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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/32400-8.txt b/32400-8.txt new file mode 100644 index 0000000..1a4d797 --- /dev/null +++ b/32400-8.txt @@ -0,0 +1,2988 @@ +Project Gutenberg's Paper and Printing Recipes, by J. Sawtelle Ford + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Paper and Printing Recipes + A Handy Volume of Practical Recipes, Concerning the + Every-Day Business of Stationers, Printers, Binders, and + the Kindred Trades + +Author: J. Sawtelle Ford + +Release Date: May 17, 2010 [EBook #32400] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK PAPER AND PRINTING RECIPES *** + + + + +Produced by The Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + + + + + Paper and Printing Recipes + + + A Handy Volume of Practical Recipes, + Concerning the Every-Day Business of + Stationers, Printers, Binders, and the + Kindred Trades. + + + PUBLISHED BY + J. SAWTELLE FORD, + _OFFICE OF "THE STATIONER AND PRINTER,"_ + CHICAGO. + + + + Entered according to the Act of Congress, in the year 1883, by + J. SAWTELLE FORD, + In the Office of the Librarian at Washington. + + + + +GLIMPSE OF CONTENTS. + + +This Volume has nearly =Two Hundred= valuable Recipes for Stationers, +Printers, Bookbinders, etc. These Recipes are thoroughly practical, and +such as come up in every day's work. They have been gathered from many +sources, and are endorsed by the best workmen of the United States and +Europe. + + + + +INDEX TO RECIPES. + + +WRITING INKS. + + Removing Writing Ink from Paper 1 + White Ink 3 + Purple Hektograph Ink 3 + A Dark Red Indelible Ink 4 + Making Carmine 4 + Violet Ink 5 + Indelible Ink 5 + To make Black Ink 6 + An Ink which cannot be Erased 6 + Copying Ink to be used without Press or Water 3 + A Cardinal Ink 7 + A Portable Ink 28 + Indelible India Ink 28 + Copying Inks 29 + Invisible Writing 68 + + +PRINTING INKS. + + To Prevent Colored Inks from becoming Hard 81 + To keep Colored Inks from Skinning 81 + To Preserve Colored Inks 82 + How to Brighten Common Qualities of Colored Inks 83 + A Good Dryer 79 + A Quick Dryer 61 + Improved Dryer for Printing Ink 66 + To take Printer's Ink out of Silk 17 + Red Printing Ink 68 + Black Printing Ink 69 + Colors for Printing Ink 71 + Principal Colors of Gold for Grinding 45 + + +MARKING INKS, ETC. + + Ink for Rubber Stamps 7 + Marking Ink 10 + Black Ink for Stencils 6 + Stencil Ink 2 + Blue Marking Ink for White Goods 10 + + +REMOVAL OF INK STAINS, ETC. + + To Remove Writing Ink from Paper 1 + To Remove Aniline Ink from the Hands 8 + To take Ink Stains from the Hands 9 + To Remove Grease Spots from Paper 13 + How to Remove Colored Inks 81 + Paper for taking out Ink Stains 14 + To Remove Ruling Ink Stains from Fingers 17 + To Remove Ink Spots 19 + To Remove Oil Marks from Paper 20 + To Remove Ink Stains from Mahogany 20 + + +CARE OF BOOKS. + + Care of Books 78 + To Destroy Book Worms 77 + How to Prevent Mildew on Books 78 + + +GLUES, PASTES, MUCILAGE, ETC. + + Solid Pocket Glue 20 + To Test Glue 21 + Book-Binder's Glue 22 + Cement for Glass 22 + Postage Stamp Mucilage 26 + To keep Mucilage Fresh 26 + Mucilage 27 + Mucilage for Pasteboard 27 + Cement for Labels 23 + A Colorless Cement 23 + A Cement that will Resist the Damp 24 + To make Glue Water-proof 24 + Two Glue Receipts 25 + A Good Paster 29 + A Paste which will not Spoil 29 + A Silver Solder 30 + An Article for Labeling Bottles 8 + For Making Dextrine 70 + + +PRINTERS' VARNISHES. + + A Varnish for Color Prints 82 + Printers' Varnish 83 + A Varnish for Paper 13 + A Transparent Paper Varnish 53 + + +COLOR AND GOLD LEAF PRINTING. + + To Fix Bronze Colors on Glass 77 + A Bronze or Changeable Hue 80 + Gold Leaf Printing 80 + Inking Surfaces for Color Work 82 + Colors for Holding Bronze 2 + Colors for Printing 51 + + +ELECTROTYPING. + + To Prevent Electrotype Blocks from Warping 69 + Electrotyping on China 42 + Electrotyping Handwriting 35 + + +WOOD CUTS AND ENGRAVING. + + Care of Wood Cuts 75 + To Produce Engraving or Types for Printing by Photography 15 + Different kinds of Engraving 36 + Care of Wood Type 38 + To Restore the Original Whiteness of Copper plate, Wood + Engravings, etc. 42 + To Transfer Engraving to Mother of Pearl 39 + An Improved Process of Photo-Engraving 31 + To Prevent Warping in Blocks and Wood 61 + Stereotyping Wood Cuts 46 + + +PAPER. + + Waterproof Paper 56 + How to Size poor Drawing Paper 56 + Paper Soft and Flexible 19 + Incombustible Writing and Printing Paper 17 + Blue-Black Writing Paper 10 + Electric Paper 30 + Tinning Paper and Cloth 77 + Gummed Paper from Cockling 57 + Qualities of Good Paper 14 + Impermeable Paper 53 + Aniline Ink Paper 16 + To make Paper Fine and Water-proof 52 + To Bleach Sheepskin Parchment White 50 + Carbon Paper 54 + Luminous Paper 54 + Sizes and Weights of Drawing Paper 55 + Bronzed Paper 55 + Transparent Drawing Paper 56 + Paper for Labels 14 + To Split a Sheet of Paper 15 + Photo-Lithographic Transfer Paper 32 + + +MISCELLANEOUS. + + An Ink Restorer 2 + To Obtain a Bright and Lasting Red Edge 41 + To Mount Chromos 53 + Sealing Wax 69 + Photo Prints on Glass 46 + Enamel for Fine Cards 35 + To Bend a Rule 67 + To Make a Corroded Pen 31 + To Restore the Lustre of Morocco Leather 41 + Non-erasible Pencil Marks 41 + Copy Drawing in Color 57 + Black Paint for Blackboards 33 + To Preserve Pencil Sketches 37 + Treatment of India Ink Drawings 9 + To Clean Gilt Frames 67 + Cleaning New Machinery 67 + Washing Forms 59 + A Hardening Gloss for Inks 84 + A Modeling Material 84 + Leaf Copying 84 + Usual Sizes and Weights of Book papers 86 + Usual Sizes and Weights Colored Print or Poster 86 + Painting on Ebonized Wood 43 + To Clean Steel Pens 33 + To Clean a Chamois Skin 12 + Dryer for Ruling Inks 85 + Usual Sizes and Weights of News Printing Paper 86 + Usual Sizes of Flat and Ledger Papers 87 + Size of Newspaper Sheets and Number of Columns 85 + + +STATIONERS' WINDOWS. + + Stationers' Windows 33 + Hints on Dressing the Store Windows 12 + To Prevent Window Steaming 18 + + +GILDING. + + For Cheaply Gilding Bronze, etc. 11 + Electro-Gilding in Colors 19 + How Gilding is Done 43 + Gilding with Gold Leaf 46 + Gilding on Wood 47 + Gilding in Oil 48 + + +METALS. + + Coloring Metals 11 + Copper Plating on Zinc 38 + An Alloy for Glass or Metal 30 + Writings on Metals 45 + + +TYPE. + + Laying Type 76 + Metal for Stereotyping 40 + Effect of Petroleum Oil on Wood Type 79 + Remedy for Type that Sticks in Distributing 76 + Care of Wood Type 38 + To Ascertain the Quantity of Plain Type Required for + Newspapers 75 + Repairing Battered Wood Type 82 + + +PRINTERS' ROLLERS. + + Keeping Rollers when not in Use 62 + Preservative of Rollers when not in Use 62 + Rollers in Summer Time 63 + To Keep Green Mould from Rollers 63 + Treatment of Old Rollers 64 + A Recipe for Printer's Rollers 64 + When to Wash Rollers 66 + Oils for Lubricating Roller Moulds 62 + + +PRINTING METHODS. + + Gloss Printing 49 + Colors for Printing 51 + Off-Setting 83 + Printing Envelopes 60 + On "Casting Up" 74 + To Prevent Set-off 61 + Temperature of the Pressroom 65 + + +LYE. + + A Strong Lye 79 + A Cheap Lye 77 + + + + +Paper and Printing Recipes. + + +HOW TO REMOVE COMMON WRITING INK FROM PAPER WITHOUT INJURY TO THE PRINT. + +Common writing ink may be removed from paper without injury to the print +by oxalic acid and lime, carefully washing it in water before restoring it +to the volume. + + +TO RENDER PENCIL NOTES INDELIBLE. + +Pencil notes found in a book, or placed there as annotations, may be +rendered indelible by washing them with a soft sponge dipped in warm +vellum size or milk. + + +TO REMOVE GREASE SPOTS FROM PAPER. + +Grease may be removed from paper in the following manner: Warm gradually +the parts containing the grease, and extract as much as possible of it by +applying blotting-paper. Apply to the warm paper with a soft, clean brush, +some clear essential oil of turpentine that has been boiled, and then +complete the operation by rubbing over a little rectified spirits of +wine. + + +HOW TO DETECT ARSENIC IN PAPER. + +A simple method for detecting arsenic in paper, cards, etc., is described +as follows:--Immerse the suspected paper in strong ammonia on a white +plate or saucer; if the ammonia becomes blue, the presence of salt of +copper is proved; then drop a crystal of nitrate of silver into the blue +liquid, and, if any arsenic be present, the crystal will become coated +with yellow arseniate of silver, which will disappear on stirring. + + +AN INK RESTORER. + +The process consists in moistening the paper with water and then passing +over the lines in writing a brush which has been wet in a solution of +sulphide