W. T. Wilkinson

“ To draw upon a dark orange-colored paper with a pale blue-gray ink would be simply to disregard all photographic principles, for the photographic value of the paper and of the ink would be nearly equal, and the drawing would consequently be lost. ”

“ The good photography has done in bringing the wood-engraver up to his duty in following the artist in every line and light and shade, it will augment by teaching him how to secure the loveliest effects of nature. It will make way for more wood-engraving as well as for more process-pictures if you choose to call them such. ”

“ Do not be in a hurry about doctoring a bath solution (in fact, it will be far best to have two solutions, one in use and one either resting or being doctored) , but give the light plenty of time to reduce the organic matter, and also to {16} volatilize the ether and alcohol; then filter the solution through filtering paper (don’t use blotting-paper) , as if it is attempted to filter through a pledget of cotton-wool the fine precipitate of organic matter quickly clogs the wool and stops the filtering. ”

“ We have already alluded to the lateral action of the acid; it is a factor that taxes the care of the etcher in the highest degree. In the beginning of the action of the acid, the edge of the metal under the coating is exposed the more, the longer the action lasts; here, of course, the dissolving power becomes apparent. The deeper we go, the more the metal under the line is exposed, and the action on the lateral edge continually increases. In the effect of the acid we distinguish thence, a perpendicular and a lateral action. ”

“ The exposure to light is made in a box-pattern frame, the negative having a mask in front of it to protect the margin of the plate from the light.
The negative used must be reversed—i. e., the image must be in its right position on the negative when viewed through the film, not as ordinary negatives are—through the glass; therefore, a mirror must be used in making the negative, or a skin negative may be used; or, if neither is practicable, the negative must be reproduced by one of the methods already given. ”

“ It must be borne in mind that the first print from the skin will not be the best it is capable of giving, therefore, before any of the above-named dodges are resorted to, the image should be inked up and proofs pulled four or five times; as a generul rule perfection will not be attained until about ten or twelve prints are made, using each time a good paper, as a soft spongy one will not pick up the ink on the skin. ”

“ It should have been mentioned that varying degrees of fineness of grain can be given to the transfer by adding a little more ferridcyanide of potassium in the sensitizing solution, and drying the transfer paper at a higher temperature, or by heating the paper a little before exposure, or by adding a little hot water to the cold water bath, after the transfer has been fully exposed; the higher the temperature of the water, the coarser the grain will be. The finer grain is best suited to negatives from Nature, when a considerable amount of detail has to be shown. ”

“ In line work all lines must be firm and black; no attempt must be made to get effect by using thin or pale ink.
In chalk work, also, the drawing must be firm and strong, and the corrections and alterations made on the transfer, not left to be done on the stone. If the corrections or alterations are small, they may be removed with an ink eraser, or by careful washing with turpentine, so that all the chalk is removed; if the {52} correction be large, paste a piece of clean transfer paper over the place, spreading the paste as thin as possible; gum must not be used. ”

“ For line work negatives for printing upon zinc, for etching, or for transfers to stone, ordinary gelatine dry plates are not useful, as it is almost impossible to get that freedom from veil over the lines that it is absolutely necessary to have; here the wet collodion is best as it is simplest, easiest, and cheapest. {30} Still there are times when the most ardent wet-plate worker is obliged to confess that the process has its shortcomings, most especially in dull weather, when it is necessary, to get the result required, to give exposures from thirty to sixty minutes ”

“ The bath solution made up as above will be the right strength for work, but as every plate sensitized therein, takes away its modicum of silver, after a certain time it must be strengthened, as it is essential for the production of good work that the solution be kept at a proper strength. The best way of doing this is to add a drachm or two of saturated solution of nitrate of silver, after each day’s work has been done, and if the solution be worked in a flat bath, it will be as well to pour it into a jug and filter it before using again ”

“ The correct pressure is a matter of experience; it is advisable to begin with a pressure less by one sheet, in order to be able to increase it during the process of transfer.
In the lithographic press the ink-block is first to be adjusted; since it needs a greater “setting in” than the rolling press, the zinc must be cut larger. It must extend three centimetres on all sides beyond the drawing. The edges of the cut plate must be well ground off, in order that the ink-block may not be {74} caught; at all events, it is advisable to have the latter smaller than the plate. ”

“ Rolling off during drying keeps the gum solution from the drawing while drying on, and keeps open the connection for rolling in.
Before going further I will explain the terms used*: To roll in is to give color or ink, and is done slowly, with tightly grasped handles and certain pressure. Rolling off is effected with loosely grasped handles, without pressure, and quickly, and is intended to draw off with the rollers any excess of color on the plate. To work out or make the rollers means to bring fresh color on it from the grinding stone, and is done with strong pressure and strong traction. ”

“ We now try another method whereby the printing plate is obtained by depositing a film of copper upon the photograph, and from this copper electrotype the prints are to be made.
There are many ways of proceeding to make these copper intaglios, the grain being obtained in many ways, but the foundation is the same in all, and consists of incorporating bichromated gelatine with grit of such a nature as to cause the image to be rough instead of smooth, or else the roughness is given to an ordinary or modified so-called carbon image developed upon a silvered copper plate. ”

“ The negative is then placed, face uppermost, in a printing-frame, the coated side of the zinc in contact with the face of the negative. The negative is now exposed to the action of light.
The exposure being complete, the frame is taken into a room lighted by yellow light, gas, or lamp-light, the zinc plate is removed, and its surface covered with a thin film of transfer ink, by means of a type-printer’s roller; then the zinc plate is immersed in clean cold water and the image developed by gently rubbing it with a pledget of cotton-wool. ”

“ The film of albumen now requires drying, which should be done over a spirit lamp. The best form of lamp is one of the small pocket spirit stoves sold by ironmongers, and having the three supports for a kettle cut away. The zinc is held over the flame and kept in constant motion, so as to dry the film as quickly and evenly as possible; no fear need be felt at applying too great a heat so long as the metal can be held comfortably in the fingers. When dry, the plate is ready for printing upon. ”