then secured in its place, and the glass side
exposed to the light. After it has been sufficiently exposed,
it is carried into a dark room and covered all over with
transfer-ink. Upon subsequently washing it, the transfer-
ink will be removed from those parts upon which the light
could not act, that is to say upon the parts corresponding
to the white paper, but it adheres to those parts upon
which the light has acted ; namely, the lines. We have now
a photographic transfer, which may be applied to a stone
or zinc plate and printed from in the usual manner.
After this general outline of the process it is necessary
to explain the chemical nature of the paper as it was ex-
posed to light under the negative. Certain salts of the
metal chromium, notably the bichromates of potass and
ammonia, possess the property of extreme sensitiveness to
light, when combined with various organic matters, such as
gelatine, albumen, gum, &c. Being rich in Oxyger, they
PHOTO-LITHOGRAPHY, 189
quickly yield up some of it to the organic substance under
the influence of light, and render it insoluble in water.
Not only is the organic substance rendered insoluble, but
it is to a certain extent resistive of water, so that the ink
applied holds to it tenaciously, while the part not so acted
upon by light may with proper care be washed away. This
effect also occurs spontaneously even in the dark when the
paper is kept for some time, so that it is best to prepare it
as wanted. Further, the solution itself will keep for a
considerable period without undergoing a similar change;
it is only when it becomes dry that the change takes place.
This is a peculiarity which, in practice, is found to be very
serviceable. We thus perceive that the prepared paper
must be dry, not only to prevent staining the negative, but
in order to be properly influenced by the light. We are
enabled to coat the paper in ordinary daylight, but it must
be dried in the dark.
We think we may now glance at the Instruments and
other requisites for this process.
180. THE LENS.–This is the optical arrangement which
produces the image on the sensitive glass plate. The ordi-
nary lenses used for taking portraits and landscapes are
not adapted for this purpose. It is necessary to have
lenses that will give in the negative straight marginal lines
corresponding to or reproductive of the similar lines in the
original. Suppose, for instance, a very large map is to
be copied by this process. It will have to be divided into
rectangular portions, each one of which must be suitable
for copying to the required size, according to the lens
used. It is imperative that the marginal lines of each
negative be straight, or they will not join each other. Now
the picture produced by the ordinary portrait and landscape
combinations is somewhat barrel-shaped at its edges, and
it is obvious that these would not correctly join together.
A map is a crucial test; because not only is accuracy
imperative, but any defect is at once visible. We cannot
divide it into sections without cutting through portions
which would at once show any error when the sections
came to be put together. Ross's “Symmetrical,” Dallme-
yer’s “Rectilinear,” Steinheil's and Voigtländer's “Aplana-
tic” lenses fulfil these conditions; and such lenses give a
I90. THE GRAMMAR OF LITHOGRAPHY.
large-size picture in proportion to its focal length, whereas,
before these and similar lenses were invented, the photo-
lithographer had to use a lens of long focus, and use only
the Central portions of such picture as it was capable of
yielding.
As much of the success of the photo-lithographer will de-
pend upon the quality of his instrument, we advise him to
buy direct from the maker, and explain to him the purpose
for which he requires it. He may then expect that he will
be well served, and that, should any failure occur, it is not
an imperfection in the instrument which causes it.
181. THE CAMERA.—This is the dark box in which the
plate is exposed while the subject is being copied. We
shall not describe it, because that will be done in the work
on photography that may be selected as a guide-book. As
it is not every lens that will suit our purpose, so it is not
every camera which can be rendered available.
The camera should be one of the expanding kind, as it
will then be adapted to take two or more lenses, and work
can be executed in enlarged or reduced dimensions as well
as of the same size. The camera must be proportionate
in size to the range of the lenses used, so that we cannot
recommend anything definite. The student may also,
in this instance, depend generally upon the advice given
by a practical manufacturer. -
182. THE NEGATIVE.—After the student has acquired
sufficient photographic knowledge to take a negative, we
may proceed to point out to him the qualities which his
materials and apparatus must possess. A negative for
portraiture or landscape is best when it is more or less
translucent in every part, but that for our present purpose
should be uniformly dense or opaque all over, with the excep-
tion of the lines forming the picture. These should be quite
transparent. It is not easy, and not always practicable, at
first, to obtain these qualities; but they should be the aim of
the worker, because, after a little experience, it is compara-
tively easy to produce a good result in photo-lithography with
a suitable negative. For first essays in photo-lithography,
we should advise that a negative should be obtained from
some photographer friend, so that the student may feel sure
he is working with something suitable to his purpose.
PHOTO-LITHOGTAPHY. I91
183. THE PREPARATION OF THE SENSITIVE TRANSFER-
PAPER.—It has been stated that gum, albumen, and gela-
tine are the principal organic substances employed in photo-
lithography. The chemical differences between the bichro-
mates of ammonia and potass are in this connection so
slight, that it will be sufficient to select one of them,-say the
bichromate of potass. Gelatine, albumen, or gum may be
used separately or in conjunction; but to simplify the mani-
pulation we shall confine our attention at first to the gelatine.
Set 1 oz. of the purest gelatine to soak in as much water
as will cover it. While this is soaking, dissolve 1 oz. of
bichromate of potass in 5 oz. of water, and filter. After the
gelatine has swollen, pour upon it sufficient boiling water to
make II ounces, and add the 5 oz. of bichromate solution
to it. If put away in a cool place, this will keep good for
a considerable time, many times longer than will the paper
that is afterwards prepared.
When used, this bichromatized gelatine should be poured
into a dish, and the temperature raised to about Iooº Fah.
Some positive photographic or other fine-wove paper is
taken by the corners and lowered upon it in such a man-
ner as to exclude air-bubbles. Let it remain for two
minutes, and then hang it up by one corner to dry in a
dark room. When dry, it may be again floated upon the
same solution, to insure it being uniformly coated, and
hung up by the Opposite corner to dry again. -
A piece of this paper is placed in the pressure-frame as
described in paragraph 179. It will be found upon examina-
tion that the back of the frame is divided into two parts by
hinges, so that one compartment may be lifted and the pro-
gress of the action of light watched from time to time. The
exposure may be for a minute or an hour, and will depend
upon the intensity of the light and the quality of the nega-
tive. The appearance of the paper, however, will be a
good guide for ascertaining the proper length of exposure.
When the picture shows a deep tawny colour upon the
yellow ground of the paper, it may be considered to be
exposed enough. *.
I84. INKING AND DEVELOPMENT OF THE TRANSFER.—
A stone or metal plate having been adjusted for pressure
in the press, is now inked up in transfer-ink. The photo-
I 92. THE GRAMMAR OF LITHOGRAPHY,
graphic print is taken out of its frame, laid face downwards
upon the stone, and pulled through the press, by which it
is uniformly covered with transfer-ink. It is now laid
with its back upon water warmed to the temperature of
Ioo°. After soaking for a few minutes, it is laid upon a
slab, and the inked side of the paper Sponged with gum-
water, until the picture becomes quite clean, after which it
is washed repeatedly by pouring warm water over it. When
dry it is ready for transferring,
185. TRANSFERRING.-As a basis upon which to trans-
fer the print, we may use either stone or zinc. To guide
us in our choice there must be taken into consideration
the peculiar nature of the print. For all ordinary work,
we have found stone to answer every requirement. It may
be stated generally, that a polished stone will take finer
work than a grained zinc plate ; and that a polished zinc
plate will take finer work than a polished stone.
The transfer is placed in the damping-book until it
becomes limp, it is then pulled through the press upon the
Stone or zinc plate. If newly prepared, one pulling through
will be sufficient; but if the transfer is two or three days
old, it should be passed through the press several times.
When transferred, the subject is treated exactly as if it
were an ordinary transfer from stone. If transferred to
zinc, it will require the usual preparation of nut galls as for
Ordinary zinc-printing.
I86. A MODIFIED PROCESS. —Some of the most suc-
Cessful Operators use an addition of albumen to the sensi-
tizing solution. The most available source of albumen is
the whites of eggs. The white being carefully separated
from the yolk, is beaten up, until it becomes entirely a
froth. It is set aside, when the chief part recovers the
liquid form, becomes very limpid, and may be filtered,
which before would have been impossible. If only the
white of one egg be operated upon, an equal quantity of
water may be added to it, so as to render it more easily
beaten. As the photo-lithographer does not require much
of this albumen at a time, he will find Thomas's dried albu-
men a very convenient preparation. It can be easily
weighed, like the other materials, and therefore can be
exactly proportioned to them. It will readily dissolve, by
PHOTO-LITHOGRAPHY. I 93
being soaked in cold water, stirring it occasionally, and it
can immediately be filtered, as it requires no beating up.
A little albumen having been mixed with sensitized
gelatine solution, the paper is prepared as before ; but care
must be taken that the solution is not heated enough to
produce coagulation of the albumen, which happens at
a temperature above 140° or 160°.
This paper is treated precisely as the other, so far as
exposure and inking are concerned, but it must be floated
inky side upwards on nearly boiling water. To do this
with safety, the edge of the paper may be turned up a
quarter of an inch all round and then dropped flat upon
the hot water. This will prevent the water flowing over
the surface, which would be fatal to that part so wetted.
The object is to coagulate the albumen before the surface
of the paper is wetted. This will take a short time, which
the experience of the operator will determine. The paper
is them washed with a sponge, as in the other process.
The chief use of the albumen is to improve the trans-
ferring. The ink entirely leaves the paper, which adheres
to the stone sufficiently to permit being passed through the
press any required number of times.
187. A PROCESS WITH GRADATIONS.—If an ordinary
photograph be printed upon the Sensitive paper, it will,
upon development, be found to possess considerable gra-
dation of light and shade. It may be transferred to a
grained stone, and with careful etching will be found to
yield a characteristic impression.
In this state, however, it is neither reliable as a printing
Surface, nor does it possess the necessary artistic qualities.
By regarding it merely as a tracing, it can be made avail-
able, and, indeed, valuable. Instead of treating the transfer
at once with acid, it should be thoroughly washed in warm
water, and then set aside for a day or two. The stone may
now be wrought upon with chalk, the work strengthened
and granulated, and all deficiencies made good. If an
artist be employed upon it, it is even possible to produce
an effect Superior to an original photograph, unless the
latter happens to be of great excellence. The finished
drawing must be treated exactly as if wholly executed in
Chalk.
O
I94 THE GRAMMAR OF LITHOGRAPHY.
188. A DIRECT PROCESS UPON STONE.-It was in working
in this direction that some of the most valuable processes
have been discovered; and though we cannot say that any
of them remain as practical modes of operating, yet there is
so much that is good in one of them, that we cannot refrain
from mentioning it. *
A Solution of water, I quart; bichromate of potass, 16o
grains ; gum -arabic, 4 Oz; and sugar, 160 grains, is
spread upon stone and dried. Upon this is placed, not
a negative but a positive picture on glass, and the whole is
exposed to light. After the necessary exposure, it is care-
fully washed, first with plain water, and afterwards with a
solution of Soap, which, sinking into the denuded parts, is
allowed to dry. The gum having been rendered insoluble
by the action of the bichromate of potass under the influ-
ence of light, resists the adhesion of the soap to the stone,
so that when it is rolled up, it is only the parts of the stone
affected by the soap which yield an impression.
189. ANOTHER DIRECT PROCESS.—A solution of bi-
chromatized gelatine is applied to a warm stone, and
when dry a negative is Superposed upon it and exposed to
light. This negative may be one either of gradations or
lines, it is immaterial which kind. After exposure to light, it
is washed with sufficient cold water to remove the soluble salt
of chromium, when the unexposed parts will be found to
possess a little relief; but that is not what is wanted. What
is more important is, that the parts most acted on by light
should show a greasy tendency ; and it will be found that
when the inking-roller is passed over the negative, the ink
adheres to the gelatine in proportion to this action. Hence
we can roll up a most beautiful picture; but, unfortunately,
few impressions can be obtained, because the gelatine is
not hard enough to resist the united action of rolling and
taking impressions. This, however, may be considered the
parent of the next process, which has been worked with
considerable success by many printers. -
190. LICHTDRUK or ALBERTYPE. — The inventor of this
process, Herr Albert, observing the defects of the last-
mentioned one, substituted glass as the basis for the gela-
tine, because it gave him the opportunity of hardening the
film from the back, by exposure to light. By a preliminary
I’HOTO-LITHOGRAPHY. I 95
coating of bichromatized albumen, also hardened by ex-
posure from the back, he was enabled to effect his purpose
more completely, so that a large number of impressions
could be produced of very great beauty, and hardly distin-
guishable at a little distance from silver prints from the
same negative.
One characteristic of this and similar processes is that a
thick and a thin ink are alternately used. The strong ink
being first applied, inks up the parts which have received
the most light; while the thinner ink adheres to the more
delicate gradations of colour. Very thick plates of glass
are used, and are cemented to the lithographic stone by
plaster of Paris, to enable them to withstand the pressure
necessary in printing.
191. THE HELIOTYPE. — In this process the film of
gelatine is made portable. A glass plate having the
slightest possible film of wax upon it, is levelled, and the
mixture of gelatine and bichromate of potass with a small
quantity of chrome alum is poured upon it to the thickness
of cardboard. When this has dried hard, the film can be
removed from the glass, and exposed under the negative
in the same manner as a piece of paper. After exposure,
the Soluble Salt is wasned out, and Une film again dried.
For printing from, the film is secured to a metal plate by a
solution of indiarubber run round the edge. It is then
treated precisely as the Albertype plate, but with this
difference, that the inventor, Mr. Edwards, prefers an Albion
or similar letterpress instead of the lithographic one.
Though some of these processes seem to be very easy
when read of, they will require much patience and per-
severance to master them. Had it not been for the simi-
larity to lithography of their mode of printing, we should
not have touched upon them at all. As it is, our sketch is
necessarily a meagre one, because to have treated it more
fully would have occupied too much space, and carried us
beyond the limits of the lithographic system which we set
ourselves to elucidate. The Woodbury type, and the pro-
cesses for obtaining relief blocks are so much beyond our
scheme, that we cannot do more than mention them.
There are also other lithographic processes in which the
bitumen of Judea dissolved in ether, benzine, or chloroform,
O 2
196 THE GRAMMAR OF LITHOGRAPHY,
is spread upon the stone. When dry, the negative is laid
upon it, and the whole exposed to light. When sufficiently
exposed, the bitumen is no longer soluble ; so that when
treated with the same or similar solvent, the part unacted
upon is washed away. This process is very uncertain, and
requires very bright light: hence, we cannot recommend it
as a practical process. - -
( 197 ).
APPENDIX.—RECIPES.
I. SOAP As A LITHOGRAPHIC MATERIAL.-Soap consists
of an alkali in combination with a fatty acid. The alkalies
used in soap-manufacture are soda, potash, and animonia;
the acids are chiefly oleic, stearic, palmitic, and margaric.
Soda forms the “hard” soap ; potash the “sweet” or soft
Soap ; and ammonia the kind of soap used in medicine,
technically called liniment. Soda soaps will vary in hard-
ness according to the acid employed. Stearic and mar-
garic acids yield harder Soaps than the oleic and palmitic.
Soap, although it is of so much importance, is one of the
least reliable compounds which the lithographer has to use.
The only advice that we can offer in regard to obtaining an
article fit for his purpose, is to apply to a respectable shop,
and ask, and pay, for the best. Best white or yellow is
what we employ. Seeing that soap may by dexterous
management be made to contain 80 per cent of water,
that 20 per cent, may be considered a minimum, and 4o
per cent, an average amount, it is no wonder that various
results are obtained from apparently the same material.
Supposing that it is desirable that soap for lithographic ink
should consist of stearate of soda only, there is little chance
of obtaining it of pure quality, when various samples of
commercial sóap are found to contain the following Sub-
stances: glycerine; silicate, sulphate, chloride, and carbonate
of soda ; rosin ; gelatine ; fuller's earth ; Cornish clay;
ground flints; potter's slip ; farina; dextrine, and other
substances. -
The principal object of the soap in lithographic ink is to
render the other ingredients soluble in water ; and any
considerable quantity beyond that will be of doubtful
benefit, because the more soap the ink contains the more
liable it is, when dissolved, to pass from the state of a liquid
to that of an emulsion. It is desirable, then, that the Soap
198 THE GRAMMAR OF LITHOGRAPHY.
should maintain a proper proportion to the other ingre-
dients, to effect which it must have the water removed from
it by drying.
Cut the soap into thin shavings or scrape it with a
piece of glass ; set it upon a dish before the fire, or on
the hob, until quite dry. A cleaner way will be to put
the shavings into an earthenware jar ; set that in a sauce-
pan of water, and allow it to boil, and maintain it at that
heat until the soap is quite dry. It may then be pre-
served in corked bottles for future use. Soap for chalk-
making may be treated in the same way. -
2. LITHOGRAPHIC WRITING AND DRAWING INK.—Many
recipes for this ink have been published from time to time,
but the one to which we give preference is one of the oldest
of them, having been published in France about sixty years
SI]]|CC –
Take of Tallow................................. 4. OZ.