of ammonia. The writing will immediately appear quite dark in +color, and this color, in the case of parchment, it will preserve. + + +COLORS FOR HOLDING BRONZE. + +Red and green inks are good colors for holding bronze, when you are not +working with size or varnish. + + +STENCIL INK. + +A good and cheap stencil ink in cakes is said to be obtained by mixing +lampblack with fine clay, a little gum arabic or dextrine, and enough +water to bring the whole to a satisfactory consistence. + + +COPYING INK TO BE USED WITHOUT PRESS OR WATER. + +Well mix three pints of jet-black writing ink and one pint of glycerine. +This, if used on glazed paper, will not dry for hours, and will yield one +or two fair, neat, dry copies, by simple pressure of the hand, in any good +letter copy-book. The writing should not be excessively fine, nor the +strokes uneven or heavy. To prevent "setting off," the leaves after +copying should be removed by blotting-paper. The copies and the originals +are neater than where water is used. + + +WHITE INK. + +There is really no such article as "white ink." A true ink is a solution +of some substance or combination of substances in liquid. Colored liquids, +however, may be prepared with various substances not soluble in the +liquids available for writing fluids. A "white ink" may be made by rubbing +the finest zinc white, or white lead, with a dilute solution of gum +arabic. It must be stirred up whenever the pen or brush is dipped into it. + + +PURPLE HEKTOGRAPH INK. + +To make the purple hektograph ink:--Dissolve 1 part of methyl-violet in 8 +parts of water, and add 1 part of glycerine. Gently warm the whole for +about an hour, then allow to cool and add 1/4 part alcohol. It is said, on +good authority, that the alcohol may be advantageously omitted, and that +the following proportions will give even better results than the above, +viz: Methyl-violet, 1 part; water, 7 parts; glycerine, 2 parts. This +formula, it is said, produces an ink which is less liable to sink into the +paper. + + +A DARK RED INDELIBLE INK. + +An indelible red ink for marking linen may be made from the following +formula: + +Prepare three separate solutions: + + I. Sodium carbonate 3 drs. + Acacia 3 " + Water 12 " + +With this moisten the spot to be marked, and dry and smooth with a hot +flat iron. + + II. Platinum bichloride 1 dr. + Water 2 oz. + +Trace the letters with this fluid, permit to dry, and finally apply +solution. + + III. Stannous chloride 1 dr. + Water, distilled 4 " + + +TO MAKE A CARMINE. + +Take 9 ozs. carbonate of soda and dissolve in 27 quarts of rain-water, to +which add 8 ozs. of citric acid. When boiling, add 1-1/2 lbs. of best +cochineal, ground fine, and boil for one and a quarter hours. Filter and +set the liquor aside until cool. Then boil the clear liquor for ten +minutes with 9-1/2 ozs. of alum. Draw off, and allow the mixture to settle +for two or three days. Again draw off the liquor, and wash the sediment +with clear, cold, soft water, and then dry the sediment. + + +VIOLET INK. + +To make violet ink:--Put 8 ozs. logwood into 3 pints of water, and boil +until half the water has gone off in steam. The rest will be good ink, if +strained, and supplemented by 1-1/2 ozs. gum, and 2-1/2 ozs. alum. +Chloride of tin may be used instead of alum. Another plan is to mix, in +hot water, 1 oz. cudbear (a dye obtained from lichen fermented in urine) +and 1-1/2 ozs. pearlash; let it stand 12 hours; strain; add 3 ozs. gum and +1 oz. spirit. + + +INDELIBLE INK. + +A cheap indelible ink can be made by the following recipe:--Dissolve in +boiling water 20 parts of potassa, 10 parts of fine-cut leather chips, and +5 parts of flowers of sulphur are added, and the whole heated in an iron +kettle until it is evaporated to dryness. Then the heat is continued until +the mass becomes soft, care being taken that it does not ignite. The pot +is now removed from the fire, allowed to cool, water is added, the +solution strained and preserved in bottles. This ink will flow readily +from the pen. + + +HOW TO REMOVE INK-STAINS FROM THE HANDS. + +Ripe tomatoes will remove ink or other stains from the hands. + + +TREATMENT OF INDIA INK DRAWINGS. + +An easy method for rendering drawings in Indian ink insensible to water, +and thus preventing the ink from running when the drawing has to be +colored and the lines are very thick:--To the water in which the ink has +to be rubbed, is added a weak solution of bichromate of potash of about 2 +per cent. The animal gum contained in the Indian ink combines with the +bichrome, and becomes insoluble under the influence of light. + + +BLACK INK. + +To make a black ink for fountain pens, add 1 part of nigrosein to 50 parts +of hot water; agitate well at intervals; let it cool, and after twelve +hours filter through a fine linen cloth, and add a few drops of carbolic +acid to each pint. This may be diluted with three times its volume of +water, and still form a good ink for ordinary pens. + + +INK FOR RUBBER STAMPS. + +Aniline (red violet), 16 parts; boiling distilled water, 80 parts; +glycerine, 7 parts; molasses, 3 parts. + + +CARDINAL INK. + +Improved cardinal ink for draughtsmen is made as follows:--Triturate 1 +gram of pure carmine with 15 grams of acetate ammonia solution and an +equal quantity of distilled water, in a porcelain mortar, and allow the +whole to stand for some time. In this way a portion of the alumina which +is combined with the carmine dye is taken up by the acetate acid of the +ammonia salt and separates as precipitate, while the pure pigment of the +cochineal remains dissolved in the half saturated ammonia. It is now +filtered and a few drops of pure white sugar syrup added to thicken it. In +this way an excellent red drawing ink is obtained, which holds its color a +long time. A solution of gum arabic cannot be employed to thicken this +ink, as it still contains some acetic acid, which would coagulate the +bassorine, one of the natural constituents of gum arabic. + + +AN ARTICLE FOR LABELING BOTTLES. + +A very useful article for labeling bottles containing substances which +would destroy ordinary labels consists of a mixture of ammonium fluoride, +barium sulphate and sulphuric acid, the proportions for its manufacture +being: barium sulphate, 3 parts; ammonium fluoride, 1 part; and sulphuric +acid enough to decompose the fluoride and make a mixture of semi-fluid +consistency. This mixture, when brought in contact with a glass surface +with a common pen, at once etches a rough surface on the parts it comes in +contact with. The philosophy of the action is the decomposition of the +ammonium fluoride by the acid, which attacks the glass; the barium +sulphate is inert, and is simply used to prevent the spreading of the +markings. The mixture must be kept in bottles coated on the inside with +paraffine or wax. + + +HOW TO REMOVE ANILINE INK FROM THE HANDS. + +Aniline inks are now in common use, especially in connection with the +various gelatine tablets for multiplying copies of written matter. Upon +the hands it makes annoying stains, difficult of removal by water or +acids. They may be easily washed out by using a mixture of alcohol 3 +parts, and glycerine 1 part. + + +AN INK WHICH CANNOT BE ERASED. + +An ink which cannot be erased from paper or parchment by any known +chemical solvent, and will retain its original color indefinitely, and +last as long as the material on which it is written, is made as +follows:--Make a solution of shellac in borax, to which add sufficient +lampblack to give the requisite depth of color. + + +TO MAKE BLACK INK. + +Lactate of iron, 15 grains; powdered gum arabic, 75 grains; powdered +sugar, half a drachm; gallic acid, 9 grains; hot water, 3 ounces. (Lactate +of iron is a novelty in ink-making, and the above formula may possibly +suit those who have a taste for writing with mucilaginous matters instead +of limpid solutions.) + + +Black Ink for Stencils. + +The following is commended for the preparation of a black ink or paste for +use with stencils:--Boneblack, 1 lb.; molasses, 8 ozs.; sulphuric acid, 4 +ozs.; dextrine, 2 ozs.; water sufficient. Mix the acid with about two +ounces of water, and add it to the other ingredients, previously mixed +together. When the effervescence has subsided, enough water is to be added +to form a paste of convenient consistence. + + +MARKING INK. + +Put two pennyworths' lunar caustic (nitrate of silver) into half a +tablespoonful of gin, and in a day or two the ink is fit for use. The +linen to be marked must first be wet with a strong solution of common +soda, and be thoroughly dried before the ink is used upon it. The color +will be faint at first, but by exposure to the sun or