Wax ................................. 4 × 2
Soap” ................................. 4 , ,
Shellac .............................. 4 , ,
Fine Paris Black .................. Quant. Suff.
This recipe makes the best ink we have ever used for draw-
ing on stone, though for transfer-paper we have thought we
have improved it by adopting the following proportions —
Tallow................................. 4. OZ.
Wax ................................. 5 , ,
Soap ................................. 4 × 2
Shellac .............................. 2 5
Black........ ... About half the quantity used for stone.
For re-touching the latter ink is excellent, as it will fre-
quently hold firmly to the stone, if only well washed, with-
out any acidulous preparation ; not that this course is to be
recommended, it being mentioned only to point out the
quality of the ink.
Recipes are frequently of very little use unless accom-
panied by a description of the precise manipulation ; and
we think we shall be able to point out a mode of making
lithographic ink, that, if followed, will lead to success.
* We have found this quality, as bought at the oilman's, quite suffi-
cient to make the other ingredients soluble, notwithstanding the water
it may have contained.
APPENDIX. —RECIPES. - I99
Take a small saucepan (one that will hold a quart will
do for the above quantity) and fit a handle of wood in-
side its iron one, so that it may be about a foot longer.
This will enable the operator to have Command of it
when its ordinary handle becomes too hot. Make another
wooden handle 12 in. long, and fit it to the handle already
upon the lid in such a manner that it may, when on the
saucepan, project horizontally. If the flame in burning the
ink should become too high, it may be removed from the
fire, and by means of the handle last described the lid may
be put on without fear of burning the fingers, and the flame
extinguished by cutting off the source of oxygen—the
external air—without which it does not burn. These
simple contrivances will render the operation a safe one
with persons of ordinary care and intelligence, and will
enable them to devote their attention more satisfactorily to
the ink-manufacture. Put any kind of oil or rough fat
into the saucepan and heat it until its tin lining becomes
melted, when it and the oil may be poured away together;
or the Saucepan may be gradually brought to a red heat
and the tin burned away. We prefer the first method.
The fire for ink-making should be a clear one, yet not low,
as the operation will require a considerable time ; putting
on new coals would perhaps cause a flame to play round
the saucepan and set fire to its contents at an incon-
venient moment.
Put into the Saucepan the tallow and wax, and when
melted throw in the soap a little at a time. Contrary to
the teaching of Some manipulators, we can assure the stu-
dent that it is not at all essential to have the soap previously
dried, if caution be observed in putting it in. The principle
is this : Common soap, as shown in the last paragraph,
contains a considerable quantity of water, which is readily
parted with at its boiling-point. The tallow and wax in
the saucepan soon exceed this heat, and when the soap is
thrown in, its water is violently expelled ; and if too much
be added at a time, the whole may boil over into the fire
and cause mischief; but if it be thrown in in small pieces,
and time be allowed for each piece to part with its water
(which may be known by the cessation of the ebullition it at
first causes), its solution in the wax and tallow may be
2 OO THE GRAMMAR OF LITHOGRAPHY.
safely performed. When this has taken place, the heat
must be continued until the dense light-coloured fumes
passing off can be ignited upon the application of a light.
If the flame be two or three inches high, the Saucepan may
be removed from the fire, when the burning will most pro-
bably be continued without further application of heat to
the bottom. Stirring with a rod will facilitate the passing
off of the vapour, and will raise the flame higher. If the
quantity herein named be used, it may be burnt perhaps
for half an hour; but whether a longer or shorter time be
involved, it must burn till the twelve ounces are reduced
to nearly eight. This may easily be found by weighing the
saucepan at starting and afterwards making an allowance
for that weight during the burning. Arriving at this stage,
put out the flame and add the shellac a little at a time,
taking care that it does not boil over. Add now the black.
We do not allow the mixture to ignite after the shellac
and black have been added, because it is apt to form a car-
bonaceous crust on the top. If afterwards it is found, as
it probably will be, that the burning has not been continued
long enough, it may be again heated, and the effect esti-
mated by observing the density of the light-coloured vapour
passing off.
It is important that the black should be ground. This
cannot be easily done with any of the ingredients used for
the ink, but if it be ground in turpentine and cautiously
added to the ink, the heat will vaporize the turpentine,
whose place will then be taken by the other molten ingre-
dients; whereas, if it were added in the state of dry powder,
there would be considerable difficulty in properly diffusing
it throughout the mass.”
Considerable difference of opinion appears to exist as to
the amount of black to be used. On reference to formulae
in our possession, we find it variously stated at from one-
sixth to one-twentieth of the whole. The following con-
siderations may decide the matter:-I. All blacks are not
equally powerful. 2. Ink for use on stone may have more
than that for use upon transfer-paper. 3. Ink with little
* Good lithographic printing-ink, in the same condition as bought
from the maker, may be used for this purpose if an allowance be made
for the small quantity of varnish with which it is ground.
APPENDIX.— RECIPES. 2 O Y.
black makes purer and finer lines with the ruling-pen than
that which has much. 4. Ink for transfer-paper should
show a gloss when it becomes dry in the saucer, and the
colour of a thin solution should be brown rather than gray.
In practice, it is better to err on the side of putting too
little than too much black, because the former can easily
be remedied.
The ink having been brought to this stage, requires now
to be tested to determine whether it is sufficiently burnt,
and we believe we can claim the credit of being the first
to draw attention to, if not to discover a simple method
for determining this important point. Ink that is not suf-
ficiently burnt becomes thick and slimy on standing for two
or three hours after mixing with water, but our method
shows at once whether it is burnt enough. Place about a
grain or so on a Saucer, and drop upon it a little distilled
water; watch it for a few seconds, and notice whether the
ink appears to become lighter in colour : if it does, it is a
sign that the burning has been insufficient. Heat again,
and allow the white fumes to pass off for a few minutes
without catching fire. Try the ink again. When it retains
its blackness upon the addition of water, we have found
that it will also keep in a good working state, and have
made it for law-writing, by the pint, as described in para-
graph 68.
The ink having been proved, may now be cast into sticks
for convenient use. The method we adopt we can recom-
mend for simplicity. Cut six or more pieces of printers'
furniture into equal lengths of 3 or 4 in. and two pieces of
8 in. long, and thoroughly oil them. Take a piece of
glazed tracing-cloth and well oil that also. Place it on a
stone and arrange upon it the pieces of wood thus:—

2O2 THE GRAMMAR OF LITHOGRAPHY.
Pour out the ink into each division successively, until
the saucepan is empty. Allow the ink to set, but while it
is yet warm, slide away first one long piece of wood and
then the other. As soon as cool enough to handle, the
tracing-cloth may be raised from the stone with the sticks
of ink, and then peeled off; the wood pieces separated from
the ink, and the latter wrapped in tinfoil and put away in a
dry place.
Other substances, such as gum-mastic and Venice turpen-
tine, may be used in making ink, as the following table of
the various inks used by Senefelder will show. The list
might be much extended, but whether with any improved
result, we cannot say.

d L Venice
2. ... Soap. Wax. Tallow. Shellac. Mastic. Turpen-
2LC time.
I I 4. I 2 4. - * N
2 I 4. I 2 - 4. *
3 I 4. *g 8 8 * *=
4 I 4 8 *ms 4. * §
5 I 4 8 4. 4. * 5
6 I 4 6 2 4 3 I
7 I 4 2 6 3 5 J
It will be noticed that in all these recipes, the soap and
black bear an unvarying proportion to the total of the
other ingredients.
3. TYPE RE-TRANSFER INK–OR INK FOR STONE-TO-STONE
RE-TRANSFERS.–Melt two ounces of lithographic writing-
ink in a saucepan over the fire. While this is melting mix
two ounces of litho-printing-ink with two ounces of varnish,
add it to the writing ink, and well mix the whole while it is
hot. This may be set aside for use, and will keep inde-
finitely. It must be tempered with a little ordinary printing-
ink if too stiff for use, which addition will prevent the soap
contained in the ink from tinting the stone. When used
for type transfers it may be thinned with a minute quantity
of turps. .*
APPENDIX.—RECIPES. 2O3
4. INK FOR THE DABBING STYLE. See par. 136.-This
may be made as the last, with the varnish omitted.
5. PLATE TRANSFER INK.—The making of re-transfer ink
for taking impressions from Copper plates is conducted in the
same manner as that for writing and drawing. Taking
either of the following recipes, it is preferable to burn only the
first three of the ingredients by setting them on fire after they
attain sufficient heat to do so. For the quantities first
named they may burn for 15 minutes. If after the other
ingredients are melted the ink is yet too soft, it is best not
to set them on fire, but to keep up the heat until the neces-
sary degree of hardness is arrived at. Melt the ingredients
in the order they are set down. The first recipe is the one
we use ourselves.
No. 1. No. 2. No. 3.
Oz Oz Oz
Tallow ......... 4 Varnish ...... 2 Varnish ...... 8
Wax ............ 4 Tallow ......... I} Tallow......... IO
Soap ............ 4 Wax............ 4 Wax............ I6
Shellac ......... 4 Soap............ 3 Soap............ 8
Pitch ............ 4. Shellac......... 5 Shellac......... I4.
* Stiff Lith O Pitch ......... 5 Pitch ......... 7
printing - ink Iampblack ... 2% Lampblack ... 2
at 3s. per lb. 4
No. 4.
Tallow ......... 8 Wax............ 8 Venice turpen-
Soap ............ 4. Shellac......... 4. tine ......... 8
- Lampblack ... I Burgun dy
pitch ...... 8
Where varnish is employed that should be burnt also.
6. LITHOGRAPHIC CRAYONS. – These are made in
precisely the same manner as the ink, and may even
be made of the same materials if they are burnt suffi-
Ciently hard for use in drawing. A good useful chalk that
will keep well can be made from equal parts of wax and
dry soap. By judicious burning it may be made of various
degrees of hardness. The various recipes given from Sene-
felder will yield a great variety of crayons by burning them
* By this is meant the unreduced ink, just as bought from the ink-
maker.
2O4. THE GRAMMAR OF LITHOGRAPHY.
more or less. Each one has also its own peculiarity in
working, and will yield different grains from each other,
which may be found useful to the artist. Crayons almost
invariably contain such a large proportion of soap that etch-
ing is imperative to correct its tendency to spread, but if
they are made with little soap, they do not work freely, and
are liable to be more affected by variations of temperature.
Crayons may be cast in the flat cake and then cut up
with a saw or hot knife into square pencils, but they are
better cast in a grooved box similar to a druggist's pill-
machine, and pressure applied while hot. This box may
be made as follows:–
Obtain a plate belonging to a pill machine containing
about twelve grooves. By cutting this in two across the
grooves a length suitable for a crayon will be obtained.
Make each half equal to the other and mount it upon a
piece of wood a half inch or more thick.
Have these cast in iron and the grooves afterwards
smoothed. Around one piece screw strips of iron about
one-fourth of an inch in height to form a box into which
the composition may be poured. To use this take the
tympan away and place a stone in the press, and upon it
the mould, previously warmed, and pour in the Composition,
upon this place the other piece and bring down the scraper-
box until the superfluous material is squeezed out. The
mould having been previously oiled, the crayons may be
removed, care being taken to keep them straight.
Crayons may be well kept in wide-mouthed bottles
tightly corked. -
SENEFELDER's COMPOSITIONS FOR CRAYONS.


No. | Black | Soap. Wax. Tallow. Shellac. Spermaceti.
I 2 6 4 * * *
2 2 4. 8. tºmº cº-º- *=
3 2 4. 4. ** * 4 / re
4 2 4 8 *-sº *sms. 4. §
5 3 5 8 º 4 sº §
6 3 5 8 2 4. —
APPENDIX.—RECIPES, 2O5
7. IITHOGRAPHIC VARNISH.—Put two quarts of the best
linseed oil into a saucepan large enough to hold a gallon.
The lid should have a long handle, so that it may be put
on the vessel with safety while the contents are burning.
Set it on a clear fire until white fumes arise. Apply a
lighted paper occasionally until these fumes catch fire and
burn. It must now be watched carefully so that the flame shall
not become unmanageable. If the flame goes down a little
it may be increased by stirring with an iron rod. If it shows
a tendency to rise too high it may be removed from the fire,
when it will still continue to burn. If it rise too high, and
threaten to become dangerous, the lid must be put on,
when the flame being deprived of the access of air will be
extinguished. If the flame has been very high, the lid
should be kept on long enough to allow the whole of the
oil to cool down a little, for if it were merely extinguished
and reopened, it would take fire spontaneously and flare up
nearly as much as before.
The oil is burnt until it becomes one-sixth less. A thick
slice of bread is now put in, and moved about with a fork
until it is browned. It is then allowed to burn a little more,
it being set on the fire again to revive the flame if the latter
has become dull. A second slice is now put in and cooked
in a similar manner. This proceeding is said to free the
oil from its more greasy particles.
One-fourth of the oil may now be taken away. If on
becoming cold it is of a syrupy nature it may be set aside
for thin varnish. -
The rest having been burnt again for a short time, a
third part of the rest is to be taken away. This is medium
varnish.
The remainder is again burnt, and one-half of it set aside
for strong varnish.
The fourth portion is again burnt, and when cold it should
be thick and ropy.
If these varnishes are not as strong as expected, they may
be burnt again until they become of the required con-
sistency.
It is necessary to take every precaution to guard against
accident. The operation should not be carried on in an
ordinary apartment, but in a back kitchen or other place
206 THE GRAMMAR OF LITHOGRAPHY.
where there are few things about likely to catch fire, or be
spoiled by an accident. If the oil be neglected, the flame
may rise several feet, and become unmanageable ; it is well,
therefore, to provide wet sacks, or something equivalent, to
use in case of accident.
8. TRANSFER PAPER.—In par. 7 of our Grammar we ex-
plained the general nature of transfer paper, but now we
give a few recipes.
Transfer Paper for Warm Stones.—Make a size by boil-
ing parchment-cuttings. Let it be so strong that when cold
it will be firm jelly. Grind dry flake-white with water, add
it to the size after warming it, well mix, and rub through a
sieve. The proportion of flake-white may vary with circum-
stances. If too much be used, pens will not work upon it
properly, and probably the finest lines will fail in trans-
ferring. Coat the paper with the composition with a full
brush, or use a sponge, and give two coats—the second
when the first is dry. If for writing, the paper may be thin ;
if for drawing, it should be thicker, using drawing-paper for
very large subjects. The stone for this paper should be
quite warm. Similar paper is made from gelatine, or even
from the better sorts of glue instead of parchment-cuttings.
Other substances are also used instead of flake-white, such
as chalk and old plaster of Paris. Flake-white is best,
because it grinds up so finely.
Aafter for Cold Stones.—Take four ounces of starch, and
one ounce of best pale-coloured glue. Break the glue, and put
it in cold water over night to soak. Mix the starch with a
little cold water, and then pour boiling water upon it until
it thickens, stirring it all the time. Now put in the glue,
and boil over a slow fire or gas-jet, brush over the paper
while warm. This may be used on tracing-paper, printing-
paper, or writing-paper. For Ordinary use printing-paper
is preferable, because the water penetrates more quickly
through the back of it in transferring. Some persons add a
little flake-white to this paper. If a more adhesive paper is
required, a Commoner kind of glue may be used, and its
proportion increased, or gum-arabic or even dextrine may
be added.
Colouring 7% ansfer Paper—The addition of colouring
matter to transfer-paper is for the more ready determination
APPENDIX.
RECIPES. 207
of the coated side. Gamboge is generally used, but any
kind of colouring matter will answer the purpose. We
somewhat prefer a light pink tint, because that is distin-
guishable by artificial light, while a yellow is scarcely
visible. Rose-pink, or a solution of Cochineal in ammonia,
answers this purpose.
Glazing Transfer Paper. — The paper may be pulled
through the litho press, face down, on a smooth stone; but
it is much better to send it to a hot-presser to have it pro-
perly rolled. Many law-writers prefer it when it is merely
pressed between Smooth and clean glazed-boards.
Banging Transfer Paper up to dry.—Put lines across a
room, about nine inches apart. Lay the wet paper over a
T-shaped piece of wood, and place it on the lines neatly
and cleanly. The piece of wood being drawn away may
be used for another piece, and SO on until all are done.
The formulae for transfer paper might be multiplied,
and no doubt the student will meet with many in the
course of his studies, but we have purposely avoided
giving them empirically. What we have given, we have
proved in a somewhat extensive practice, and can vouch
for it that they answer the purpose intended as well as any.