the fire it will +become quite black and very durable. + + +BLUE MARKING INK FOR WHITE GOODS. + + Crystallized nitrate of silver, dram 1 + Water of ammonia, drams 3 + Crystallized carbonate of soda, dram 1 + Powdered gum arabic, drams 1-1/2 + Sulphate of copper, grains 30 + Distilled water, drams 4 + +Dissolve the silver salt in the ammonia; dissolve the carbonate of soda, +gum arabic, and sulphate of copper in the distilled water, and mix the two +solutions together. + + +BLUE-BLACK WRITING PAPER. + +Take of Aleppo galls, bruised, 9 ozs.; bruised cloves, 2 drachms; cold +water, 80 ozs.; sulphate of iron, 3 ozs.; sulphuric acid, 70 minims; +indigo-paste, 4 drachms. Place the galls and the cloves in a gallon +bottle, pour upon them the water, and let them macerate, with frequent +agitation, for a fortnight. Press, and filter through paper into another +gallon bottle. Next, put in the sulphate of iron, dissolve it, add the +acid, and shake the whole briskly. Lastly, add the indigo-paste, mix well, +and filter again through paper. Keep the ink in well-corked bottles. + + +COLORING METALS. + +Metals may be rapidly colored by covering their surfaces with a thin layer +of sulphuric acid. According to the thickness of the layer and the +durability of its action, there may be obtained tints of gold, copper, +carmine, chestnut-brown, clear and aniline blue and reddish-white. These +tints are all brilliant, and if care be taken to scour the metallic +objects before treating them with the acid, the color will suffer nothing +from the polishing. + + +FOR CHEAPLY GILDING BRONZES, ETC. + +A mixture for cheaply gilding bronzes, gas-fittings, etc.:--Two and +one-half pounds cyanide of potash, five ounces carbonate of potash and two +ounces cyanate of potass, the whole diluted in five pints of water, +containing in solution one-fourth ounce chloride of gold. The mixture must +be used at boiling heat, and, after it has been applied, the gilt surface +must be varnished over. + + +HOW TO CLEAN A CHAMOIS SKIN. + +When a chamois skin gets into a dirty condition, rub plenty of soft soap +into it, and allow it to soak for a couple of hours in a weak solution of +soda and water. Then rub it until it appears quite clean. Now take a weak +solution of warm water, soda and yellow soap, and rinse the leather in +this liquor, afterward wringing it in a rough towel, and drying it as +quickly as possible. Do not use water alone, as that would harden the +leather and make it useless. When dry brush it well and pull it about; the +result will be that the leather will become almost as soft as fine silk, +and will be, to all intents and purposes, far superior to most new +leathers. + + +HINTS ON DRESSING THE STORE WINDOWS. + +In dressing store windows avoid as far as possible placing cards or note +sheets flat; endeavor in some manner to have them erect, leaning against a +box or placed upon a small easel. Neither crowd your window nor place +things in exact rows. Give each article plenty of space in your window; +then you do not need so much to fill up, and on the following week put in +the pieces you might have displayed the previous week had you crowded your +window. + + +A VARNISH FOR PAPER. + +A varnish for paper which produces no stains, may be prepared as +follows:--Clear damar resin is covered in a flask, with four and a half to +six times its weight of acetone, and allowed to stand for fourteen days at +a moderate temperature, after which the clear solution is poured off. +Three parts of this solution are mixed with four parts of thick collodian, +and the mixture allowed to become clear by standing. It is applied with a +soft hair brush in vertical strokes. At first the coating looks like a +thin, white film, but on complete drying it becomes transparent and +shining. It should be laid on two or three times. It retains its +elasticity under all circumstances, and remains glossy in every kind of +weather. + + +TO REMOVE GREASE SPOTS FROM PAPER. + +The following is a recipe for removing grease spots from paper:--Scrape +finely some pipe clay on the sheet of paper which is to be cleaned. Let it +completely cover it, then lay a thin piece of paper over it, and pass a +heated iron on it for a few seconds. Then take a perfectly clean piece of +India rubber and rub off the pipe clay. In most cases one application will +be found sufficient, but if it is not, repeat it. + + +PAPER FOR TAKING OUT INK STAINS. + +Thick blotting paper is soaked in a concentrated solution of oxalic acid +and dried. Laid immediately on a blot it takes it out without leaving a +trace behind. + + +QUALITIES OF GOOD PAPER. + +A good paper ought to feel tight and healthy, not clammy and soft, as if a +little muscle were required. Paper-makers say that a good paper has +"plenty of guts" in it, a forcible if not extremely polite expression. In +buying a good paper always look out for the "guts." Clay gives paper a +soft feel. Perhaps the first qualification about a good writing paper is +its cleanliness and freedom from specks of all kinds. A dirty paper is +never salable except to dirty people and firms who don't mind using dirty +materials. + + +PASTE FOR LABELS. + +For adhesive labels dissolve 1-1/2 ozs. common glue, which has laid a day +in cold water, with some candy sugar, and 3/4 oz. gum arabic, in 6 ounces +hot water, stirring constantly till the whole is homogeneous. If this +paste is applied to labels with a brush and allowed to dry, they will then +be ready for use by merely moistening with the tongue. + + +HOW TO PRODUCE ENGRAVINGS OR TYPES FOR PRINTING BY PHOTOGRAPHY + +The process of producing engravings or types for printing by photography +consists first, in making a sharp negative of the picture to be engraved; +second, in the photographic printing of a sheet of sensitized gelatine by +means of the negative; third, the development of the printed lines upon +the surface of the gelatine by water; and fourth, the casting of a copy of +the developed gelatine sheet in metal, the metal so produced being used +for printing on the press in the ordinary manner. All this is very simple, +and in the hands of experienced and skilled persons very beautiful +examples of printing plates, having all the fineness and artistic effect +of superior hand engraved work, may be produced. + + +HOW TO SPLIT A SHEET OF PAPER. + +Get a piece of plate glass and place on it a sheet of paper; then let the +paper be thoroughly soaked. With care and a little dexterity the sheet can +be split by the top surface being removed. But the best plan is to paste a +piece of cloth or strong paper on each side of the sheet to be split. When +dry, violently and without hesitation pull the two pieces asunder, when +part of the sheet will be found to have adhered to one and part to the +other. Soften the paste in water and the pieces can be easily removed +from the cloth. The process is generally demonstrated as a matter of +curiosity, yet it can be utilized in various ways. If we want to paste in +a scrap book a newspaper article printed on both sides of the paper, and +possess only one copy, it is very convenient to know how to detach the one +side from the other. The paper, when split, as may be imagined, is more +transparent than it was before being subjected to the operation, and the +printing ink is somewhat duller; otherwise the two pieces present the +appearance of the original if again brought together. + + +ANILINE INK PAPER. + +To make aniline ink paper thick filtering paper is soaked in a very +concentrated solution of an aniline dye and allowed to dry; it may then be +soaked again to make it absorb more color. With a little attention it will +not be difficult to prepare the paper so as to have a known quantity of +coloring matter in a square of a given size. Paper prepared as above is +very convenient to have when traveling; when one wishes to write, it is +only necessary to tear off a small piece of the paper and let it soak in a +little water. Aniline blue paper may also be employed conveniently for +bluing in washing. + + +TO MAKE INCOMBUSTIBLE WRITING AND PRINTING PAPER. + +To make incombustible writing and printing paper, asbestos of the best +quality is treated with potassium permanganate and then with sulphuric +acid. About ninety-five per cent of such asbestos is mixed with five per +cent of wood pulp in water containing borax and glue. A fire proof ink is +made of platinous chloride and oil of lavender, mixed for writing with +India ink and gum, and for printing with lampblack and varnish. + + +HOW TO TAKE PRINTERS' INK OUT OF SILK. + +To take printer's ink out of silk without damaging the goods:--Put the +stained parts of the fabric into a quantity of benzine, then use a fine, +rather stiff brush, with fresh benzine. Dry and rub bright with warm water +and curd soap. The benzine will not injure the fabric or dye. + + +TO REMOVE RULING INK STAINS FROM FINGERS. + +Wash in chloride of lime and then rinse hands in a spoonful of alcohol. +The operation should be done quickly, as the lime, of course, eats into +the flesh. The alcohol renders the hands smooth again, and takes away the +disagreeable odor. + + +TO PREVENT WINDOW STEAMING. + +A remedy against window steaming is composed of methylated spirit at about +63 per cent over-proof, glycerine and any of the essential oils, and in +some cases amber dissolved in spirit, according to the state of the +atmosphere. + +About eight ounces of glycerine to about one gallon of spirit, the +quantity of essential oil depending upon the nature of the same; but it +will be understood that these proportions may be varied. Instead of +methylated spirit, spirit of wine may be employed, but methylated spirit +is preferable as being the cheaper. In combining the above-named +ingredients, the essential is destroyed by being mixed with the methylated +spirit or with the spirit of wine, and the liquid is then incorporated +with the glycerine. The combination is affected at the ordinary +temperature, the employment of heat being unnecessary. This liquid +composition is applied to the internal surface of the pane of glass or the +lens, either by rubbing it on with felt or with cotton-waste, or by +spreading it thereon with a camel's hair brush, or with other suitable +appliances, and thus the dull and dimmed appearance of glass usually +produced by condensation--known as steaming or sweating--is avoided. + + +TO RENDER PAPER SOFT AND FLEXIBLE. + +To render paper soft and flexible, heat it with a solution of acetate of +soda, or of potash dissolved in four to ten times its weight of water. For +permanent paper, to twenty parts of this solution one part of starch or +dextrine is added. If the paper has to be made transparent, a little of a +solution containing one part soluble glass in four to eight parts water is +added. To render the paper fit for copying without being made wet, to the +acetate solution chromic acid or ferro-cyanide of potassium is added. + + +TO REMOVE INK SPOTS. + +First moisten the blots with a strong solution of oxalic acid, then with a +clear saturated aqueous solution of fresh chloride of lime--bleaching +powder. Absorb excess of the liquids from the paper as quickly as possible +with a clean piece of blotting paper. Repeat the treatment if necessary, +and dry thoroughly between blotting pads under pressure. + + +ELECTRO GILDING IN COLORS. + +Electro-gilding in various colors may be readily effected by adding to the +gold bath small quantities of copper or silver solution until the desired +tint is obtained. A little silver solution added to the gilding bath +causes the deposit to assume a pale yellow tint. By increasing the dose of +silver solution a pale greenish tint is obtained. Copper solution added to +the gold bath yields a warm, red gold tint. It is best to use a current of +rather high tension, such as that of the Bunsen battery, for depositing +the alloy of gold and copper. + + +TO REMOVE OIL MARKS FROM PAPER. + +Oil marks on wall paper, where careless persons have rested their heads, +may be removed by making a paste of cold water and pipe clay or fuller's +earth, and laying it on the stains without rubbing it in; leave it on all +night, and in the morning it can be brushed off, and the spot, unless it +be a very old one, will have disappeared. If old, renew the application. + + +TO REMOVE INK STAINS FROM MAHOGANY. + +To remove ink stains from mahogany apply carefully with a feather a +mixture of a teaspoonful of water and a few drops of nitre, and rub +quickly with a damp cloth. + + +SOLID POCKET GLUE. + +Is made from 600 grams of glue and 250 grams of sugar. The glue is at +first completely dissolved by boiling with water; the sugar is then +introduced into the hot solution, and the mixture evaporated until it +becomes solid on cooling. The hard mass dissolves very rapidly in lukewarm +water, and then gives a paste which is especially adapted for paper. + + +TO TEST GLUE. + +An article of glue which will stand damp atmosphere is a desideratum among +mechanics. Few know how to judge of quality except by the price they pay +for it. But price is no criterion; neither is color, upon which so many +depend. Its adhesive and lasting properties depend more upon the material +from which it is made, and the method of securing purity in the raw +material, for if that is inferior and not well cleansed, the product will +have to be unduly charged with alum or some other antiseptic, to make it +keep during the drying process. Weathered glue is that which has +experienced unfavorable weather while drying, at which time it is rather a +delicate substance. To resist damp atmosphere well, it should contain as +little saline matter as possible. When buying the article, venture to +apply your tongue to it, and if it tastes salt or acid, reject it for +anything but the commonest purpose. The same operation will also bring out +any bad smell the glue may have. These are simple and ready tests and are +the ones usually adopted by dealers and large consumers. Another good +test is to soak a weighed portion of dry glue in cold water for +twenty-four hours, then dry again and weigh. The nearer it approaches to +its original weight the better glue it is, thereby showing its degree of +insolubility. + + +BOOK-BINDERS' GLUE. + +To prevent book-binders glue from turning sour, add enough of the raw +salicylic acid in boiling water to keep it soluble. It is also commended +never to keep glue in open pots, but in cylindrical shaped vessels that +admit of tight corking. + + +HOW TO MAKE A CEMENT FOR GLASS THAT WILL RESIST ACIDS. + +To make a cement for glass that will resist acids, the following has been +recommended:--Take 10-1/2 pounds of pulverized stone and glass, and mix +with it 4-3/4 pounds of sulphur. Subject the mixture to such a moderate +degree of heat that the sulphur melts. Stir until the whole becomes +homogeneous, and then run it into molds. When required for use it is to be +heated to 248°, degrees, at which temperature it melts, and may be +employed in the usual manner. This, it is said, resists the action of +acids, never changes in the air, and is not affected in boiling water. At +230° it is said to be as hard as stone. + + +CEMENT FOR LABELS. + +1. Macerate 5 parts of glue in 18 parts of water. Boil and add 9 parts +rock candy and 5 parts gum arabic. 2. Mix dextrine with water and add a +drop or two of glycerine. 3. A mixture of one part of dry chloride of +calcium, or 2 parts of the same salt in the crystallized form, and 36 +parts of gum arabic, dissolved in water to a proper consistency, forms a +mucilage which holds well, does not crack by drying, and yet does not +attract sufficient moisture from the air to become wet in damp weather. 4. +For attaching labels to tin and other bright metallic surfaces, first rub +the surface with a mixture of muriatic acid and alcohol, then apply the +label with a very thin coating of the paste, and it will adhere almost as +well as on glass. 5. To make cement for attaching labels to metals, take +10 parts tragacanth mucilage, 10 parts of honey, and 1 part flour. The +flour appears to hasten the drying, and renders it less susceptible to +damp. + + +A COLORLESS CEMENT FOR JOINING SHEETS OF MICA. + +A colorless cement for joining sheets of mica is prepared as +follows:--Clear gelatine softened by soaking it in a little cold water, +and the excess of water pressed out by gently squeezing it in a cloth. It +is then heated over a water bath until it begins to melt, and just enough +hot proof spirit (not in excess) stirred in to make it fluid. To each pint +of this solution is gradually added, while stirring, one-fourth ounce of +sal-ammoniac and one and one-third ounces of gum mastic, previously +dissolved in four ounces of rectified spirits. It must be warmed to +liquefy it for use, and kept in stoppered bottles when not required. This +cement, when properly prepared, resists cold water. + + +A CEMENT THAT WILL RESIST THE DAMP. + +A cement that will resist the damp, but will not adhere if the surface is +greasy, is made by boiling together 2 parts shellac, 1 part borax, and 16 +parts water. + + +TO MAKE GLUE WATERPROOF. + +The best substance is bichromate of potash. Add about one part of it, +first dissolved in water, to every thirty or forty parts of glue; but you +must keep the mixture in the dark, as light makes it insoluble. When you +have glued your substances