We always prefer a simple recipe to a complex one, when
we know it will do equally well. Thus, we prefer the starch
and glue paper and a Cold stone as being the simplest and
quickest, and find it quite efficient for the most elaborate
and minute work. The starch forms the main body of the
composition and makes it adhesive to a cold stone. By
itself it hardly bears out the writing-ink upon the surface
sufficiently, and the gelatinous matter is added to com-
pensate for this defect. If the gelatine is very good, the
addition of a greater proportion will reduce its adhesive-
ness to cold stones, while common glue or gum will in-
crease it. Bearing these principles in mind, any kind of
transfer paper may be made, but too sticky a quality has
the drawback of requiring greater care in damping for
transferring, while it is not so pleasant to write upon.
It is recommended by some persons, to put a certain
quantity of alum into the Composition. This proceeding
we cannot recommend, because the alum has a tendency
to render the composition insoluble.
208 THE GRAMMAR OF LITHOGRAPHY,
9. SCOTCH RE-TRANSFER PAPER FOR PLATE-The recipe
for this paper has been given in many works treating of
lithography, but, so far as we are aware, always unaccom-
|panied by the details of manipulation, without which the
formula is comparatively worthless.
'Take of plaster of Paris and best Seconds flour equal
parts by weight, to which add sufficient colouring matter to
be able to know one side from the other either by daylight
or artificial light. We recommend something of a red or
green hue, because that can be more easily distinguished
by gaslight than a yellow tint.
To prepare the Plaster—In this lies the secret of success,
and the method is believed to be here for the first time pub-
lished. Obtain the best fine plaster from the manufacturer of
plaster of Paris images, &c. That to be found in country
towns in use by plasterers and others is usually so coarse as
to be worthless for this purpose. Put half a pound of plaster
into a basin that will hold about two quarts; pour upon it a
little water and mix it up with a wood spatula until of the
consistence of cream. If it were now let alone it would soon
set into a hard stone-like mass, but this must be prevented
by constant stirring, and the addition of small quantities of
water whenever the plaster shows a tendency to thicken.
This constant stirring and watering will occupy half-an-hour,
by which time the “setting ” quality of the plaster will be
destroyed, and may be left while the paste is made from
the flour. Mix half a pound of flour into a smooth paste
with a little water, then add sufficient water to make it
into paste of ordinary consistency when boiled. Set it
on the fire while cold, stir it constantly until it boils, and
let it boil for five minutes. The saucepan should be large
enough to hold twice as much, and the fire a slow one, or
the paste may be expected to boil over. If this should
happen, some will be lost and the proportions destroyed,
when it will be better to make a new lot than to run the
risk of spoiling the transfer paper. -
The paste is now to be added to the plaster and well mixed,
after which it must be passed through a piece of cloth or fine
sieve (the 120-hole sieve for sifting graining sand will do
admirably) by putting in a little at a time and rubbing it
through with a stumpy hog-hair brush. When all has been
APPENDIX.—RECIPES. 209
passed through, the composition may be applied to the paper
with a large flat camel-hair brush about four inches wide. If
any difficulty is experienced in spreading it evenly, it may be
too thick and can be diluted with water to a proper working
consistency, a matter to be determined by experience.
Our practice is to brush it on in one direction, and then to
lightly brush it at right angles until it presents a uniform
layer of about the thickness of thin cardboard. We recom-
mend the beginner to use a tablespoon or other similar.
convenient measure for measuring an equal quantity for
each sheet; by adopting this method sufficient composition
may be applied at One Operation. Some recommend two
Coatings to be given with a sponge, but a Sponge is not at
all suitable for laying it on, something is required that will
glide over the surface and leave a body underneath. If
Some suitable colouring matter be used it will materially
assist the beginner by enabling him to see whether the
composition is laid on evenly. The sheet having been
Coated is to be hung on a line to dry as in making other
transfer paper. A thin demy printing paper about 15 lb. to
the ream will be good enough for this purpose. It will
appear very much stouter when dry. º
If these directions are faithfully followed, we may ven-
ture to say that the best possible paper for re-transfer pur-
poses will be the result.
Be careful that the composition does not dry in the
brush. Let it lie in water if inconvenient to clean it at once.
Io. RED AND BLACK TRACING PAPERS.—The preparation
of these is very simple. Tissue paper is a much better
foundation than tracing paper, the varnish of which is apt
to unite with the colouring matter and prevent its trans-
ference to the stone. Lay out the paper upon a smooth
board, sift upon it some powdered red chalk or black lead,
and rub it in, being careful not to tear the paper ; when
the paper is well covered, the Superfluous colour may be
first removed with a hard brush and finally wiped with a
cloth. Its effect may now be tried on stone or paper. If
it is too dark, more colour may be removed with a cloth.
The colour should not come off by leaning the hands upon
it, but should give a nice smooth clear line under the
tracing point.
P
2 Io THE GRAMMAR OF LITHOGRAPHY.
Red chalk paper should be used for lithography; and
blacklead paper for designs, &c., on paper, because the
blacklead can be removed with indiarubber, though the red
chalk may be removed by bread crumbs.
Chrome yellow may be used for paper employed in
tracing on black grounds in engraving on stone ; when the
colour of the ground is red, fine Paris black makes the best
tracing paper (see Engraving on Stone).
II. TRANSFER PAPERS FOR RE-TRANSFERRING COLOUR-
work.-The Scotch transfer paper will answer almost every
purpose for re-transferring where correct register is not re-
quired, as in the multiplication of colour subjects (par. I77).
For this purpose thin foreign post paper may be coated with
starch-paste and afterwards well rolled when dry, so as to
restore its semi-transparency and render it in other respects
suitable for the purpose. Stout tracing paper may be em-
ployed with the same treatment where a more transparent
paper is required. Copying letter paper may also be em-
ployed. When the main object, of seeing the work suffi-
ciently well through the paper, is secured, it only remains
to give such a coating as will take a good impression and
stick sufficiently to the wet stone.
Those who do not like the transfer upon wet stones may
employ the varnish transfer paper. Paper is varnished by
the method given in our article on Collodionizing, &c., and
after being thoroughly dried, it is coated with the gelatine
sizing material or with starch paste. This paper requires a
transparent frame to patch up the transfers by, but it may
be modified so as to do without it. If thin foreign post or
similar paper be varnished without previous sizing, the
varnish will render it transparent. When dry, give it
another thin coat of varnish. When thoroughly dry, give it
the coat of gelatine or starch as before. This paper may
be employed exactly as the other varnish transfer paper.
I 2. TRANSFER PAPER FOR CHALK DRAWINGS.—Stout
printing-paper is thickly coated with the Scotch transfer com-
position, to which a little glue has been added. After drying,
it is rolled on the stippled plates mentioned in par. 74, or
pulled Once through the press under heavy pressure on a
grained stone.
Almost any transfer paper may be employed for this pur-
APPENDIX.—RECIPES. 2 II
pose, when properly grained, but the above possesses the
advantage of permitting lights to be scraped with facility,+
an important consideration in chalk work, whether on stone
Or paper.
I3. PORCELAIN OR ENAMEL PAPER.—This paper is em-
ployed in printing where brilliancy of effect is sought,
whether for Colour or bronze work. Although we do not wish
to recommend its manufacture by the printer, it will be as well
for him to understand something of its make and properties.
Ordinary enamel paper is prepared by brushing over
common printing-paper a mixture of flake or Kremnitz white
with fine light-coloured glue and a little alum. The glue
must be only sufficient to prevent the white from peeling
off the paper during printing. If too much were used, the
paper would be hard and non-absorbent. If zinc-white be
used instead of the lead-white, it will be less liable to change
colour in impure air. The mixture may consist of 4 oz. of
Russian glue dissolved in 3 quarts of water; in this grind
I# lb. of zinc-white and pass through a sieve. Apply two
coats. When dry, the paper may be polished by brushing
with a somewhat hard hairbrush, and subsequently further
glazed by rolling on polished metal plates.
We believe that sulphate of baryta is sometimes used
instead of zinc-white, and that a mixture of white, turpen-
time, and oil-varnish is also used for a similar purpose.
Enamel cards are damped by placing them between
sheets of damp paper.
14. COLLODIONIZING, GELATINING, AND WARNISHING.—
Coloured lithographs on box-tops and other similar articles
are frequently found to possess a very high degree of gloss,
which may be obtained by one of these processes.
CoLLODIONIZING or ENAMELLING.—This is the most
troublesome process, but it is that which gives the highest
finish. A level glass plate, of a size suitable for the work,
is first well cleaned. It has then rubbed over it a little
white wax, the plate having been made hot. It is then
rubbed off again with a clean new linen cloth. The
wax may be dissolved in a solvent such as Sulphuric
ether or benzoline. It is then wiped off, as before
described. The object is to leave a very slight film of
wax upon the glass, so as to permit of the Subsequent
*
2 I 2 THE GRAMMAR OF LITHOGRAPHY.
applications being removed. A bottle of enamelling col-
lodion (which may be obtained at the dealers in photo-
graphic materials) is then taken in the right hand,
while the glass plate is held by one corner by the fingers
and thumb of the left hand. The collodion is poured upon
the middle of the glass and allowed to run towards the edges
of the plate. When there appears enough to cover it, cease
to pour from the bottle, but run that on the plate towards
one corner ; then let it run along the edge to another cor-
ner, and so on, until the plate be covered. Resting the last
corner at which the collodion has arrived upon the mouth of
the bottle, pour the Superfluous collodion back into the bottle,
observing while doing so to rock the glass plate from side to
side, so as to avoid its running into crape like lines. In a
few seconds the collodion will be set. Now pour upon it a
solution of gelatine, prepared by dissolving an ounce of fine
bright gelatine in ten or twelve ounces of water. Lay the
plate in a level position to set the gelatine ; effecting which,
it may be placed on edge to dry in a place free from dust.
A number of plates may be thus prepared. The print to be
enamelled must be quite dry. It is then coated with a
similar solution of gelatine, to which a little solution of ox-
gall has been added. The print is then dried. The
gelatine-print is now laid in water to become limp. The
coating on the plate is wetted with a sponge and the two
brought in contact, the Superfluous water and all air-bubbles
being, as far as possible, excluded. The whole is then
allowed to dry thoroughly, after which the print may be
carefully raised from the glass, when it will be found that
the coatings of gelatine and collodion will be brought away
with it, and the surface will be equal to that of the glass.
This process may be simplified by omitting the coating of
gelatine upon the glass and laying the print down upon the
dried coating of collodion.
15. GELATINING.—The description of the foregoing pro-
cess will explain this one, as the principal is identical. The
glass plate is waxed or covered with a thin film of Ox-gall,
then coated with gelatine and dried. The prints are then
coated with gelatine, and the two brought into complete
contact as before. After drying, they may be separated
from the glass.
APPENDIX.—RECIPES. 2 I 3
Y6. WARNISHING-This, when well performed, is but little
inferior to the foregoing processes, and is more quickly done.
The dry prints are carefully brushed over with a sizing
Solution of the finest glue or gelatine, of such a strength as
to impart to the print, when dry, a little gloss in the parts
uncovered by printing. If, on trial, the varnish is found to
penetrate this coating of gelatine in patches, the coating
must be renewed. The prints, being satisfactorily prepared,
are submitted to the glazing effects of the rolling-machine.
Any kind of clear quick-drying turpentine-varnish will do for
the next operation, but special paper-varnish may be bought
for the purpose. A good varnish brush must be employed,
and the varnish must be employed with decided, steady,
regular strokes of the brush, so as to avoid any working up
of the previously applied varnish by the subsequent strokes.
The showcard or other work should be placed in a sloping
position during the application of the varnish, and should
be kept nearly upright until dry. Great care must be taken
not to pack them up until they are thoroughly dry.
I7. COLLODION VARNISH.—Thirty-two parts of collodion
and One part of castor oil make a varnish which can be
applied with the brush, and which dries very rapidly. It is
very durable, glossy, and waterproof.
18. PRESERVING THE DRAwINGS ON STONE AFTER PRINT-
ING.—It is too often the practice in lithographic printing-
offices to take but little notice of the stone when the first
order from it has been executed, but if there is only a remote
chance of its being required again, means Ought to be taken,
as far as possible, to insure that the stone be in fair printing
condition when another edition is called for. The stone
may not be wanted again for months, or even years, but the
ordinary printing-ink may become so dry in a few weeks as
to become insoluble in turpentine, and to have lost its power
of resisting the adhesion to it of water. Hence the neces-
sity of preparing it in some manner that will permit of the
removal of the ink by turpentine, so that the stone will be
in a similar condition as when first printed from. Drawings
may be preserved by using the following ink.”
* Some recommend the addition of soap to this ink, but it is not
only quite unnecessary, but positively mischievous. --
2I4. THE GRAMMAR OF LITHOGRAPHY.
Ordinary printing-ink, as bought from the ink-maker, 2 oz.
Tallow tº tº g tº e º ... ... & © tº . . . 2 3,
Bees’-wax ... * * * * * @ * * * * * * . . . 4 »
The tallow and wax are to be melted over the fire, and
the printing-ink added a little at a time until dissolved.
When about to be used, a small quantity must be ground
with turpentine until of the consistency of ordinary printing-
ink. Wash out the drawing with the washing-out mixture
(par. 25) or with turpentine only, and roll in with the above
ink until the drawing shows clearly, using a small quantity
of gum on the stone to keep it quite clean. Set the stone
aside for a few hours until the turpentine has quite
evaporated, and then gum in with gum-water containing
carbolic acid (see note to par. 14).
Another Method.—Roll the stone with ordinary printing-
ink. Dust with powdered resin and allow time for the ink
and resin to incorporate and become hard. Take a spoilt
impression of the job, and brush over the back of it with
gum-water; lay its gummed side to the stone and pull
, through the press. Gumming the paper instead of the
stone will more effectually exclude the air, and thus prevent
“oxidation * of the ink, for which “drying ” is only another
name. The resin, having no tendency to dry, will very
materially assist the preservation of the ink in such a con-
dition as to be soluble in turpentine.
If the stone is to be laid by in a very dry place, the
addition of a little glycerine to the gum will prevent its
Cracking. It is better than sugar, molasses, &c.
19. ROLLING-UP DRAWINGS THAT HAVE BEEN LAID ASIDE
For A LONG TIME.—First try the effect of turpentine mixed
with a little oil after the gum has been moistened. If this does
not remove the old ink, gum the stone again, dab it over with
the damping-cloth so as to prevent the gum overlying the
ink, and allow it to dry. Turpentine may now be permitted
to lie upon the stone until the ink be dissolved. If
turpentine is ineffective in softening the ink, benzoline or
oil of tar may be tried. It must be understood that no
water be employed, so that the gum remains undissolved,
and so thoroughly to protect the uninked portion of the
stone from receiving any greasy matter. If the ink still re-
sists the action of the solvent, friction may be employed.
APPENDIX.—RECIPES. 2 I 5
The solvent may be employed with coarse flannel, and may
even be assisted by the addition of some abrading material,
such as chalk, tripoli, rouge, or Indian red. These will
have little or no effect on the gum, and when sufficient ink
is removed, the stone may be washed with oil and turps,
the gum dissolved with water, and the stone rolled up in
the usual way. The main points are to keep the gum
undissolved during the action of the solvent and to use
clean Sponges and cloth during the rolling-up.
20. TRANSFERRING FROM MUSIC-PLATES. — Music is
usually engraved by punching the forms of the notes, &c. on
soft, white, metal plates, which will not stand the heat em-
ployed in taking transfers from copper and steel plates. As
the music contains no fine lines, it is unnecessary to employ
the hard ink used for finer work. The music-plates may be
filled in while cold with the ink used for pulling re-transfers
from stone, and wiped from the surface with rags in the
usual way. The scum left on the plate will be considerable,
and if the impression were pulled upon the ordinary transfer
paper, would give much trouble when transferred to stone.
If, however, the impression be taken upon ordinary printing-
paper, the scum will, in a great degree, be absorbed into
the surface, while there will be sufficient ink in the engraved
parts to transfer to the stone with one pull through the
press. It is sometimes necessary to take off a little of the
superfluous ink by previously pulling it through the press
with light pressure upon another piece of plain paper.
2 I. TO PREVENT SET-OFF ON STONE. –ANTE-DAMPING
FLUID.—When it is necessary to print two or more colours in
succession without time being allowed for drying, the colour
first printed sets off-upon the stone. If it be a black or
similar colour followed by a delicate one, such as bright
red, the black set-off will be taken up by and soil the ink
upon the roller. This may be much modified or altogether
prevented by adding to the damping-water some substance
which retains moisture a long time, such as sugar, common
salt, glycerine, chloride of lime, &c. These may be used
separately or in combination with each other, or with gum.