together, expose the joint to the light, and +every part of the glue thus exposed will become insoluble, and therefore +waterproof. If the substances glued together are translucent like paper, +all will become waterproof; if opaque like wood, only the exposed edges +will become so, but they also protect the interior--not exposed +parts--against the penetration of moisture. + + +TWO GLUE RECIPES. + +A glue ready for use is made by adding to any quantity of glue, common +whisky, instead of water. Put both together in a bottle, cork it tight and +set it for three or four days, when it will be fit for use without the +application of heat. Glue thus prepared will keep for years, and is at all +times fit for use, except in very cold weather, when it should be set in +warm water before using. To obviate the difficulty of the stopper getting +tight by the glue drying in the mouth of the vessel, use a tin vessel with +the cover fitting tight on the outside to prevent the escape of the spirit +by evaporization. A strong solution of isinglass made in the same manner +is an excellent cement for leather. + +A valuable glue is made by an admixture with common glue of one part of +acid chromate of lime in solution to five parts of gelatine. The glue made +in this manner, after exposure, is insoluble in water, and can be used for +mending glass objects likely to be exposed to hot water. It can also be +made available for waterproofing articles such as sails or awnings, but +for flexible fabrics it is not suitable. A few immersions will be found +sufficient to render the article impervious to wet. It is necessary that +fractured articles should be exposed to the light after being mended, and +then warm water will have no effect on them, the chromate of lime being +better than the more generally used bichromate of potash. + + +POSTAGE STAMP MUCILAGE. + +Postage stamp mucilage can be made by dissolving an ounce of dextrine in +five ounces of hot water, and adding one ounce of acetic acid and one +ounce of alcohol. The dextrine should be dissolved in water in a glue pot, +or some similar vessel, which will prevent burning. The quantities in this +recipe may be varied by taking any required weights in the proportions +mentioned. Dr. Phin says that dextrine mixed with water makes a good label +mucilage if a drop or two of glycerine be added to it. Too much glycerine +will prevent the mucilage drying; with too little it will be likely to +crack. + + +HOW TO KEEP MUCILAGE FRESH. + +To keep mucilage fresh, and prevent the formation of mould, drop into the +bottle a few crystals of thymol, which is a strong and harmless +antiseptic. + + +MUCILAGE IN A SOLID FORM WHICH WILL DISSOLVE IN WATER. + +Mucilage in a convenient solid form, and which will readily dissolve in +water, for fastening paper, prints, etc., may be made as follows:--Boil +one pound of the best white glue, and strain very clear; boil also four +ounces of isinglass, and mix the two together; place them in a water +bath--a glue pot will do--with one-half pound of white sugar, and +evaporate till the liquid is quite thick, when it is to be poured into +molds, dried, and cut into pieces of convenient size. + + +MUCILAGE FOR PASTEBOARD. + +Persons are often at a loss for a very strong mucilage having sufficient +power of tenacity to fasten sheets of pasteboard together. The following +cement is recommended by a scientific authority. It has the additional +advantage of being waterproof. Melt together equal parts of pitch and +gutta-percha. To nine parts of this add three parts of boiled oil, and +one-fifth part of litharge. Continue the heat with stirring until a +thorough union of the ingredients is effected. Apply the mixture hot or +somewhat cooled, and thinned with a small quantity of benzole or +turpentine oil. + + +A PORTABLE INK. + +The aniline colors, which possess great tinctorial powers, can be +conveniently used in the preparation of a portable ink. Saturate white +tissue paper with an aniline violet, or with aniline black, by dipping the +sheets into a saturated alcoholic solution of these colors; then dry and +pack them in suitable parcels, and you will have a portable ink, either +violet or black. + + +INDELIBLE INDIA INK. + +Draughtsmen are aware that lines drawn on paper with good India ink well +prepared cannot be washed out by mere sponging or washing. Now, however, +it is proposed to take advantage of the fact that glue or gelatine, when +mixed with bichromate of potassa, and exposed to the light, becomes +insoluble, and thus renders India ink, which always contains a little +gelatine, indelible. Reisenbichler, the discoverer, calls this kind of ink +"Harttusche," or "hard India ink." It is made by adding to the common +India ink of commerce about one per cent, in a very fine powder, of +bichromate of potash. This must be mixed with the ink in a dry state; +otherwise, it is said, the ink could not be easily ground in water. Those +who cannot provide themselves with ink prepared as above in a cake, can +use a dilute solution of bichromate of potash in rubbing up the ink. It +answers the same purpose, though the ink should be used thick, so that the +yellow salt will not spread. + + +TO MAKE COPYING INKS. + +Dissolve in a pint and a half of writing ink (violet or any other color) +an ounce of lump sugar or sugar candy. A copying ink, so slow drying that +writing in it can be copied by the use of no greater pressure than the +hand can produce when passed over a sheet of paper, may be made by boiling +away nearly half of some ordinary writing fluid and then adding as much +glycerine. + + +A GOOD PASTER. + +Let a little starch lie in vinegar over night. Pour in boiling water, +stirring briskly till it thickens. It will keep better if a few drops of +carbolic acid are added. A very little corrosive sublimate will keep out +insects. A little glue dissolved in the vinegar will make it stronger. It +leaves the pasted scrap-page flexible, adheres firmly, dries quickly, and +does not give a varnishy look to even the thinnest print paper. + + +A PASTE WHICH WILL NOT SPOIL. + +A paste that will not spoil is made by dissolving a piece of alum the size +of a walnut in one pint of water. Add to this two tablespoonfuls flour +made smooth with a little cold water, and a few drops of oil of cloves, +putting the whole to a boil. Put up in a glass canning-jar. + + +ELECTRIC PAPER. + +Electric paper may be made thus:--Tissue paper or filtering paper is +soaked in a mixture consisting of equal quantities of saltpetre and +sulphuric acid. It is afterwards exposed to dry, when a pyroxyline (a +substance resembling gun-cotton) forms. This is in the highest degree +electrical. + + +A SILVER SOLDER. + +To make silver solder melt together 34 parts, by weight, silver coin, and +five parts copper; after cooling a little, drop into the mixture 4 parts +zinc, then heat again. + + +AN ALLOY FOR GLASS OR METAL. + +The following alloy, it is said, will attach itself firmly to glass, +porcelain or metal.--Twenty to thirty parts of finely pulverulent copper, +prepared by precipitation or reduction with the battery, are made into a +paste with oil of vitriol. To this seventy parts of mercury are added, and +well triturated. The acid is then washed out with boiling water and the +compound allowed to cool. In ten or twelve hours it becomes sufficiently +hard to receive a brilliant polish, and to scratch the surface of tin or +gold. When heated it is plastic, but does not contract on cooling. + + +AN IMPROVED PROCESS OF PHOTO-ENGRAVING. + +The metal plate, of copper or zinc, is coated with a very thin layer of +bitumen of Judæa, and when this coat has become perfectly dry, a film of +bichromatized albumen is flowed over the plate. It is next exposed in the +camera, and afterwards washed with water, in order to dissolve all the +albumen which has not been rendered insoluble by the luminous action; it +is then treated with spirit of turpentine, which dissolves all those parts +of the layer of bitumen that have become exposed. The plate can now be +attacked directly by water acidulated with from four to six per cent of +nitric acid. The great advantage of this method consists in the high +sensitiveness of the bichromatized albumen, at the same time preserving +the solid reserve produced by the bitumen of Judæa on a metallic surface. + + +TO MAKE NEW A CORRODED PEN. + +When a pen has become so corroded as to be useless, it can be made good as +new by holding it in the flame of a gas jet for half a minute; then drop +in cold water, take out, wipe clean, and it will be ready for use again. + + +ENAMEL FOR FINE CARDS. + +For the brilliant enamel now often generally applied to fine cards and +other purposes, the following formula is given:--For white and for all +pale and delicate shades, take twenty-four parts, by weight, of paraffine; +add thereto 100 parts of pure kaolin (China clay), very dry and reduced to +a fine powder. Before mixing with the kaolin, the paraffine must be heated +to fusing point. Let the mixture cool, and it will form a homogeneous +mass, which is to be reduced to powder, and worked into paste in a +paint-mill, with warm water. This is the enamel ready for application. It +can be tinted according to fancy. + + +ELECTROTYPING HANDWRITING. + +To produce electrotypes or stereotypes of letters, signatures, ordinary +written matter, drawings or sketches, coat a smooth surface of glass or +metal with a smooth, thin layer of gelatine, and let it dry. Then write or +draw upon it with an ink containing chrome alum, allow it to dry exposed +to light, and immerse the plate in water. Those parts of the surface which +have not been written upon will swell up and form a relief plate, while +those parts which have been written upon with the chrome ink have become +insoluble in water, after exposure to light. The relief may be transferred +to plaster of Paris, and from this may be made a plate in type metal. + + +BLACK PAINT FOR BLACKBOARDS. + +Take shellac varnish, one-half gallon; lampblack, five ounces; powdered +iron ore or emery in fine powder, three ounces. If too thick, thin down +with alcohol. Give the wood three coats of the composition, allowing each +to dry before putting on the next. The first coat may be of shellac and +lampblack alone. + + +TO CLEAN STEEL PENS. + +Potato is used to clean steel pens, and generally act as a pen-wiper. It +removes all ink crust, and gives a peculiarly smooth flow to the ink. Pass +new pens two or three times through a gas flame, and then the ink will +flow freely. + + +STATIONERS' WINDOWS. + +It is important that strangers should get a good impression with a tasty +window, or a polite reception when entering the store. Remember that first +impressions go a great way, and when once formed, good or bad, are very +hard to get rid of. Make it a special point to clean the window once a +week, put in different stock every time, and do not be afraid to display +goods because the dust will spoil them. If the article in question is +delicate and easily ruined, leave it in the window only a few days; +display samples of the latest goods, and, if necessary, buy some article +that is showy, and which you think will attract people, especially for the +window, even though the amount expended is "sunk." It will certainly pay +in the end. If your stock of a certain article or class of goods is large, +devote the whole window to it for a week. + +It is impossible to give rules for the arrangement, which, of course, +depends on the goods to be shown and the taste of the person dressing the +window. Stamped papers and visiting cards can be shown effectively in the +following manner:--Have a number of wooden blocks made the size of a +quarter of a ream of paper and a package of visiting cards; wrap these +neatly with a sample sheet of paper or cards on the outside, tied with +ribbon. Another way to show printed visiting cards is to make a small +pyramid of them by taking three small square boxes of different sizes, +which, when placed one on top of the other, will form a small pyramid. +Cover these entirely with samples of visiting cards, and place in the +center of the window. + + +PHOTO-LITHOGRAPHIC TRANSFER PAPER. + +Photo-lithographic transfer paper and ink are prepared in the following +manner:--The paper is treated with a solution of a hundred parts of +gelatine and one part of chrome alum in 2,400 parts of water. After +drying, it is treated with the white of egg. It is made sensitive with a +bath consisting of one part of chrome alum, 14 parts of water and 4 parts +of alcohol. The latter ingredient prevents the white of egg from +dissolving. On the dark places the white of egg, together with the ink +with which the exposed paper has been coated, separates in water. The +transfer ink consists of 20 parts of printing ink, 50 parts of wax, 40 +parts of tallow, 35 parts of colophony, 210 parts of oil of turpentine, 30 +parts of Berlin blue. It is found that a varnish formed of Canadian +balsam, dissolved in turpentine, supplies a most valuable means of making +paper transparent. The mode by which this is most satisfactorily +accomplished is by applying a thin coating of this varnish to the paper, +so as to permeate it thoroughly, after which it is to be coated on both +sides with a much thicker mixture. The paper is kept warm by performing +the operation before a hot fire, and a third and even a fourth coating may +be applied until the texture of the paper is seen to merge into +homogeneous translucency. Paper prepared according to this process is +said to come nearer than any other to the highest standard of perfection +in transparent paper. Care must be used in making, as the materials are +highly inflammable. + + +DIFFERENT KINDS OF ENGRAVING. + +"Line" engraving is of the highest order. All engravings are done in +"line"--simply straight lines. Next comes "line" and "stiple." "Stiple" +means dots--small dots like this:--....--.... These small dots are used to +lighten up the high parts of the face or drapery. It is very hard to +engrave a face in lines, simply, and only master engravers have ever +undertaken it. The masters understand and practice both in "line" and +"stiple." Claude Mellan engraved, in 1700, a full head of Christ, with one +unbroken line. This line commenced at the apex of the nose, and wound out +and out like a watch spring. Mezzotint engravings are produced thus:--The +steel or copper is made rough like fine sand paper. To produce soft +effects, this rough surface is scraped off. If you want a high place or +"high light" in your engraving, scrape the surface smooth, then the ink +will not touch it. If you want faint color, scrape off a little. Such +engravings look like lithographs. Etching is adapted to homely and +familiar-sketches. Etching is done thus:--The copper or steel plate is +heated and covered with black varnish. The engraver scratches off this +varnish with sharp needles, working on the surface as he would on paper +with a pencil. Nitric acid is then passed over the plate, and it eats away +at the steel and copper wherever the needle has scraped off the varnish. +When the varnish is removed with spirits of turpentine, the engraving is +seen in sunken lines on the plate. + + +HOW TO PRESERVE PENCIL SKETCHES. + +The pencil drawings of mechanical draughtsmen and engineers may be +rendered ineffaceable by the following process:--Slightly warm a sheet of +ordinary drawing paper, then place it carefully on the surface of a +solution of white resin in alcohol, leaving it there long enough to become +thoroughly moistened. Afterward dry it in a current of warm air. Paper +prepared in this way has a very smooth surface. In order to fix the +drawing, the paper is to be warmed for a few moments. This process may +prove useful for the preservation of plans or designs when the want of +time or any other cause will not allow the draughtsman reproducing them in +ink. A simpler method than the above, however, is to brush over the back +of the paper containing the charcoal or pencil sketch with a weak solution +of white shellac in alcohol. + + +CARE OF WOOD TYPE. + +Wood type should always be kept in a cool and dry place--not, as is often +the case, a few feet from a large stove, or directly over the lye and wash +tub. The drawer or shelves--drawers or cases are preferable to +shelves--where they are kept, should not, as very often happens, be made +of unseasoned wood, for this reason: type wood is usually perfectly +seasoned, and when allowed to remain for any length of time on a damp +surface, the moisture is absorbed, the bottom expands, and a warped type, +ready to be broken at the first impression, is the result. + +Wood type should only be washed with oil. A moistened cloth is sufficient, +is more economical, and is certainly much cleaner than using their weight +in oil. All wood type have a smooth and polished face, and if properly +cleaned when put away will last for years. In fact, proper use only +improves the working qualities. Wood type forms should not be left +standing near hot stoves, or left locked up over night on a damp press or +stone to warp, swell, and perhaps ruin a costly chase. + + +COPPER-PLATING ON ZINC. + +Take an organic salt of copper--for instance, a tartrate. Dissolve 126 +grammes sulphate of copper (blue vitriol) in two litres of water; also +227 grammes tartrate of potash and 286 