These substances are also useful in hot weather for pre-
venting the too rapid drying of the stone, and mixtures have
been introduced to the trade under the designation of ante-
2 I 6 THE GRAMMAR OF LITHOGRAPHY.
damping fluid, as more than one impression could be taken
with one damping. For this purpose the following may be
tried —1st. Glycerine, 1 oz. ; chloride of lime, I Oz. ; water,
2 oz. 2nd. Glycerine, 4 Oz: ; tartrate potass, I Oz. ; gum,
1 oz. ; water, 4 oz. -
22. THE ANASTATIC PROCESS.—This process at one time
attracted great attention, and much time was devoted to it
by experimenters. It is now very little used, because the
process of photo-lithography can be much more effectually
applied to the same purpose. As originally employed, it
consisted in reproducing by zincography the recent pro-
ductions of the printing-press of our own and other coun-
tries. The print to be reproduced is wetted at the back
with a weak solution of nitric acid in water. It is then laid
face downwards upon a clean sheet of polished zinc and
passed through the press. It is afterwards treated as de-
scribed for zincography and printed from. The same pro-
cess may be employed upon stone of a close texture if it
is first treated with turpentine, the turpentine being allowed
to become nearly dry. -
Many attempts, but with little success, have been made
to newly charge the old ink of a print with greasy qualities,
but we cannot recommend any one to try it : the print is
pretty sure to be spoiled, and nothing can be done that
cannot be better performed by photo-lithography, which does
not in the least injure the print to be copied.
BACKING STONES.—When stones less than two inches
thick, or even thicker ones when large, are used in the
press, they are apt to break when much pressure is employed.
Such stones are best “backed” with slabs of slate or other
lithographic stones. It is performed as follows:--
Mix up ordinary plaster of Paris to the consistency of very
thin paste, spread this upon the slab, and place the stone
upon it. Move it about until it is felt to rest pretty firmly
upon its seat. By this time much of the plaster will be
squeezed out from between the stones, and should be neatly
plastered round the base of the upper stone, so as to better
secure it. . If the plaster is new, the stone may be used in
the press in about an hour. -
When it is required to separate them, it may be done by
driving a thin blade between them. A broken palette-knife,
APPENDIX.—RECIPES. r 2 I 7
ground off square, is very useful for this and other
purposes.
23. ENLARGING AND REDUCING PROCESSES.—There is no
doubt but that the photo-lithographic process is the rºost
efficient means of obtaining copies for lithography in altered
dimensions. There is, however, another process which
possesses advantages of its own, and which, unlike photo-
graphy, can be carried on at any time. It will be easily
understood, if a sheet of thin india-rubber be prepared
with an elastic transfer composition, and an impression be
made upon it in transfer-ink, that by Suitable mechanism it
may be stretched to a larger size, and while at that size it
may be retransferred to stone. In like manner, if the india-
rubber be stretched before the impression is taken upon it,
it may be allowed to contract to a smaller size before it is
retransferred.
Having stated the principle upon which the process
depends, we think it unnecessary to describe the various
means by which it may be carried out. Those who think of
employing this useful method may communicate with either
Mr. Joseph Lewis, of Hazlewood House, Ranelagh, Dublin,
or Mr. Beattie, of 5, Aston's Quay, Dublin, both of whom
furnish effective, though different, apparatus, with complete
instructions for use.
24. QUICK-DRYING STOPPING-OUT WARNISH.-Resin dis-
solved in common benzoline makes a good stopping-out var-
nish for use in etched-tint making, or for any other purpose
where it is necessary to protect the work during etching with
strong acid. It dries very quickly—so quickly, indeed, that
the stone may be etched a few minutes after it is laid on,
and it is easily dissolved by turpentine during the washing-
out process.
25. ECONOMY OF RAGS.—Rags are used in washing out the
black ink previously to rolling-up the subject in colour, and
unless economy be practised, much more will be used than
is really necessary. They may be greatly economized by
judicious use. Cut them into convenient size pieces. The
stone should be sprinkled with a little turpentine and the
whole of the ink dissolved before the rag is used to absorb
it. The stone is then Sprinkled again, and a second rag
taken to wipe it with. After the third application, the stone
218 THE GRAMMAR OF LITHOGRAPHY,
will probably be clean, and certainly more clean than it
would have been if the same amount of rag had been used
in one piece. These dirty rags having been set aside, the
second piece may be used for first application on the next
occasion ; the third piece for second ; using a clean piece
for the third wiping, and so on. This is a point worth
attention.

P A R T II.
MACHINES AND MACHINE PRINTING,
MACHINE PRINTING.
—so- &
CHA PT E R I,
Introductory—The demand for Machine-Minders—The Selection of a
Machine—The essentials of a well-constructed Machine—How to
judge of the value of a Second-hand Machine—How to keep
Machinery in the best working condition—The Inking Rollers—
The Damping Rollers—The Cylinder and its Covering.
g|ONSIDERING the importance of the subject,
§ our task would be incomplete did we not give
some practical instructions in the application of
the principles laid down in the foregoing pages
to printing by means of the many excellent
unachines now to be had of the various makers. We
would especially direct the attention of the young printer
to this branch of lithographic printing, because of its
daily increasing importance, as machinery is now being
generally acknowledged to be equal, under proper manage-
ment, to the demands of very excellent work, either in black
or colours. Young men of intelligence whose minds are
open to the reception of new ideas should pay great atten-
tion to this department of lithography, and should omit
no opportunity to qualify themselves for any opening that
may occur, because machinery has come So rapidly into
use that the number of trained “machine-minders”—as the
persons who devote themselves to superintending machines
are technically designated—is very far below the actual
requirements of the business. Hence, when a machine is
newly introduced into an office, it is frequently found neces-
sary to take a printer fresh from the hand-press and place


222 THE GRAMMAR OF LITHOGRAPHY,
him in the position of manager of a delicate and compli-
cated piece of mechanism, with the principles of which he
has no acquaintance whatever. To some men who have a
mechanical aptitude the change is novel and agreeable, and
provided that they have mastered the theory as well as the
practice of lithography, they probably soon develop into
competent machinists. On the other hand, the newly-
appointed machinist may have been chosen merely because
he was a good hand-printer, and may have no mechanical
proclivities. Such a man will most likely soon feel that he
has had a responsibility placed upon him for which he is
unsuited, and will wish himself back at his press. To men
placed in this position our instructions will, we hope, be of
much use ; while they may materially help others upon
whom the necessity has not actually been imposed of
adapting themselves to a novel and unaccustomed calling,
yet who are animated by a desire—and a very honourable
and worthy one—of understanding every branch, and not
merely one department of their business. A great living
author and statesman has said that the true secret of
“getting on ” in the world, is to be ready and qualified for
an opportunity of advancement whenever that opportunity
presents itself, and an exemplification of the truth of the
remark is seen in every large establishment. The man who
“gets on ” is he who knows something more than his actual
routine of work demands, and who is conscious that if his
employer set him a little higher he would be capable of
occupying the place. There are printers at press who
think that because they have always made a living hitherto,
and most probably will do the same in the future, the
acquirement of any further technical knowledge is quite
unnecessary and Superfluous. There could not be a more
decided or a more mischievous mistake. The kind of
instruction we are about to give will be found as generally
useful as it will most likely some day be absolutely essential,
and the intelligent man will avail himself of it beforehand,
so as to be ready with it when he is called upon.
2. Zhe Selection of a Machine.—It would, of course, be
out of our province to recommend the machine of any
particular maker. We can say confidently that there
is no difficulty in getting a good one. But it is neces-
SECOND-HAND MACHINEs. - 223
sary, however, to bear in mind that it will be the truest
economy, generally speaking, not to purchase the lowest-
priced machine that can be found. When the maker
elects to make cheap machines, he is usually compelled
to reduce expense of production by the substitution of
lightness for massiveness in the framing. It is very essen-
tial to a good machine that it should have sufficient weight
in this particular. But there are other and worse evils than
lightness, in some of the cheap machines that are now being
manufactured. These are : heavy and ill-constructed cast-
ings in the moving parts; holes cast in the framework
instead of being drilled, into which are inserted badly-
fitting bolts with nuts of similar character, involving an
amount of screwing up nearly sufficient to strip their threads,
and ultimately such a degree of instability, that a break-
down is sooner or later the certain consequence. More-
over, the general fitting of such machines is equally bad
all through. The size of the machine will of course
depend upon the work to be performed on it. Where
several machines are employed, we recommend that
one should be small, say demy folio, but not driven by a
£read/e, for that is unsuitable for litho-printing. A machine
of this size will print many little jobs more expeditiously
from an original than when two or more are laid down for
working at a larger machine, for not only is the time of
making up a second stone saved, but the smaller one
yields more impressions in the same time with the same
speed of table and rolling, on account of the shorter tra-
verse of the table. The demy is a favourite for a moderate-
sized machine; but our opinion is that when a printer
requires a demy he frequently wants a double-crown or
imperial, and he had better order that at once. Upon this
size perhaps 90 per cent. of the ordinary machine work in
any office can be done.
3. Second-hand Machines.—Sometimes a chance presents
itself of getting a second-hand machine at a fair price, and
to enable the intending purchaser to know what to look for,
we give the following hints. It takes a long time to wear
out a machine if used properly. We know, for instance, of
one of Huguet's first pattern which is still in use, in com-
pany with some modern and better machines. It was
224 THE GRAMMAR of LITHOGRAPHY.
never well made, but serves on that account all the better
as an instance of what intelligent machine supervision can
accomplish, for without this its present state of preservation
would not have been possible. In judging of the value
of a machine, examine all the wearing parts minutely,
and especially note the condition of the bearings; look
to the roller spindles and carriages, and note the evi-
dences of wear in the toothed wheels. See if the rollers
are cut, or whether the seams in them are good. Every . .
machine should have at least three inking and two damp-
ing rollers, to come in contact with the stone. The
framework should be of more massive character than
that of the corresponding size of a letterpress machine,
as it is subject to immensely greater strains. The ink-
table should stand higher than the stone, to enable the
rollers to be worked upon it while they are lifted off the
latter. There should be adjustable inclines upon the table
of the machine to lift the rollers off the stone at the edge ;
this arrangement saves a lot of trouble in keeping the edges
clean. There are many machines in use without this appli-
ance, but we should say there are few to which it could not
be applied. A contrivance for raising and lowering the
stone should also be looked after, for it is a great Conveni-
ence, though not essential, as by the help of some half-inch
Common mahogany boards of equal thickness throughout,
supplemented by some thin sheets of zinc, the stone may,
effectually, though more slowly, be adjusted to the pressure.
See that the gripper answers its purpose of holding the
sheet effectually, and that there is a contrivance for instantly
throwing the cylinder out of use. If the machine possess
these “points,” it may be considered one that will prove at
least useful, even if not capable of producing the best
work.
4. Having made his selection of the machine, the Litho-
grapher requires to know how to make the most of it, or,
in other words, how to Keep it in the best working condition.
We would point out, in the first place, that great and
unceasing attention must be paid to oiling it and keeping
it thoroughly clean. It should be the pride of every
machine-minder not only that his machine should look
clean but that it be clean. It is quite possible for it to
to KEEP THE MACHINE IN GOOD CONDITION. 225.
look well, and yet be really very dirty in the parts less in
sight, For oiling there is perhaps nothing better than
Rangoon oil, or lard oil.” These can be had of various
qualities, thick and thin, and it will be economical to use
both, applying the thick to the parts that are subject to
greatest pressure,f and the thin to those of more rapid
motion and lighter work. The temperature of the printing-
room 'should also be taken into consideration in the intelli-
gent employment of lubricants. It is not saying too much
to assert that a machine will last many years longer when
good oil is used than when bad is employed, so that there
is no advantage in using the latter because it is low in
price. * • A.
When a machine is bought new it will not entail much
trouble to preserve its good looks. When it is standing
still, either from want of work, the setting of the stone, or
scraping of the rollers, the boys should be instructed to rub
up the bright parts, and wipe away superfluous oil. At
least once a week this should be more thoroughly done,
giving special attention to the working parts that are out
of sight. As often as the work will allow, but at least once
in three months, the machine should be well cleaned in
every part. Good oil will much facilitate these cleanings,
and such attention as we are recommending will cause a
machine to work much easier than a badly kept one.
As a rule, too, it may truly be said, that a well-kept
machine is primá facie evidence that good work is turned
out from it, and that a good man has control of it.
When a machine is newly erected it frequently happens
that the vibration in working causes some of the nuts and
screws to become loose; it is very essential, therefore, that
* We do not wish to be understood to name these as the only oils
fit for machinery, but they are good, moderate in price, and usually
kept in stock. Sperm oil is perhaps the best of any, but is very ex-
pensive. For very light work, sperm mixed with paraffine or petroleum
oil is very good, and will retain its fluidity at very low temperatures
when combined in equal parts. Neats-foot oil is also a good lubricant
when properly freed from gelatine, which is often only imperfectly
removed. - *
+ It is an axiom in mechanics, that, other circumstances being the
same, friction is directly proportionate to pressure. *
Q
226 THE GRAMMAR OF LITHOGRAPHY.
the machine-minder should try them occasionally, until he
finds from experience that they keep to their work. Should
one be found to get easily and frequently loose, it should
at once be replaced by a better-fitting one. Attention to
these rules would prevent many a break-down. Caution
must be observed in the use of the spanner, which must fit
the nuts properly, or mischief may be done. We do not
however recommend the attendant to loosen or tighten
screws and nuts unnecessarily, as that would only tend to
bring about the very result we are now cautioning him.
against. - *
Having referred to the principal essentials of a good
machine, and the general system to be adopted for keeping
it in working order, we may proceed to make a few prac-
tical remarks on some of the most important parts of the
mechanism—viz. the Inking-Rollers, the Damping-Rollers,
and the Cylinder and its coverings. *
5. The Inking-Rollers.-These, when new, require a pre-
vious preparation of the same kind as hand-rollers. They
may have rubbed into them either tallow, lard, or olive oil,
which, after having saturated the skin, is to be well cleaned
off by scraping. The rollers are next to be placed in the
machine, which must be set running after they have received
a supply of medium varnish. After running some hours
the varnish must be scraped off, new supplied, and the
machine put in motion again. It will be found, upon trying
it with the palette-knife, that the new leather has altered
the character of the varnish, making it less liable to separate .
from the rollers. When this effect ceases to be produced
the varnish may be thoroughly scraped off, its place
supplied with printing-ink, and the rollers tried first upon
a heavy job. -
6. The Damping-Rollers.-If the stocks of these are made
of iron, care should be taken to cover them with some
waterproof substance, such as red lead paint, indiarubber
varnish, oil-cloth, American leather, or any other convenient
material. They are then usually supplied with several
folds of soft flannel, or some thick soft felt, brought to join
neatly without overlapping. The best thing of this class,
however, is the fine indiarubber-covered felt known by the
name of spongeo-pi/ine. The roller must be covered outside
THE DAMPING-ROLLERS AND CYLINDER. 227
with some cotton or linen fabric. Canvas, a cotton material
called swansdown, velveteen, and another named moleskin,
are all in use, but we have a decided preference for the
latter. It can be bought from the draper or tailor, but
must be well washed before use, without soap, to free it
from the dressing or sizing which it always contains when
new. Unless this is done, much trouble will be experi-
enced in getting the rollers to damp the stone properly.
After washing and drying the moleskin, lay it out smoothly
on a flat board, and cut one edge straight with a ruler
*.
and sharp knife. Having ascertained exactly how much
will go round the roller, cut it accurately to that size
with the knife and ruler as before. The covering should
meet but not overlap, and it will be better to cut it so
that a little force is required to bring the edges together,
which should be effected by the peculiar stitch known
among tailors as “the beggar's ranter,” the needle being
inserted under each edge alternately, and brought out on
the top. It is better to have the damping surface of the
damping-rollers longer than the inking surface of the inking-
rollers.
In regard to the general treatment of damping-rollers,
they should be taken out of the machine every evening and
set up on end, which will keep them in working condition
better than leaving them in the machine. At this time they
should be examined to see if they have accumulated any
ink upon them, and if they have, it should be at once
removed by turpentine or benzoline. -
Both when at work and when idle the damping-rollers
will accumulate dirt, which should occasionally be removed
by washing them with a brush and warm water. They will
then be too wet for printing, but if they are scraped with a
bone folder or other similar article that will not cut the
moleskin, the water will be so much reduced in quantity
that they may be at Once put into the machine again
for use. - -
7. The Cylinder and its Covering.—With an ordinary
blanket the cylinder will soon deteriorate, owing to the
formation of rust, unless means be used to prevent it, and
we recommend the following:—Wash the surface of the
iron with turpentine to remove grease, and then intro-
Q 2 ---
228 THE GRAMMAR OF LITHOGRAPHY,
duce some kind of gas arrangement by which the cylinder
may be heated. The cylinder having a considerable weight
it will take a good while to get the metal warm, and a
quantity of moisture will collect inside from the products
of combustion, but that will be expelled as the iron gets
hot. The surface may now be thinly and evenly painted
with a mixture of red lead, drying oil, and brunswick black
or copal varnish. This will soon dry hard and prevent
the moisture, which penetrates the blanket, attacking the
IIOIl. *
A fine, but thick, or treble-milled printer's blanket may
be used for covering the cylinder. For small machines a
finer and thinner blanket may be used, because less varia-
tion in the surface of the stone may be expected when it is
small. The more true the surface of the cylinder and stone
are, the less necessity is there for thick blanket. If they
were perfect, all that would be necessary would be some-
thing to prevent the stone and cylinder touching in those
parts not covered by the paper; but as this perfection
cannot be attained in practice, an elastic Surface of appre-
ciable thickness is required for the cylinder. •
Besides the disadvantages of somewhat rough surface and
absorption of moisture, the ordinary blanket, when once it
becomes soiled with ink, holds it with such tenacity that it
it is only by taking it off and subjecting it to the process of
washing that the ink can be effectually removed. When
the blanket once catches a little ink from the stone, though
the ink may be removed from the latter, the soil on the
blanket will become a starting-point for its re-appearance.
This may be prevented by attaching to the blanket a sheet
of stout smooth paper, somewhat larger than the stone,
which can easily be removed when dirty, and upon which
anything of the nature of patching may be done, to bring
up work in those parts of the stone where corrections
have been made.
As a remedy for these inconveniences, some printers
use with marked success the indiarubber blanketing, which,
though double the price, is found more economical than
the woollen one. The advantages of this blanket when
used for lithographic printing may be thus summed up as
compared with the woollen fabric:-It is more permanently
PREPARATION OF THE STONE, 229
elastic, harder and smoother on the face, quite waterproof,
and admits of being cleaned on the cylinders in a few
Seconds, with a little soft Soap and rain water, great care
being taken to remove all trace of soap.
CHA PTER II.
Preparation of the Stone—Preparation of the Work—Etching for
Machine Printing — Inking — Distribution — Refreshening the
Roller's Surface—Quality of Ink—How to reduce the Tenacity
of Ink—Setting the Stone in the Machine—Starting the Machine:
Inking—Damping.
AVING, selected his machine, and got the rollers
and the cylinder into proper order, the printer
is ready to begin the actual working of it. The first thing
to be attended to is—
8. Zhe Preparation of the Stone—The stone-grinder
should remember, when preparing a stone for the machine,
that the printer cannot adapt his cylinder to its surface, as
is frequently done at hand-press, by means of a scraper.
Every care, therefore, must be taken to have the stone true
(back as well as front), more especially in the direction of
the stone's length, because that is the way in which the
cylinder is applied to it. Its two longer edges must also be
not only well rounded, but stand fairly the test of the
straight-edge along the rounded part. If this be not attended
to, the paper will be liable to crease. We know that the
paper will sometimes crease from other causes, but this is
one that is sometimes overlooked. The stone is easily
tested by a straight-edge, which should hold a piece of
ordinary post paper when applied at any part between i.
and the stone. Besides the general evenness of surface, the
stone should be well polished, for it then not only receives
the drawing or transfer more perfectly, but is less liable in
printing to catch the ink in those places which are intended
to receive none. -
9. A reparation of the Work.-Before a drawing or trans-
fer is put upon the Stone for machine printing, the size of the
23o THE GRAMMAR OF LITHOGRAPHY.
paper on which it is to be printed should be determined.
The width of paper to be held by the gripper should then
be ascertained, and a little more than that width should be
allowed to project over the edge, so that the gripper shall
not come in contact with the stone, which, if allowed to
occur, would roughen it, remove the gum, and cause it at
that part to accumulate ink from the rollers.
Io. Etching for Machine Printing.—It is usual for ma-
chine printers, previously to printing at the machine, to
etch the work into relief, in the following manner:—After
cleaning the work sufficiently, ink it up strongly but clearly,
and dust it with finely-powdered resin or bronze powder,
but preferably with resin; etch with dilute nitric acid, suffi-
ciently tart to produce a pretty brisk effervescence; ink
again, and repeat the dusting and etching for a second and
a third time. It must not be understood that we recom-
mend this process to be carried far enough to produce any
considerable amount of relief. As a matter of fact, a
printer used to the work would produce sufficient with one
dusting and etching ; but the beginner is asked to err on
the right side by giving the work plenty of resin. If too
much relief be given, an impression will probably occur
from the sides of the lines as well as from their tops, and
the work will have a thicker appearance than if only etched
in the manner usual for hand-printing. The etching having
been finished, the resin must be removed as follows:—
Wash off all trace of the acid, gum in, and remove the ink
and resin with turpentine, to which some oil, transfer-ink,
or other fatty matter has been added. This is very im-
portant, because, as a rule, the work has been newly
transferred or drawn on the stone, and sufficient time
has not been given for the subject to take firm hold of it,
and, under such circumstances, there is great risk in
using turpentine alone.” The stone must now be re-inked,
gummed, and dried, and is then ready for working.
II. Inking.—This process naturally divides itself into
three parts—(1) the Distribution ; (2) the Refreshening of
* For the same reason it is important that the sponge and cloth used
previously to re-inking should be quite clean and free from any trace of
acid or Sour gum. &
REFRESHENING THE SURFACE OF THE ROLLER. 23 I
the surface of the Rollers by means of the “riders”; (3) the
quantity and properties of the Ink. We will treat of these
seriałim.
12. Zistribution.—By this term is to be understood the
spreading of the ink in an even manner over the surface of
the ink-table and the rollers. Some patented machines.
have special contrivances for this purpose, of more or less
practical use, but there are tolerably efficient means com-
mon to all machines which must be mentioned here. The
principal distribution is effected by setting two or more
rollers obliquely across the machine, so that when the ink-
table passes beneath them they will roll over it in a diagonal
direction, and by setting them to run opposite ways, the
distribution is doubled. The table then runs under the
rollers that ink the work, and they are placed straight across
the machine, and thus again change the disposition of the
ink upon the table. As a final mode of distribution these
rollers have others, usually of smaller diameter, above an
in contact with them, which again alter the distribution of
the ink. By the combined action of these different rollers
the evenness of the impression is maintained, although
one part of the stone may take up and transfer to the
paper many times the quantity of ink that is sufficient for
another. -
13. The Refreshening of the Surface of the Roller is
effected by the riders before mentioned. When the roller
passes over the wet stone, it becomes much smoother on
its surface, and somewhat damp, which would in a degree
render it less effective in leaving its ink upon the drawing
in the next revolution, but as soon as it comes in contact
with the upper roller, this glazing is destroyed, and a new
and more efficient inking power given to it. . By the adop-
tion of this simple contrivance, the inking power of the
rollers is nearly doubled, and three or four rollers are made
to do as much work at one traverse of the table as would
be done by a dozen strokes of the hand-roller.
In the arrangement of these riders upon the rollers, a
great error is made by some machinists. To effect a more
perfect distribution, they set one rider on two rollers, and,
in so doing, they unite all the rollers together as effectually
as if they were connected by belts or tooth-wheels, by
232 . . . THE GRAMMAR OF LITHOGRAPHY.
reason of the adhesive power of the printing ink. Now
this system has one very great defect in practice—one ro/ler
cannot move without setting all the rest in motion,--and the
machinist is troubled with the non-rotation or slipping of the
roller that comes first in contact with the stone, ink being
taken off instead of being added to 1t. It is therefore un-
reasonable to expect the adhesion of one greasy roller to a
wet stone to set in motion two or three others and their
riders. The printer will not be much troubled with rollers
slipping if he will set a rider immediately over each roller,
so that each pair may work independently, the stone having
then to set in motion one pair at a time instead of the whole
of them at once.
Machines of recent make are provided with wheels or
runners near the ends of the rollers, which run upon guides
on the table, about the same height as the stone. In this
arrangement, the rollers being constantly in motion, will
have less tendency to slip on the stone, because they then
run independently of it. Care must, however, be taken
that these runners do not become oily, as that has a tendency
to make them slip, which, should it begin, will most likely
continue and wear flat places upon them. When they once
get into that condition, they can no more be depended
upon, and must be replaced by new ones. .*
I4. Zhe Quality of the /n/ to be used for any given
job will depend upon various circumstances, which the
printer must duly take into account. The chief elements
in the calculation are, quality of paper, speed of machine,
quantity of ink requisite for each impression.
As a general rule, the greater the speed at which the rollers
run,” the less tenacious must be the ink. This may be taken
only as a general proposition, because the amount of water -
used in damping must also be taken into consideration.
* The machinist must here be cautioned against confounding this speed
of the rollers or table with the number of impressions printed in a given
time : it only corresponds in the same or nearly similar-sized machines.
If one machine has a traverse of six feet for its table, and another four
feet, and both are printing 500 per hour, the rollers of the former will
be running at the rate of IOO ft. per minute while the speed of the latter
will be only about 66 ft. in the same time.
HOW TO REDUCE THE TENACITY OF INK. 233
We may, however, embody this in another proposition:
The more water is used for the purpose of damping the stone,
the thinner and more greasy may the ink be. i
Aſozy to reduce the tenacity of Ink.—Without specifying in
this place the circumstances under which thin ink is to be
used, we will give the modes by which the tenacity of ink
generally may be reduced. .”
1st. By thin varnish. We must, however, be cautious
not to add too much to the ink, or the impressions will be
pale when a proper amount is used on the rollers, while, on
the other hand, if sufficient of such thin ink be employed
to yield black impressions, they will be so overcharged as .
to be blurred ; the close parts will run together, and the
work will easily set-off when a few sheets are placed upon
each other. To combine thinness with depth of colour, we
may add—
2ndly. Oil, either raw or boiled. Of course, boiled lin-
seed oil will approach somewhat to thin varnish, but we
have a descending scale through raw linseed, olive, and
paraffin oils, which may all be used in their place, but it
must be remembered that all of them injure the drying
quality of the ink, which will therefore require the addition
of dryers as a compensation.
3rdly. The addition of certain solid fatty matters will
render the ink less tenacious or stringy without increasing
its fluidity. The main object is to make the ink part
readily from the roller to the stone at an increased speed,
and as some solid fatty matters are found to effect this
without thinning the ink, they answer some kinds of print-
ing better than the softer and thinner materials. The sub-
stance that is found best in practice for this purpose is a
little mineral candle, which not only gives a freeness to
the ink, but adds to its power of adhering to the greasy
drawing on the stone; but it will be, as a rule, unnecessary
to employ such additions to the ink. There are occasions,
however, when they may be resorted to with a good result,
as, for instance, when using surfaced papers which easily
part with their coating. The ordinary ink, when properly
used at a fair speed, will behave quite satisfactorily with
a person who properly understands his work, and the
learner should take this into due consideration and try his
*
234 THE GRAMMAR OF LITHOGRAPHY,
best to dispense, with the addition of greasy or oily
matters.
7%e less zeater used in damping the stone, the stronger and
stiffer may be the ink. Though this may be remembered as
a general rule, yet it ought not to be forgotten that the cir-
cumstances of speed, and the nature of the paper and the
subject, must also be taken into account.* - .
I5. Setting the Stone in the Machine. — When care is
exercised in putting the work on the stone, scarcely any
alteration is needed in fixing the front stop for different
stones, but should any be required, the way to do it will be
obvious. For bringing the stone approximately to the
proper height, some machines are provided by the makers
with a gauge to be set across the table, and to this gauge
the stone is raised before being tried by taking an impres-
sion. In the absence of such an appliance, a rough esti-
mate of what is wanted may be formed by observing the
position of the stone's surface as compared with the teeth
of the rack, say to about two-thirds of their height.
Having once got a stone into correct position, an in-
genious printer will be able, with such stone as a guide,
to contrive a gauge, consisting of a piece of wood about
three inches wide and three-quarters of an inch thick, set
in a foot at each end, which may rest on the rack or other
convenient part of the table. -
If the stone is found uneven, packing must be resorted
to, as in the hand-press. r -
All being found correct, the stone is to be held in posi-
tion by means of the screws, taking care to set the lock-
nuts well up, to prevent the screws becoming loose during
the working of the machine. t
16. Starting the Machine: Inking.—When the machine
will not permit of the rollers being set so as to run upon the
ink-table while they do not touch the stone, the stone should
be lowered in its bed, or taken out of the machine while
they are being prepared for inking; or the inking may be
seen to before the stone is put in the machine. After the
rollers have been scraped, a little ink may be applied to the
* For the theory of applying the different kinds of ink, see Part I.,
par. II6.
DAMPING. 235
wavers or distributors, and the machine set running until it
is properly distributed over all the rollers.” This will be
facilitated by moving the distributors about and turning
them end for end. When it is thought that proper distribution
is accomplished, the rollers may be thrown out of use and the
attention directed to the -
17. Damping.—The damping-rollers have already been
déscribed in Chap. I., and we have now to speak of the
actual wetting of the stone when printing.
Some machines are provided with arrangements for
damping, that are intended to be more or less automatic,
but, however perfect they may be, they will always require
attention. The most perfect apparatus can only be expected
to work with less frequent attention than is required with
the simple arrangement of rollers only, and, if we point out
what is necessary for the latter, the knowledge will equally
apply to the more complicated methods. We do not wish
to be understood as underrating these contrivances, because
we know that they are very useful additions when intelli-
gently used.
After the damping-rollers have become dry, care must
be taken that the newly-applied water penetrates them
thoroughly, before proceeding to print. Having washed the
gum from the stone, run it through the machine, without
using the inking-rollers, until the stone seems damp enough,
but not too wet. Now pass a dry sheet round the cylinder
to take the water off the stone, and note whether it ap-
pears damp enough for printing, after it has returned from
a single passage under the rollers; if it is not so, they
require another Sponging. - *
The degree of damping will greatly depend on the kind
of ink in use. If the ink be strong, very little will do ;
while the thinner the ink the more water will be required
to overcome its tendency to thicken the work. The
machine-minder will find it necessary to watch the work
Sponge in hand, and to apply the water where most wanted,
* Though nearly all machines are supplied with an ink duct, the
beginner is recommended to apply his ink in this manner until he has
mastered the working of the machine in a sufficiently general manner
as to be able to turn out a fair quality of work.
236 THE GRAMMAR OF LITHOGRAPHY.
which is usually at the edges and sides, and occasionally to
Sponge the damping slab, or rollers, so as to keep up the
Supply. - -
The proper regulation of the water is more difficult than
that of the ink, and if too much be applied at a time the
succeeding impressions will be paler until the balance
between damping and inking be re-established.
CHAPTER III.
Importance of a proper choice of Paper—Hand-made and Hand-sized
- Paper very objectionable—Necessity for Absorbency in the Paper
—Conditions of Printing on smooth Writing-paper—General Prin-
ciples involved in Printing dry Paper—Rolled Paper—Registering
—Setting a Stone for Register—Colour-Printing—Compo, the
“Victory '' and glazed Rollers—The Ink-duct—Deſects in Ink-
ducts. *-
NTIMATELY connected with the subject of Machine
Printing, is that of the proper qualities and descriptions.
of paper to be used, and we may advantageously devote
a few paragraphs to it. We may say at the outset, that it
is to be regretted that clerks and travellers who take
orders for printing do not make themselves better ac-
quainted with the fitness of papers for the various kinds of
work. The proper choice of paper in many instances
makes all the difference between good and bad printing,
and a suggestion from the person who is taking the Order
would, we think, be generally favourably entertained.
18. Writing, drawing, loan, or other hard-made English-
sized papers should never be used for printing upon, when
beauty of impression is the chief consideration. The use
of such papers should be restricted to note, letter, and in-
voice headings and other similar work, in which the appear-
ance of the printing is secondary to its use for writing
upon. Foreign and common English writing-papers are
sized less hardly, and take a better impression than the
superior makes. -
19. To produce the best printing, the paper must be
somewhat absorbent, and that is the well-known character .
*
REGISTERING, . . 237
of printing and plate papers, the latter being still less
sized than the former. If a good printing paper be well
glazed, it will resemble writing-paper sufficiently to be
used for circulars and such-like work, and will take a
much better impression than can be got upon the harder-.
sized material; while it will bear writing upon well enough
for all ordinary purposes of adding names, prices, &c. -
20. Now suppose a smooth, hard-sized writing-paper is
to be printed, let us study the circumstances. Ist. Too
much water must not be used, or the surface will be injured.
2nd. The minimum quantity of ink that will produce black-
Iless must only be employed, so as to prevent the setting-off
to which such paper is very liable, and to facilitate the drying.
Strong and medium varnishes will print cleanly on slightly-
damped stones, but would not do for this purpose, because
too much ink would be then required for the kind of paper
we are supposing is to be used. The ink must therefore be
thinned as little as possible with weak varnish, or even oil,
with a little dryers, and the machine be run at such a
speed as will permit of such ink being used, when, with
proper management, good work will be produced.