grammes crystallized carbonate of +soda in 2 litres of water. On mixing the two solutions, a light +bluish-green precipitate of tartrate of copper is formed. It is thrown on +a linen filter and afterwards dissolved in half a litre of caustic soda +solution of 16° B. when it is ready for use. + +The coating obtained from this solution is very pliable, smooth and +coherent, with a fine surface; acquires any desired thickness if left long +enough in the bath. + +Other metals can also be employed for plating, in the form of tartrates. +Instead of tartrates, phosphates, oxalates, citrates, acetates and borates +of metals can be used; so that it seems possible to entirely dispense with +the use of cyanide baths. + + +TO TRANSFER ENGRAVINGS TO MOTHER-OF-PEARL. + +To transfer engravings to mother-of-pearl, coat the shell with thin white +copal varnish. As soon as the varnish becomes sticky, place the engraving +face down on it, and press it well into the varnish. After the varnish +becomes thoroughly dry, moisten the back of the engraving and remove the +paper very carefully by rubbing. When the paper is all removed and the +surface becomes dry, varnish lightly with copal. + + +METAL FOR STEREOTYPING. + +For every six pounds of lead add one pound of antimony. The antimony +should be broken into very small pieces, and thrown on the top of the lead +when it is at red heat. It is a white metal, and so brittle that it may be +reduced to powder; it melts when heated to redness; at a higher heat it +evaporates. + +The cheapest and most simple mode of making a stereotype metal is to melt +old type, and to every fourteen pounds add about six pounds of grocer's +tea-chest lead. To prevent any smoke arising from the melting of tea-chest +lead it is necessary to melt it over an ordinary fire-place, for the +purpose of cleansing it, which can be done by throwing in a small piece of +tallow about the size of a nut, and stir it briskly with the ladle, when +the impurities will rise to the surface, and can be skimmed off. + +In the mixing of lead and type-metal see that there are no pieces of zinc +among it, the least portion of which will spoil the whole of the other +metal that is mixed with it. Zinc is of a bluish white color; its hue is +intermediate between that of lead and tin. It takes about eighty degrees +more heat than lead to bring it into fusion; therefore, should any metal +float on the top of the lead, do not try to mix it, but immediately take +it off with the ladle. + + +HOW TO FIX PENCIL MARKS SO THEY WILL NOT RUB. + +To fix pencil marks so they will not rub, take well skimmed milk and +dilute with an equal bulk of water. Wash the pencil marks (whether writing +or drawing) with this liquid, using a soft camel-hair brush, and avoid all +rubbing. Place upon a flat board to dry. + + +HOW TO OBTAIN A BRIGHT AND LASTING RED EDGE. + +A bright and lasting red edge may be obtained by the following +process:--Take the best vermillion and add a pinch of carmine; mix this +with glaire, slightly diluted. Take the book and bend over the edge so as +to allow the color to slightly permeate it; then apply the color with a +bit of fine Turkey sponge, bend over the edge in the opposite direction, +and color again. When the three edges have been done in this manner, allow +them to dry. Next screw the book tightly up in the cutting press, and +after wiping the edge with a waxed rag, burnish well with a flat agate +burnisher. + + +TO RESTORE THE LUSTRE OF MOROCCO LEATHER. + +The lustre of morocco leather is restored by varnishing with white of +egg. + + +TO RESTORE THE ORIGINAL WHITENESS OF COPPER-PLATE, WOOD ENGRAVING, ETC. + +The following process will restore the original whiteness of copper-plate, +wood-engraving or printed matter:--Place a piece of phosphorus in a large +glass vessel; pour in water of 30° centigrade (that is 86° Fahrenheit) +temperature until the phosphorus is half covered. Cork up, but not +tightly, the glass vessel, and lay it in a moderately warm place for +fourteen hours. Damp the paper that is to be bleached, with distilled +water; fasten it to a piece of platinum wire and hang it up inside the +glass vessel. The faded paper after a short time will regain its original +white color. It should then be taken out and washed in water; next drawn +through a weak solution of soda, and finally dipped in pure water and laid +on a glass table, and thus made dry and smooth. + + +FOR ELECTROTYPING ON CHINA. + +For electrotyping on China and similar non-conducting materials:--Sulphur +is dissolved in oil of spike lavender to a syrupy consistence; then +chloride of gold or chloride of platinum is dissolved in ether, and the +two solutions mixed under a gentle heat. The compound is next evaporated +until the thickness of ordinary paint, in which condition it is applied +with a brush to such portions of the china, glass or other fabric as it +is desired to cover, according to the design or pattern, with the +electrometallic deposit. The objects are baked in the usual way before +they are immersed in the bath. + + +PAINTING ON EBONIZED WOOD. + +The great difficulty to be overcome in painting on ebonized wood, is the +non-absorbent character of the surface, which will not allow the paint to +sink in. Washing the panel over with onion juice enables the paint to +adhere more easily. The paint, whether oil or water color, must be laid on +thickly. In order that the painting, whether of flowers or figures, shall +prove a decoration, the black space between the painted figures must be +graceful in shape. Water color paintings on such panels require to be +varnished. Oil color does not need the varnish. + + +HOW GILDING IS DONE. + +Letters written on vellum or paper are gilded in three ways. In the first +a little size is mixed with the ink, and the letters are written as usual; +when they are dry a slight degree of stickiness is produced by breathing +on them, upon which the gold leaf is immediately applied, and by a little +pressure may be made to adhere with sufficient firmness. In the second +method some white lead or chalk is ground up with strong size, and the +letters are made with this by means of a brush; when the mixture is almost +dry, the gold leaf may be laid on and afterward burnished. The best method +is to mix up some gold powder with size, and make the letters of this by +means of a brush. + +The edges of the leaves of books are gilded while in the binders' press, +by first applying a composition formed of four parts of Armenian bole and +one of sugar candy, ground together to a proper consistence; it is laid on +by a brush with white of egg; this coating, when nearly dry, is smoothed +by the burnisher; it is then slightly moistened with clear water, the gold +leaf applied, and afterwards burnished. + +In order to impress the gilt figures on the leather covers of books, the +leather is first dusted over with very fine powdered resin or mastic; then +the iron tool by which the figure is made is moderately heated and pressed +down upon a piece of leaf gold which slightly adheres to it, being then +immediately applied to the surface of the leather with a certain force; +the tool at the same time makes an impression, and melts the mastic which +lies between the heated iron and the leather; in consequence of this, the +gold with which the face of the tool is covered is made to adhere to the +leather, so that on removing the tool a gilded impression of it remains +behind. + + +PRINCIPAL COLORS OF GOLD FOR GRINDING. + +The principal colors of gold for grinding are red, green, yellow. These +should be kept in different amalgams. The part which is to remain of the +first color is to be stopped off with a composition of chalk and glue; the +variety required is produced by gilding the unstopped parts with the +proper amalgam, according to the usual mode of gilding. Sometimes the +amalgam is applied to the surface to be gilt, without any quicking, by +spreading it with aquafortis; but this depends on the same principle as a +previous quicking. + + +WRITING ON METALS. + +To write on metals, take half a pound of nitric acid and one ounce +muriatic acid. Mix and shake well together, and then it is ready for use. +Cover the plate you wish to mark with melted beeswax; when cold, write +your inscription plainly in the wax clear to the metal with a sharp +instrument. Then apply the mixed acids with a feather, carefully filling +each letter. Let it remain from one to ten hours, according to the +appearance desired, throw on water, which stops the process, and remove +the wax. + + +HOW TO TRANSFER A PHOTOGRAPHIC PRINT TO GLASS. + +To transfer a photographic print to glass for painting or for other +purposes, separate