2 I. Such being the principles involved in working hard- .
sized paper, it is not difficult to comprehend what is to be
done when the paper is more absorbent, and the following
general rule gives the key to the whole. The more absorbent
the paper is, the more water and ink may be used, the thinner
the ink may be, and consequently the higher may be the speed
of the machine. -
22. We have hitherto spoken of dry papers only, but damp
paper is preferable where there is no special objection to
its employment. The damping of the paper, by taking
away its harshness, enables it to be brought into closer
contact with the work, at the same or even a lighter pressure,
employed for dry paper; and it is for this reason, rather
than for any superior affinity for the ink, that better work
is produced upon it. -
23. Aegistering at a good machine can be performed with
greater facility and exactitude than at hand-press, when
once the stone is properly set ; but to insure success it must
be driven at a moderate and uniform speed, and the stone
be so bevelled on the edge that first meets the cylinder, that
238 THE GRAMMAR OF I.ITHOGRAPHY,
it may cause no jolting or other motion tending to move
either out of its place.
When the stone is properly adjusted for pressure, the next
thing will be to set it for register, and this should be sys-
tematized by the machinist so as to perform it in the most
ready manner and with the fewest trial-sheets. Machines
differ, and what may do for one might be unsuitable for
another; but we should say that a variation of the following
might be adapted to any machine.*
24. Setting a Stone for Register.—Take a straight, wide,
but thin piece of metal long enough to rest on the racks of
the table ; through each end and into a tooth of each rack
drill a small hole. To each hole of the metal strip fasten a
pin to just fit the hole in the tooth of the rack. It should
now be easy to set this strip accurately to these holes at
any time, and if register-marks be put upon the stone to
Correspond to the edge of this rule, the stone may be rapidly
adjusted in register without taking an impression. In cases
where it is desirable to depart from these marks in the first
printing, a piece of paper may be cemented to the rule, and
marks made upon it corresponding to othérs upon the Stone.
This arrangement is then preserved to set the stones by in
the Subsequent printings.
25. Colour Printing—Rollers.—This part of our sub-
ject having been fully treated in Chapter XXIII., it only
remains to speak of it here in relation to the machine.
In colour-printing one of the most essential Conditions is
clean rollers, and one of the best means of obtaining them
is to have two sets (besides the black ones), one set being
kept for tints, and another for the stronger and darker
colours. When there is much colour-work done, we should
even recommend three sets, as it would be very advan-
tageous to keep one for yellow, red, and Orange inks,
and another for dark blue, green, purple, and the tertiary
colours. By this arrangement dark and light, or colours
which are complementary to each other, would be used on
the same rollers; the saving of time and turps would pay
for them, and the quality of work turned out would be
* The observations made upon paper, in relation to register, in
par. I54, Part I., apply equally to machine-printing. -
WASHABLE ROLLERs. 239
far superior to that which has been done from one set of
rollers for all colours. We here refer to what are called
“nap” rollers, which are suitable for the very highest class of
chalk colour-work. For ink-work, the “Victory” rollers
mentioned in next paragraph may be highly recommended.
26. Washable Rollers.-Attempts have from time to time
been made to manufacture rollers for lithographic printing,
having the advantages of the composition of glue, treacle,
&c., used by letterpress printers, and thus making one set
do for all purposes; but on account of the soluble nature
of the materials, much difficulty has been experienced in
making them work upon the wet stone. We have in Our
possession, however, a hand-roller covered with a composi-
tion possessing almost identical qualities with those used
in type-printing, but which is quite unaffected by the water
used on the stone. It can be perfectly cleaned with turps
in a few seconds, but our experience leads us to the Con-
clusion that at present these rollers are not sufficiently
durable to be well recommended, because, although they
well retain their elasticity, they crack upon the surface.
The cracks then absorb the ink and render the rollers
difficult to cleanse.
There has lately been introduced to the trade the
“Victory” roller, manufactured by Messrs. Blades, East,
& Blades, under LANHAM's patent. These are made with
an india-rubber covering, and are entirely free from the
objections previously mentioned. They possess all the ad-
vantages of the glazed rollers with others peculiarly their
own. The cleaning of them is accomplished by washing
them in turpentine, which in its turn requires to be removed
to prevent it making them too soft and tacky. This can
readily be done by sponging them with water, and then
wiping them with a dry cloth. The more quickly the tur-
pentine is used and removed from the rollers the better for
them ; but should they at any time become too dry, their
tackiness may be restored by the application of a small
quantity of turpentine. The fibre of the finishing cloth
Sometimes attaches itself too firmly, and causes annoyance,
by creating fine white streaks upon the stone, if the work be
of a broad character, such as a dark tint. This may be
avoided by using a soft woollen cloth for the final wiping;
240 THE GRAMMAR OF. LITHOGRAPHY.
*
or making sure that the rollers and with them the fibres
are thoroughly inked by the inking slab previous to letting
them run over the damp stone. These rollers have such
an impervious surface that they may be cleaned up from
black to a delicate colour in a very short space of time.
Glazed rollers were spoken of in par. 52, Part I., and
instructions given for preparing them. They are much
used on machines and may be prepared for such use in
a similar manner to hand-rollers. After the drying ink has
been well distributed upon them, the riders (if used) are
to be taken off them, and the rollers run over a wet stone
until they become nicely smooth, they are then allowed to
dry, after which the operation may be repeated, alternately
rolling them up and drying them until they are quite
Smooth upon the surface. -
27. Zhe Ink-Duc.—There is great difference of opinion
among lithographic machinists as to the value to a ma-
chine of the ink-duct. It is no uncommon thing for ink-
ducts to remain totally unused, thereby representing so much
unremunerative capital. We know good printers who say
such things are useless, while other good printers regard
them as indispensable, especially in printing heavy masses
of colour. We think their now-use may be traced to three
causes:—Ist, The printer does not like to grind a large
quantity of ink, to add dryers which prevent its keeping,
and then have to throw the unused portion away; 2nd, A
want of mechanical knowledge of the capabilities of this
part of the machine, and a lack of delicacy in regulating
the adjusting screws ; 3rd, Faulty construction of the
mechanism. - º
28. Z26fects in Zuk-Ducks.- Passing over causes No. 1
and No. 2, we have something to say as to No. 3. The
ink-duct may be faulty by reason of the knife not fitting the
ink-cylinder, but this may be cured by grinding the knife.
The greatest fault, however, is that of the ink-cylinder being
kept constantly running, as it is in some machines. In this
case, the ink, having dryers in it, and being constantly and
freshly exposed to the oxidizing influence of the air, be-
Comes pasty, as well as dirty, and no longer performs pro-
perly on the stone. This action goes on upon the ink-slab
and rollers, but is there inevitable. The ink can be scraped
DEFECTS IN INK-DUCTS, 24,
off the rollers as often as necessary, but they are usually
kept in good order by receiving a new film of ink from the
duct, when that is of proper construction. We will now
, state what we think that should be. -
29. The ink-cylinder should be moved intermittently, once
for each traverse of the table, and should be capable of being .
so controlled as to be thrown off instantly, or set to work
through a very small space. The feed-roller should be kept
in contact with the ink-cylinder while the latter moves, and
should always fall upon the ink-table at the proper time.
If the machinist has at his command an apparatus of this
kind (and it is to be had), we think it only wants a little
patience to overcome the difficulties of controlling it;
but in first taking to a machine we should recommend him.
to work without it, so as to reduce as much as possible the
number of things to attend to. When he finds he can do
good work, he may then profitably turn his attention to this
means of ink-supply.
We think we have now given nearly all the information
on this subject that can be conveyed by means of writing,
and we hope we have not been unsuccessful in our efforts.
‘For the rest, we have to recommend practice, study, and
perseverance; and with these may be built up a valuable
experience. . 8
In the “Biblio-
graphy of Printing,” now being published in the
Złmes and Zithographer, a complete bibliographical
account, with critical, technical, and historical annotations,
is given of all such books, in alphabetical order. Mean-
while, it has been thought that a list of abridged titles of
books on the subject of Lithography would be found useful
in a practical work like the present. The following com-
pilation is, probably, the fullest that has appeared, but
it is, no doubt, capable of considerable extension.
ARESTI (Joseph). Lithozographia ; or, Aquatinta stippled gradations
produced upon drawings washed or painted on stone. London :
1856. 8vo. -
BANKES (H.). Lithography; or, the art of making drawings on
stone for the purpose of being multiplied by printing. London :
I813. 8vo. -
Lithography; or, the art of taking impressions from drawings
and writing made on stone, with specimens of the art. Second
edition. London : 1816. 8vo.
CHEVALLIER (J. B. A.), chemist, and Langlumé (–). Traité complet
de la Lithographie, ou Manuel du Lithograph, avec des notes de
MM. Mantoux et Joumar. Paris: 1838, 8vo.
DOYEN (Camillo). Trattato di Litografia Storico, Teorico, Pratico
ed Economico. Torino : 1877. 4to.
ENGELMANN (Godefroi). Recueil d'Essais Lithographiques. Paris :
I817. 4to. -
Manuel du Dessinateur Lithographe, ou description des
meilleurs moyens à employer pour faire des Dessins sur Pierre
dans tous les genres connus. Paris : 1823. 8vo. Second

R 2
244 THE GRAMMAR OF LITHOGRAPHY,
edition, to which is added “Instruction sur le nouveau procédé du
lavis lithographique. Paris : 1824. 8vo. Third edition.
Paris, &c. : 1830. , 8vo. -
ENGELMANN (Godefroi). Handbuch für Steinzeichner und Beschrei-
bung der besten Mittel um in allen bekannten Manieren auf
Stein zu zeichnen. Berlin : 1834. Svo.
Traité theoretique et pratique de Lithographie. Mulhouse:
[1840]. 4to. ; and Paris.
Das Gesammtgebiet der Lithographie ; oder theoretische und
praktische Anleitung zur Austibung der Lithographie in ihrem
ganzen Umſange. Chemnitz: 1840. 4to. Second edition.
#. zig : 1843. 4to. A German translation of the “Traité
éorétique.
Exposition Universelle de 1855 a Paris. Explication des Ouvrages
de Lithographie. Paris : 1855. I2mo.
EXPOSITION Universelle de 1867 a Paris. Rapports des Délégations
Ouvrières-lithographes. Paris : 1867. 4to.
FERCHL (Franz Maria). Uebersicht der einzig bestähenden, vollstän-
digen Incunabel-Sammlung der Lithographie und der übrigen
Senefelderschen Erfindungen, als Metallographie, Papyrographie,
Papierstereotypen und Oelgemälde (ohne Presse). Mit einem
Vorworte begleitet zur 60fahrigen Gedächtnissfeier der Münchner
Erfindung der Lithographie vom Sammler und lebenslänglichen
Haüsfreund des Erfinders. Munic: 1856. 8vo. pp. 91, and 4
plates. &
Geschichte der Errichtung der ersten lithographischen Kunst-
anstalt bei der Feiertags-Schule für Künstler und Techniker in
München. Auf Auſtrag des hohen Magistrat von München bei
Gelegenheit des 90. Geburtstages des Erfinders der Lithographie
Johann Aloys Senefelder verfasst und mit einer kurzen Geschichte
dieser ruhmvollen Münchener Erfindung, nebst einer Uebersicht
der einzig bestehenden, vollständigen Incunabel-Sammlung der
Lithographie begleitet. Mit Abbildungen der seltensten lithogr.
Incunabeln. Munic: 1862. 8vo. With a portrait of Heinr.
Jos. Mitterer. -
For EIGN REVIEW (The). London [vol. for 1829. 8vo. A reply
to this was published; see HULLMANDEL.
HIANHART] (M[ichael]). Article headed “Chemical Printing” in “A
Dictionary of Chemistry and the allied Branches of the Sciences,”
by Henry Watts, vol. iv., p. 726. London : 1865. 8vo. A
new edition of this Dictionary was commenced in 1872. -
HULLMANDEL (Charles). Manual of Lithography; or, Memoir on
the Lithographic Experiments made in Paris at the Royal School
of the Roads and Bridges. Translated from the French.
London : 1820. 8vo. A third edition of this work appeared in
1832, with a slightly varied title.
THE BIBLIOGRAPHY OF LITHOGRAPHY. 245
HULLMANDEL (Charles). The Art of Drawing on Stone; giving a full
explanation of the various styles of the different methods to be
employed to ensure success, and of the modes of correcting, as well
as causes of failure. London : [1824]. 4to. Second edition.
London : 1833, 8vo. Third edition. London : 1835.
On some further improvements in Lithographic Printing.
[London: 1827]. 8vo. -
[Lithographic Circular, explaining his improvements.] [London:
1829.] S. sh, 4to. -
* Reply to . . . . “The History of Lithography” [in Foreign
A'eview]. London : 1829. 8vo. *.
HUSNIK (J.). Das Gesammtgebiet des Lichtdrucks, nebst einer
vollständigen, theoretisch-praktischen Anleitung zur Austibung der
Photolithographie, Email.photographie, Chemigraphie (Zinkogra-
phie). With 4 illustrations. Vienna : 1877. I6mo. pp. iv.
I7O. -
ISERMANN (A.). Anleitung zur Chemitypie. Leipsic : 1869. 32mo.
pp. iv., 42.
KRAUSS (F.), and MATTE (F.). Handbuch für Lithographen.
'Stuttgart : 1853. 8vo. -
KNECHT (M). Nouveau Manuel complet du Dessinateur et de l’Im-
primeur lithographe. Nouvelle édition, entièrement réfondue,
mise au courant de l’industrie actuelle, et augmentée de plusieurs
procédés nouveaux concernant la Lithographie mécanique, la
Chromo-Lithographie, la Litho-Photographie, la Zincographie,
et traitant des papiers de sureté. Paris : 1867. 12mo. With
atlas. pp. XX. 403. Atlas pp. 7, and six folding plates.
LITHo-ownichroME Company. Book of Monograms of Litho-
omnichrome Company. London: 1868. 8vo.
MARCUARD (C.). Specimens of Lithography, printed by C. Marcuard.
London: 1819, 4to.
MOOCK (L.). Traité pratique complet d'impression photographique
aux encres grasses. Paris : 1874. I2mo. - -
NAGLER (G. K.). Aloys Seneſelder. Munchen : 1862, 8vo.
NICHOL (W.). Treatise on Lithographic Printing. Forming part of
, Treatises on Printing by T. C. Hansard [jun.], reprinted from the
ºth edition of the “Encyclopædia Britannica.” Edinburgh :
Iö4I. - *
RAPPORT de la Lithographie, et particulièrement sur un recueil de
Dessins lithographies par M. Engelmann. Paris : 1816. 4to,
RAUCOURT (Col.). Manual of Lithography. Translated by Charles
- Hullmandel. London : 1820. 8vo. t
RUSE (G.), and StraKER (C.). Articles headed “Practical Instruc-
tions in lithography, ink, chalk, and chromo, with descriptive
illustrations and various receipts in connection therewith ” in
“Printing and its Accessories.” London : [1860]. 8vo.
246 THE GRAMMAR of LITHOGRAPHY,
ScHLOTKE (Ferdinand). Senefelder Album. Hamburg : [1871].
4to. * -
SENEFELDER (Alois). Vollständiges Lehrbuch der Steindruckerey,
enthaltend eine richtige und deutliche Anweisung zu den verschie-
denen Manipulations-Arten derselben in allen ihren Zweigen und
Mamieren, belegt mit den nôthigen Musterblāttern, nebsteiner vor-
angehenden ausführlichen Geschichte dieser Kunst von ihrem
Entstehem bis auf gegenwärtige Zeit. Verfasst und herausgegeben
von dem Erfinder der Lithographie und chemischen Druckerey
Alois Senefelder. Mit einer Vorrede des General-Secretärs der
Königl. Akademie der Wiss. zu München, des Directors Friederich
von Schlichtegroll. München, bey Karl Thienemann. Wien,
bey Karl Gerold : 1818. (4to. pp. xvi. and 372 and 19 plates).
The work is dedicated to Maximilian Joseph, King of Bavaria.
- L’Art de la Lithographie, ou instruction pratique contenant la
description claire et succincte des différens procédés à Suivre pour
- dessimer, graver, et imprimer sur pierre. Précédée d’une histoire de
la lithographie et de ses divers progrès. Par M. Aloys Senefelder,
inventeur de l'art lithographique. Paris : 1819. (4to. pp. iv.
and 226 and 20 plates. -
A complete course of Lithography ; containing clear and
explicit instructions in all the different branches and manners of
that art, accompanied by illustrative specimens of drawings.
To which is prefixed a History of Lithography, from its origin to
the present time. With a preface by F. von Schlichtegroll.
Translated from the original German by A. S. London : 1819.
4to. t
See also articles in “Encyclopædia Metropolitana,” “ Encyclopædia
Britannica,” “English Encyclopædia,” Chambers’s “Information för
the People,” Tomlinson’s “Cyclopædia of Useful Arts,” Knight's
“Dictionary of Mechanics,” “Penny Cyclopædia,” &c. a
LITHOGRAPHIC PERIODICALS.
At Hamburg there is published a monthly journal called Za
Lithographia, exclusively devoted to the art. , Printers acquainted
with the German language will find in it from time to time valuable
practical articles. •,
In 1870 appeared the first English technical journal of the art.
It was called The Zithographer, and was published monthly under that
sole heading up to 1874, when Messrs. Wyman, into whose hands
it had passed, incorporated it with the Printing Zºnes. The two
have since been carried on under the title of The Printing Zºnes
and Zithographer (monthly, price 6d.). A New Series was begun in
1875, and the bound yearly volumes form a complete repertory of
practical information, instruction, news, &c., connected with the art
in its various branches. It was in this journal that the “Grammar of
Lithography ’’ originally appeared.
IND EX,
ACETATES of copper and lead as
dryers, 179
Acid, acetic, 57, 143 ; carbolic, II ;
citric, 57; hydrochloric, in zinco-
graphy, I42 ; nitric, 13 ; phos-
phoric, I42 ; Sulphuric, I42
Acid stumps, 3O
Acids, action of, in etching chalk-
drawings, 72
Adjusting stones for pressure, 84
Advantages, relative, of drawing on
stone and paper, 48; of etching on
copper, 5o; of transfer methods, 81
Advice to young printers, I IO
Albertype or Lichtdruk process, 194
Albumen, 188, 192
Alum, use of, 58, 170
Ammonia bichromate, 188, 191
Amastatic process, 216
Angle for laying transferred lines,
17o r -
Animal fat as addition to ink, 178
Ante-damping fluid, 215
Appliances for stone-grinding and
polishing, 32
Architectural bills of quantities, 42
Aresti's method of imitating India-
ink drawings, 169
Asphaltum, use of, 16O iói
Autographic transfers by turpentine,
I 22
Autography, 47
BACKING-SHEET, 27; oiled, 1 13
Beddings, elastic, 26
Bed or carriage of press, 24
Beer, Sour, 1 I4
Bibliography of Lithography, 243
Bichromates of ammonia and potash,
188, 191
Blanket backing for
graved stones, 139
Blanketing, printers', for pulling
copper-plates, 76; for machine,
228; for transferring, 28
Blocks for rollers, 28 #
Board for hand-rest, 19
Body-colour inks, II
Boiling water for warming stones, 39
Books on Colour, 174; on Litho-
graphy, 243
Boxwood for scrapers, 26
Brass for tympans, 26
Brass point, use of, 52
Brasses of the press, the, 25
Bronzing in colour-printing, 126
Brunswick-black, use of, 160, 164
Brush for dusting, 16 -
Brushes, how to use, 49 ; for litho-
graphic drawing and writing, 15 ;
mounting, 16 - t
printing en-
CABINET paper, peculiar use of, 47
Callipers, 34
Camera, use of, in photo-litho-
graphy, 190 x
Cams, or eccentrics, 22; of the press,
25 e’
Canada balsam, 127, 180
Cans, removal of soldered tops oſ, 98

,248.
| THE GRAMMAR OF LITHOGRAPHY.
Canvas, how to imitate, 184
Carbolic acid in gum water, II
Carriage, or bed of press, 24
Chalk, imitation of, by white tints,
16O.
Chalk, Lemercier's, 6; stumping, 6
Chalk transfer-paper, 45
Chalks, copal, 64; lithographic,
their general nature, 6; pointing
the, 64; red, I2 I, I46
Chalk-drawing, how to make trans-
ſer-paper for, 2 IO
Chalk-drawing on stone, 60
Chalk-drawing on stone, etching, 69
Chalk-drawings, printing from, II 3
Chemical principles on which litho-
graphy is based, 2
Chisel and mallet for trimming
stones, 35
Chromo-lithography, general hints
for, 172 ; its general conditions,
144 ; keystone for, I44 ; making
the tints, I59; modes of regis-
tering in, 148; order of the
colours for, I47; principles of,
I44; printing in, I 74; rollers
for machine-work, 238
'Chromo transfer prints, 184
Circular writing, 5 I
Circulars, how laid on stone, 93–95
Citric acid, 57
Cleaning press cylinder, 24 .
Cleaning rollers, 29
Cleaning-up work on stone, 90
Cloth for damping, I4
Collodionising or enamelling, pro-
cess of, 2II &
Collodion-varnish, recipe for, 2 I3
Colouring transfer-paper, 206
Colours for chromo-lithography,
order of, 147 ; hard to grind,
11 ; list of, 175 ; selection of,
177; setting-off upon the stone,
I57 -
Compasses for engraving, I33
Copal chalks, 64
Copal varnish, I27, 185 -
Copper-plate style of writing, 42
Copper-plate transfers, 75, 78;
failures in, 79 -
Copper-plate, warming, 76
Correcting, principles of, 57.
Corrections, in chalk drawings, 67,
74; on engraved stones, I37; .
on polished stones after rolling-
up, 56; during the work, ib., on
transfer-paper, 4 I
Crayon-holders, 18
Crayons, lithographic, how to make,
2O3 .
Cross-head of press, 22
Crowbar for raising stones, 35
Cutting hair pencils or brushes, 15
Cylinder of the machine and its
covering, 227
Cylinder of the press, 24
DABBERS for printing engraved
stones, I 38
Dabbing style of lithography, 129;
recipe for ink for, 203
Damping-cloth, 14
Damping, at machine, 235; paper
ſor printing, rationale and method
of, IO5; paper for transfer-pulling,
77
Damping-rollers, 226
Decalcomanie, 184
Defects, and remedies in printing,
IO7, I IO ; in etching, I 16, II 7;
in transferring, 88
Development of photo-litho trans-
fer, 191 -
Difficulties of early lithographers, 3
P. Sources of, in chalk drawing,
Distribution of printing-ink, , 99,
23 I
Dotted lines, how produced, 51
Double-ſaced stones, 5
Drawing on stone, the chalk method,
66; the pen and brush method,
48; precautions to be observed
in, 58
Drawing on transfer-paper, essen-
tials of, 44 -
Drawings, chalk, re-etching, II6
Drawings, rolling-up old ones, 2I4
Dryers for inks, 179; influence on
rollers, 29
Drying transſer-paper, 207
Duct (Ink) in machines, 24O
INDEX.
249,
Dusting, in colour and other print-
ing, 126
ECCENTRICS, the, or cams of the
press, 25
Edwards's heliotype process, 195
Elastic beddings to presses, 27
Enamel or porcelain paper, recipe
for, 2 II
Enamelling or collodionising pro-
cess, 2 II -
Engraving on stone, 131
Etching chalk-drawings on stone,
69 ; for machine-printing, 230 ;
how to remedy unequal, I 16;
recipes for, 141 ; of tints in
chromo-lithography, I64, 167;
on stone and copper compared,
69 ; transfer-work previously to
printing, 9 I
FACSIMI LEs of writing, how pro-
duced, 46; on plain paper, 47
Faint, I2 I, I46
File for stone edges, the, 35
Filling in engraved stones, 137
Fixed points, registering by, 150
Flake-white in printing-ink, II
Flannel for rollers, 28
Framing of the lithographic press,
22
French chalk, or steatite, I I2
Friction in machinery, 225
Friction-rollers in presses, 22
Full and half-tint, 163
GAUGES for writing, 52, 139; of zinc
plates, I4O
Gelatine, for tracing, I2O ; use of,
I91, 206
Gelatining, process of, 212
Gilding, I28
Glazed rollers, 30, 181
Glazing transfer-paper, how done,
2O7
Glycerine, use of, IO4, 2I4, 215
Gold-leaf, directions for use of, I28
Gold size, 127, 179
Golden syrup, IO4
Graduated tints, 162, 167
Grained paper, 45, 2IO
Grained stones, correcting and re-
touching, 67, 74. * -
Graining the stone, 61
Greyness of impression, IO2
Grinding of stones, 36; by ma-
chinery, 39 ; without a levigator,
37
Gum lettering and drawing, use of,
Gum arabic, adulteration of, 12 ;
price of, I2 {
Gum-water, effects of, on roller and
cloth, III ; its office in preserving
work on stone, I2; preserving, II,
I2
HAGHE, LOUIS, characteristics of
his style, 68.
Hair pencils, 15
Hand-board for drawing, 19, 63
Handle of press, 24
Handles for rollers, 29
Hand-paper, 63
Hanhart, Mr., application of carbolic
acid by, II; on the nature of the
etching and gumming processes,
7O ; on drawing on zinc, 140
Harding, J. D., characteristics of
his style, 68
Hard pigments, grinding of, II
Heliotype process, 194
Holders for crayons, 18
Hydrochloric acid, 142
IMPRESSIONS, how affected by rol-
ling and ink, Iog
mºnk effects, how to produce,
I -
India-rubber rollers, 182, 239 -
India-rubber, use in correcting on
transfer-paper, 4.1 }
Ink, black and coloured, for print-
ing, 9 ; for bronze printing, 127;
for dabbing style, recipe for, 203;
for law-writing, 41 ; for printing
in tints, 180 ; for taking transfers
from copper-plates, recipe for,
2O3; to prepare, for transfer litho-
graphy, 40 ; for writing and
drawing, recipe for, 198; gene-
ral character of, used in litho-
,25o
THE GRAMMAR OF LITHOGRAPHY. s
graphy, 5 ; Lemercier's, 5; plate-
transfer, I 3 ; for printing, 98 ;
for machine-printing, 232; re-
transfer, I 3 ; type re-transfer,
recipe for, 202 ; Vanhymbeeck's
drawing,
Ink-duct, the, of the litho-machine,
24O .
Ink slabs, the, 3.I
Ink writing and drawing, on paper,
42 ; on Stone, 48
Inking and, development of transfer
for photo-lithography, 191
Inking process in machine-printing,
230 ; distributing process, 231 ;
refreshening of roller, 231
Inking-rollers of machines, .226
Inks, coloured, pigments for, I 74
JIGGER for holding copper-plates, 76
Jigger, or levigator, for stone grind-
ing and polishing, 33
Julien, characteristics of his style, 68
REY-STONES, I2O, 145 *
Knife, palette, for spreading ink, 31
LABELS, making up sheets of, I25,
185 .
Lanham’s new “Victory” rollers,
I82, 239
Law work, cleaning stones for, 37
Law writing, ink for, 4.1
Lay, registering by, I49
Laying down transfers on stone, 92
Lead salts as dryers, 179
Leads for marking the stone for
laying on, 31; for register-points,
I tº I -
Like for scrapers, 26; for tym-
pans, 25 .
Leather rollers, 28
Lemercier's chalks for drawing, &c.,
6; ink, 5
Lemon-juice, 57
Lens, uses of, in photo-lithography,
189 -
Letters, white, upon a black
ground, 53
, Levelling stones and scrapers, 84
Lever, the, of the press, 25
Levigator for grinding and polishing
stones, 33; grinding without a, 37
Lichtdruk or Albertype process, 194
Litharge as a dryer, 179 -
Lithotint process, 169
Looking-glass for reversing draw-
ings, 5 I
MACHINE printing, 221 ; etching
for, 23O -
Machine for registering, 154 ; selec-.
tion of printing, 222 *
Magnesia, use of, I I2 .
Magnifying glass, testing the grain
oil a stone by the, 38
Marking-leads for stones, 31
Marking the depth to be ground, 36
Marks in paper, how avoided, 96.
Materials for printing, 8 ; for
writing and drawing, 2 §
Metalling in colour and other print-
ing, I26 • *
Mezzotint, meaning of the term, 18;
Scrapers, 18 -
Mirror for reversing drawings, 5 I
Mortar and pestle, 31 -
Mounting brushes, 16
Multiplying colour subjects, U85.
Music plates, transferring from, 215
NEEDLE-POINT, use of, in chalk
drawing, 66 -
Needle-points for engraving, 132
Needle registering, 148 -
Negative in photo-lithography, ad-
vice as to, I90 *
Nelson's chalk transfer-paper, 45
Nitric acid, I3; use in etching, 69 ;
use in transferring, 86
Nutgalls in zincography, I42
OIL of vitriol, I42
Oil-stone for tools, 59
Oils for machines, 225
Oil, use of, in machine printing-
ink, 234 ; on the backing-board,
II 3 -
Oleographs, 182 -
Olive oil for preparing rollers, 28.
Order of colours, I47. *
Ornamental lettering, 53; writing,42
. . . . . . INDEX.
25 I.
PALETTE-KNIFE, the, 31
Paper, cabinet, use of, 47 ; condi-
tion of, in colour printing, I55 ;
for chalk transfers, 45; formachine-
printing, 236 ; for press-printing,
IO4; how to damp, IO5 ; India,
preparation of, for printing, IO6;
lithography on, 40; tracing,
for making copies, 7 ; litho-
graphy on transfer, 40 ; plain,
writing on, 47 ; transfer, plate,
I2; ' transfer, tracing, 44; trans-
fer, for tinting and drawing, 6
Pencils, hair, or brushes, I5; how
used, 49; Snake-stone, I4; for
tracing, 48.
Penetration of the stone by ink and
gum, 36 -
Pens for writing and drawing, how
to make, 16; how to make from
watch-spring, 17 ; how used in
writing, 42
Pentagraph, for reducing and en
larging, 217 -
Phosphoric acid, 142
Photographs, tracing from,
transferring from, I2 I
Photo-lithographic transfer-paper,
I9I
Photo-lithography,
II9;
general prin-
ciples of, 187; transposition by,
I 24 . .
Pigments for coloured inks, I74;
hard, to grind, I I -
Plaster of Paris, use of, 208, 216
Plate transſer-ink, use of and price,
13; recipe for, 203
Plate transfer-paper, its use and
price, I2, I3 -
Plates for zincography, prepara-
tion of, I40; method of taking the
impression from, 78; transferring
from music, 215; tints from,
stippled, 171
Polishing the stone, 38
Porcelain, or enamelled paper, how
to make, 2II
Precautions in drawing on stone, 58
Preparation of ink for writing, &c.,
4O ; of printing-ink, 98 ; of stone
for machine-work, 229 ; of rol-
k {
lers, 28; of stone for corrections,
57, 58; of stone for engraving,
I33
Preserving gum-water, II,
work on stone, 213
Press, bed, or carriage of the, 24 ;
cross-head of, 22 ; cylinder, 24;
for pulling plate-transfers, 75 ;
framing, the, 22; general princi-
ples of the, 2O ; handle, the, 24;
key, 24 ; lever, the, 25; pres-
sure-screw, 24 ; Scraper, 25 ;
scraper-box of, 24; varieties of
construction, 2I
Pressure, how to adjust, 84
Printing, at machine, 229; at press,
93; bronzing, in connection
with, 126; damping paper for,
IO5 ; defects and remedies in,
IO7 ; dusting in connection with,
I26; from chalk drawings, II3–
I 18; from engravings on stone,
I38; from zinc, I42 ; in the
chromo - lithographic method,
I74 ; metalling in connection
with, 126; paper for, IO4; pre-
paration of India-paper ſor, IO6 ;
“setting-off” in, I 12 ; “slur-
ring” in, I I I ; temperature, in,
IO4; in tints, 165, 181 ; treat-
ment of transfers previously to,
89 -
Printing-ink, black and coloured,
9; influence of varnish on, IO;
its preparation, 98; price of, 9
Proving chalk-work, I I4; transfer-
work, 89
Prints, chromo-transfer, 184
Pumice-stone, I4
^ -
I2 ;
QUANTITIES, sheets of, 42
RAGS, how to economize, 217
Rasp, the, 35.
Recipes for inks,
nishes, &c., IQ7 -
Red chalk, use of, I21, 146
Re-etching chalk drawings, II6
Registers, setting a stone for, 238
Registering, 148; a new way, I53;
machine, 237; by fixed points,
crayons, var-
*
252
THE GRAMMAR OF LITHOGRAPHY.
150 ; by lay, I49; by needles,
ió. ; by machine, I 54 ; by points
in stone, 15 I ; condition of paper
for, I55; mode of, in chromo-
lithography, I48
Retouching on grained stones, 74
Retransfer ink, stone to stone, I 3 ;
for stone, recipe for, 202; for
type, I3; for type, recipe for,
2O2
Retransfers from stone, 80
Reversing transfers, I22
Riders, use of, in machines, 231
Roller-handles, 29
Roller, handles of press, 29 ; ma-
nipulation of in printing, IOO ;
the glazed, 30, 181 ; how pre-
pared for use, 28
Rollers for colour-printing by ma-
chinery, 238; for damping, 226;
machine, 226 ; washable, 239
Rollers, press, 68
Rolling, instructions for, ICO
Rolling-up, 56 -
Rolling-up drawings, 2 I4
Rosining-up, I 16, 118
Roughing stones for imitating water-
colour drawings, 183
Rounding edges of stone, 39
Rubbing in tints and ink for, 162,
I63
Rubbing up work on stone, 89
Ruling-pen, to reset, 59
SAL-AMMONIAC, use of 58, 17o
Salt, its use with turpentine, 29
Sand, gradation of the, 37; how
used, I4 -
Sandars, Mr. H., novel method by
of cutting a brush, I 5
Scotch re-transfer paper, how to
make, 208’
Scraper-box of press, 24
Scrapers, 25; adjustment of 84;
for corrections, &c., 18; for zinc
plates, I4I -
Scraping for dotted lines, 5 I ; roller,
29
Screw, pressure, of the press, 24
Senefelder's compositions for cray-
ons, 204; for inks, 202
.."
Sensitive transfer-paper, preparation
of for photo-lithography, 191
Setting-off in printing, I I2, I57,215;
prevention of, I 13
Setting ruling-pen, 59
Set-off or faint, 146
Sieves, 33
Simpson, Mr. William, on litho-
writing-ink, 40
Slab for ink, 31
Slope for writing, 42, 43, 52
Slurring in Trinting, III
Smuttiness of impression, IO2
Snake-stone, I4
Soap, uses of, in the lithographic
art, IQ7
Speed of lithographic machines, 232
Spirits of salts, 142
Sponge, 13; its price, ió., how to
prepare, 26.
Sprinkled method, stopping-out in,
54
Squeegee, usefulness of, 31
Steatite, or French chalk, I I2
Steel pens, use of in lithography, 17
Stippled plates for graining-paper,
45
Stippling, process of, 55
Stone and paper, relative advantages
of drawing on, 48
Stone, condition of, for reception of
transfers, 81 ; corrections on po-
lished, 56; engraving on, I31 ;
etching chalk drawings on, 69;
graining for chalk-drawing, 61 ;
grinding and polishing, 35 ; ap-
pliances for, 32 ; machines, 39 ;
horse, 35 ; ink-writing and
drawing on, 48; marking, for
laying down transfers, 92; pre-
cautions to be observed in drawing
on, 58; preparation of for en-
graving, I.33 ; preparation of for
machine-printing, 229; recipe for
preserving drawings on, 213 ;
prevention of set-off on, 215;
setting for register, 238; setting-
off in machine-work, 234; setting-
off colours upon the, 157; substi-
tutes for, 5 ; to take retransfers
from, 80; tracing on, 135; tracing
INDEX.
253
the outline to, for chalk drawing,
62; transfer-paper, how to make
for warm stone, 206; transferring
to dry, 83; transferring to wet,
86; writing on, for circulars, 51
Stones, cold, transfer-paper for, how
to make, 206
Stones, double-faced,5; how to back,
216 ; marking the depth to be
ground, 36 ; their defects, 4; their
prices, 10. , their varieties and
characteristics, 3
Stone-trough, the, 32
Stopping-out for tints, 16o ; for
transferred machine-ruling, 54;
in Sprinkled method, ib.; var-
mish, 217
Straight-edge, 34
Straining transfer-paper for drawing
upon, 43; effects of, 44
Stumped-in tints, 169
Stumping, 65, 130
Stumping chalks, 6
Stumps, acid, 30
Substitutes for stone, 5
Sulphate of zinc as a dryer, 179
Sulphuric acid, 142
TALC, II2
Temperature, avoiding effects of too
high, 104; in printing, ib., of
stones in transferring, ‘81
Testing stones by straight-edge, 34
Testing the grain of a stone, 38
Tint-printing, 165, 181
Tinting in chalk-drawing, 66
Tints by stippled plates, 171 ; by
transferring lines, 170; in chromo-
lithography, 159; etching of, 167;
ink for, 180; in ink drawing, 50 ;
printing in, I65, 181 ; stumped
in, 169; washing in for chromo-
lithography, 166
Tools for engraving on stone, 132
Touching-up work on stone, 58
Tracing from photographs, paintings,
&c., I 19 ; on stone, 48, 62, 135
Tracing, transfer-paper for, 44
Tracing-paper, 7
Tracing-papers, coloured, 209
Tracing-point, to make, 133
Transfer, forphoto-lithography, ink-
ing of, I9 I ; drawing, essential
points, in, 44; ink, for Copper-
plates, recipes for, 2O3 ; litho-
graphy, 40 ; methods, advantages
of, 81 -
Transfer - paper, chalk, 45, 210 ;
colouring of 206; for cold stones,
206; for colour-work, 210; for
tracing, 44; for warm stones, how
to make, 206; glazing of, 207;
how to dry, 207; how to strain
flat for drawings, 43; materials
suitable for coating, 7 ; plate, 12,
13; price of, 7 ; sensitive, for
photo-lithography, 191 ; writing
and drawing, general character
of, 6
Transferred machine ruling, stop-
ping-out for, 54 -
Transferring, backing for, 28 ; from
photographs, 12 I; stone, 88;
methods of, 82; multiplication
of colour subjects by, 185; photo-
lithography, 192; taking impres-
sions for, 75; to dry stone, 83 ;
to wet stone, 86; lines, tints
formed by, 170
Transfers, autographic, by turpen-
time, I22 ; condition of stone for
reception of, 81; etching, previous
to printing, 91; from music-plates,
215; plate, press for, 75 ; stone,
80; from type and woodcuts, 8o ;
from zinc, I4I ; marking the stone
for laying down, 92; reversing,
I22 ; treatment of, previously to
printing, 89.
Transposition of black and white
123; by photo-lithography, I24,
Trolley, 35 -
Trough, for stone-grinding, 32
Turn-table, 19; substitute for, 20
Turpentine, or turps, I4; auto-
graphic transfers by, I22 ; use of
in grinding pigments, II
Tympan-frame of press, 24
Tympans, how made, 25
Type and woodcuts, transfers from,
80; re-transfer-ink for, 13; re-
cipes for, 202
254
THE GRAMMAR OF LITHOGRAPHY.
VARNISH, danger in making, 8;
recipe for, 205 ; its influence on
printing-ink, IO; price of, 9 ;
recipe for collodion, 213 ; stop-
ping-out, 217
Varnishing, process of, 213
Vanhymbeeck's drawing-ink, 5
WARMING copper - plates, 76 ;
stones, 39 ; Stones for transfers,
, 81 -
Washing out tints, 166
Washable printing-rollers,
Water-of-Ayr stone, I4
Water, bottle for, 7 ; for dissolving
writing and drawing ink, 7 ; gum,
II ; hot, for warming Stones, 39
Wet stone, transferring to, 86
White chalk, how imitated, 160
39
THE
White letters, &c., on black ground,
53 -
White pigments in ink, 18O
Woodcuts, transfers from, 8o
Writing, copper-plate style, 42 ;
and drawing on stone, 48; fac-
similes of, 46; “old English ’’ or
“German text,” 42 ; on plain .
paper, 47 ; on stone, 5 I ; slope
for, 42, 43, 52 ; ornamental styles.
of, 42; recipe for inks for, 198
ZINC fortympans, 26; printing from,
I42 ; transfers from, I4I *
Zinc plates, gauges of, I40 -
Zinc white in printing ink, II, 18O
Zinc white in paper, 2II -
Zincography, preparation of plates
for, 14o ; principles of, 139
END.
WYMAN AND SONS, PRINTERS, GREAT QUEEN STREET, LONDON, w.c.
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[For LIST OF BOOKS SEE O










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_. IN THE PRESS. New volume with illustrations. Pricess.
The Principles, Progress, and Practice of
PRINTING MACHINERY AND MACHINE PRINT ING. By JOHN SOUTH-
WARD, Author of “Practical Printing,” Article on Typography in “Encyclopaedia
Britannica"; Editor “Printers' Register,” &c. .
ºs
. . . . Just ready. Third Edition. Crown 8vo., cloth, price 2s. 6d. Illustrated.
Zincography.
A Practical Guide to the Art, as practised in connexion with Letterpress Printing. By
JOSEF BOCK.
Just ready. Crown 8vo., cloth, price 5s.
Colour and Colour Printing as applied to
| Hºnºgraphy by W. D. Richwoso. Amor of the “Gammar of
... . Just ready. Seventh Edition. Crown 8vo., cloth, price 5s. Illustrated.
The Grammar of Lithography.
. A Practical Guide for the Artist and Printer, in Commercial and Artistic Lithography,
Chromo-Lithography, &c. By W. D. RICHMOND.
Just ready. Fourth Edition. Crown 8vo., cloth, price 5s. Illustrated.
Stereotyping and Electrotyping.
. . A Guide for the Production of Plates by the Papier-Mâché and Plaster Processes. With
Instructions for Depositing Copper by the Battery or by the Dynamo Machine. Also
Hints on Steel and Brass Facing, &c. By FRED. J. F. WILSON.
Second Edition. Crown 8vo., cloth, price Is. 6d.
A Glossary of Technical Terms used in
CONNEXION WITH PRINTING MACHINERY, giving upwards of 5oo Defini-
tions of Words and Phrases employed in the Machine-room, together with a Description
of the various Mechanical Motions used in Printing Machinery and its Adjuncts.
sº
Third Edition. Crown 8vo., cloth, price 2s. 6d.
Spelling and Punctuation.
A Manual for Authors, Students, and Printers; together with a List of Foreign Words
- and Phrases in common use and their Explanations. By HENRY BEADNELL.
Crown 8vo., cloth, price 2s. 6d.
The Youth's Business Guide.
By EXPERIENTIA. A Practical Manual for those entering Life.
‘A sensible little work. . . . . It supplies a good deal of information.”-4 thenaeuzn.
Second Edition. Crown 8vo., cloth, price 2s. 6d.
iterary Success: being a Guide to Prac-
TICAL JOURNALISM. By A. ARTHUR READE, Author of “Study and *
Stimulants,” “Tea and Tea Drinking,” &c.
KIt is sure to be widely read, for it professes to pcint out the road to fortune to any one who can drive
n, and it is highly seasoned with personal anecdotes.”—Academy.
blishing Office : 65 & 66, Chancery Lane, LONDON.
. E, MENKEN, MANAGER. -
* The above Books can be ordered thus
jkseller.















*...*.*.
§§ sº ſº §§ º
. . ! ready. "cloth, cro
. . . . © tº * a © .
* Interior Decoration. A Practical Treatis
- , on Surface Decoration, with Notes on Colour, Stencilling, and Panel Painting. '
FRED MILLER, author of “ Glass Painting,” &c.
*... . . * - ***.
º - - - - ** * * ... . .
ºr 'º'º º sº, gº
º * * * * , *::sº sº. 36” "
ğ. sº-º-º-º:
Now wn gº price 5s., with 71 Illustrations.
º - Just Published. Crown 8vo., cloth, price 5S., with 65 Illustrations. . . -
Wood-Carving: Practically, Theoretically,
AND HISTORICALLY CONSIDERED. With Notes on Design as applied to
Carved Wood. Edited by FRED MILLER, Author of “Pottery Painting,” &c. -
“We have here a capital book ſor the student. . . Minute details are given.” – Newcastle Chronicle. . .
: 2-
Just ready. Crown 8vo., cloth, price 5s., with 72 Illustrations. -
Glass-Painting: a Course of Instruction in
the various methods of Painting Glass and the Principles of Design. By FRED .
M ILLER, Author of “Practical Wood-Carving,” &c. , z
“The book is to be heartily recommended.”—Decoration. &
Just ready. Crown 8vo., cloth, price 5S., with 55 Illustrations.
ottery-Painting : a Course of Instruction
in the various methods of working on Pottery and Porcelain, with notes on Design and ºt
the various makes of Colours and Glazes. By FRED MILLER, Author of “Intericr
- Decoration,” &c. -
- - “It is practical throughout, and to am.uteurs, as well as to those in the trade, it cannot ſail to be
useful.”—Pottery Gacet (e. -
_ Just ready. Second Edition. Crown 8vo., cloth, price 2s. 6d., with 42 Illustrations.
Practical Guide to French Polishing,
including Furniture Polishing, Graining, Staining, Varnishing, Japanning, Wax and
Dull Polishing, and Stencilling; together with Instructions for Repairing and Matching
~ Furniture and Buhlwork, Cutting Inlays, &c. Interspersed with a large number of
Practical Recipes relating to the various Processes. By A PRACTICAL MAN. - -
# ...”
. .”
sºº--ºs-------------~~~~ -- ~-
Just published. Crown 8vo., paper covers, price Is...; post-free, 1s. 2d.
The French Polisher's Trade Price List,
showing at a glance the Price paid for Labour only and for Labour and Materials
combined for French Polishing every class of Furniture, Musical Instruments, &c.
Just published. Fourth Edition. Crown 8vo., cloth, price 2s. 6d.
Practical Upholstery. .
gº By A WORKING UPHOLSTERER. With original Designs and Illustrations
- explanatory of the Text. .
* R - “Clearly printed, freely and well illustrated. . . . . It merits high commendation.”—Western
| Morning News.
Fifth Edition. Crown 8vo., cloth, price 4s. (With numerous Illustrations.)
T he Practical Cabinet-Maker:
Being a Collection of Working Drawings of Furniture, with Explanatory Notes. By
} A WORK ING MAN.
* “The book well deserves to be owned by every working cabinet-maker who may care to advance in
knowledge.”—Architect.
Publishing office: 65 & 66, Chancery Lane, LON Don.
& E. MEN KEN, MANAGER. - -
• *.* The above Books can be ordered through any Bookseller.
5. . . .























*
Professional Book-keeping.
} .
f
| .
º - Fourth and Enlarged Edition. a. 8vo. , cloth. pice as
ow to Manage a Steam-Engine.
A Handbook for all who use Steam-power. Illustrated with examples of different types
of Engines and Boilers, with, Hints on their Construction, Working, Fixing, &c.,
Economy of Fuel, &c. By M. POWIS BALE, M. Inst. M. E.
“It is exactly the thing that was wanted "–7'he Poreman Engineer and Draughtsman.
- * - " .. , *** **... … v., *.*.*.*.*.*.* * *
*: º, . . "...º: "... . . . . º.º. 3.
Steam-lºngine,” &c. &c.
- ---
*
Mounted on Rollers, price Is.
Rules for Engine - Drivers and Boiler
ATT ENDANTS: Showing how to Avoid Accidents and Secure Efficiency and Economy
of Working. By M. POWIS BALE, M. Inst. M. E., Author of “How to Manage a
-- - - --- - - - --------- - - - ------------ --------------
Third Edition. Crown 8vo., cloth, price 2s.
Workshop Management. - *
: A Manual for Masters and Men, being practical remarks upon the Economic Conduct of
Workshops, Trade Charities, &c. By FREDER [CK SMITH (a Workman).
English China and China Marks:
... . ... Engravings of upwards of 150 Marks.
‘’.” “A key to man v of the puzzles with which collectors delight to concern themselves.”—City Press.
principles of book-keeping, without making any mystery of them.”—Law journa.'. .
The Practical Telegraphist.
. . . . . . By WILLIAM LYND, Editor of “The Telegraphist,” &c. In addition to the latest
The Popular Guide to the Telegraph and
65 & 66, CHANCERY LANE, LONDON, W.C.
Postal Orders and Cheques to be made payable to-
“The suggestions offered in this little work are decidedly good.”—City Press.
- Fourth Edition. Crown 8vo., cloth, price 1s. (Illustrated.)
... Being a Guide to the Principal Marks found on English Pottery and Porcelain. Wit
Third Edition. Crown 8vo., cloth, price 2s.
A Treatise for Non-Traders, designed to meet the special requirements of Legal, Medical,
and similar Professions. By WILLIAM JOHN GORDON. -
“This is a very well-written little book, which, in the clearest and simplest language, details the true
Just published. Third Edition. Crown 8vo., cloth, price 3s. 6d.
' ' technical information, the new Edition contains a comprehensive chapter on “Gravet'
. . Calculating Slide Rule," adapted to Electrical Calculations. - -
“A technical manual that will be of permanent use to any one entering the service.”—Daily Chronicle
New Edition. Crown 8vo., cloth, price 2s. 6d.
POSTALSERVICES. A Manual of Elementary Instruction in Telegraph and PostalDuties,
By WILLIAM LYND, A.S.T.E., Author of “The Telegraph in Theory and Practice.”
“The standard book on the subject." Publisher and Bookényers' journal.
PU E L | SH | N G O FF | C E :
Where al/ Orders and Communications should be addressed.
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