the paper print from the background by steaming it; dry +thoroughly, and having given the warmed glass an even coating of clean +balsam or negative varnish, place the face of the print on the surface +thus prepared, smooth it out and let it stand in a cool place until the +varnish has hardened. Then apply water, and with a soft piece of +gum-rubber rub off the paper so as to leave the photographic image on the +varnished glass. + + +STEREOTYPING WOODCUTS. + +In stereotyping woodcuts, care should be taken that they are thoroughly +dry before being sent to the foundry, as the intense heat to which they +are subjected frequently causes them to warp and split, especially if +pierced. + + +TO GILD WITH GOLD LEAF. + +Bookbinders use gold leaf in two ways--to gild on the edge, and to place +gold letters on the binding. To gild on the edge, the edge is smoothly +cut, put in a strong press, scraped so as to make it solid, and the +well-beaten white of an egg, or albumen, put on thinly; the gold leaf is +then put on before the albumen is dry; it is pressed down with cotton, +and when dry polished with an agate polisher. To put on the lettering, the +place where the letters are to appear is coated with albumen, and after it +is dry, the type to be used is heated to about the boiling point of water, +the gold leaf is put on, either on the book or on the type, and then +placed on the spot where the lettering is desired, when the gold leaf will +adhere by the heat of the type, while the excess of gold leaf loosely +around is rubbed off with a tuft of cotton. + + +GILDING ON WOOD. + +To gild in oil, the wood, after being properly smoothed, is covered with a +coat of gold size, made of drying linseed oil mixed with yellow ochre. +When this has become so dry as to adhere to the fingers without soiling +them, the gold leaf is laid on with great care and dexterity, and pressed +down with cotton wool. Places that have been missed are covered with small +pieces of gold leaf, and when the whole is dry the ragged bits are rubbed +off with cotton. This is by far the easiest mode of gilding. Any other +metallic leaves may be applied in a similar manner. Pale leaf gold has a +greenish-yellow color, and is an alloy of gold with silver. Dutch gold +leaf is only copper colored with the fumes of zinc. Being much cheaper +than gold leaf, it is very useful when large quantities of gilding are +required in places where it can be defended from the weather, as it +changes color if exposed to moisture; and it should be covered with +varnish. Silver leaf is prepared like gold leaf, but when applied should +be kept well covered with varnish, as otherwise it will tarnish. A +transparent yellow varnish will give it the appearance of gold. + + +GILDING IN OIL. + +In order to make good work in oil gilding there are several indispensable +conditions which must be observed. First, a smooth ground. Second, gold +size free from grit or skins. Third, in putting oil gold size on the work +it must be dross black, ground in turpentine, and mixed with boiled +linseed oil and a small piece of dryers; well sand-paper again, when this +coat is dry. And now for the finishing coat of color, which should be +flat, _i. e._, mixed with turpentine and a few drops of japanner's +gold-size, but no oil. The dross black should be first ground in +turpentine and the gold-size added after. When this has dried, varnish +with hard drying oak varnish, leave for a day or two, and then rub down +with pumice-stone powder, sifted through muslin; use a piece of cloth or +felt wrapped on a small block of wood, and first wet the surface to be +rubbed with water; dry with a wash-leather, and re-varnish. The ornaments +are usually done with stencil patterns, and the lines are done with +straight edges and lining fitches. Stencil patterns can be cut out of card +paper. Before using, give a coat or two of patent knotting. For gilding +panels, give a coat of buff first, then a coat of gold-size, in oil. When +this has dried just sticky, press the gold leaf upon it with a ball of +wadding, and leave for five or six hours, then rub over with a piece of +soft wadding, and wash well with a sponge and cold water. The gold will +not need any preparation before painting on, but if varnished afterward +use pale varnish. Screens should be painted in colors to match the rooms +they are intended to be used in. Birds, flowers and animals are the +subjects generally introduced for this purpose. Birds should be painted +toward the top of the screen, animals, flowers, etc., in the centre or at +the bottom. + + +GLOSS PRINTING. + +Gloss printing is done in two ways; one by using the gloss inks specially +prepared for the purpose, the other by printing the gloss preparation on +over the finished job, or over that portion of it required to be glossed. +To the inexperienced this is a difficult operation, attended by many +failures. It is accomplished as follows:--Prepare a tint block the exact +size and shape to cover the printing to be glossed. The block should be of +boxwood or hard metal--soft metal will not do. Fix it on the press and +make it ready as for ordinary work, with a good, even impression. Wash up +the ink table, the rollers and the block itself thoroughly, removing the +least trace of ink. Replace the rollers and distributors. Now, with a +clean palette knife put a little of the gloss preparation on the ink +cylinder or table, let it distribute for about a minute, and then pull an +impression; if it comes up perfectly clean, the work may proceed, but if +there are any signs of dirt, it is best to wash up again at once. While +working the gloss, keep the machine in motion, and should the gloss become +too sticky (which it is apt to do) sprinkle a very little turpentine on +the rollers. It is best to have a separate hand to put on the gloss, so as +not to delay the feeder, and the sheets should be taken away at once and +laid out singly to dry. The two most important points are to have the +machine clean and keep it in motion. After printing, wash up the gloss +quickly with benzine. + + +TO BLEACH SHEEPSKIN PARCHMENT WHITE. + +To bleach sheepskin parchment white, expose the pieces to strong sunlight +under glass, in a moist atmosphere. + + +COLORS FOR PRINTING. + +For a black color for printing, 25 parts paraffine oil and 45 parts resin +are mixed, either by melting at 80°C., or by mechanical means at the +ordinary temperature. To this mass 15 parts of black are added. For +printing machines, the mixture is composed of 40 parts of resin only, +instead of 45. Resin can, in some cases, be replaced by dammar. Other +colors are mixed by substituting the equivalent of the color to the black. +When cheapness has to be considered, paraffine oil can be substituted by +resinous oil, and resin by Burgundy resin, etc. + + +HOW TO DYE PARCHMENT BLUE OR RED. + +Parchment can be dyed green, blue or red. To dye it blue, use the +following process:--Dissolve verdigris in vinegar; heat the solution, and +apply it by means of a brush on the parchment, till it takes a nice green +color. The blue color is then obtained by applying on the parchment thus +prepared a solution of carbonate of potash. Use two ounces for one gallon +of water. Another method is to cover it by means of a brush with +aquafortis, in which copper dust has been dissolved. The potash solution +is then applied as before, till the required shade is obtained. Another +method is by using the following solution:--Indigo, 5 ozs.; white wood, +10 ozs.; alum, 1 oz.; water, 50 ozs. Red:--The parchment is dyed red by +applying with a brush a cold logwood solution, and then using a 3 per cent +potash solution. + + +TO MAKE PAPER FIRE AND WATER-PROOF. + +To make paper fire and water-proof, mix two-thirds ordinary paper-pulp +with one-third asbestos. Steep in a solution of common salt and alum, and +after being made into paper coat with an alcoholic solution of shellac. By +plunging a sheet of paper into an ammoniacal solution of copper for an +instant, then passing it between the cylinders and drying it, it is +rendered entirely impermeable to water, and may even be boiled without +disintegrating. Two, three, or any number of sheets rolled together become +permanently adherent, and form a material having the strength of wood. By +the interposition of cloth or any kind of fiber between the layers, the +strength is greatly increased. + + +A NEW BLOTTING PAPER. + +A blotting paper that will not only dry the blot, but bleach the remainder +of it can be made by passing ordinary blotting paper or card through a +concentrated solution of oxalic acid. Care must be taken that no crystals +appear, which would injure the porosity of the paper. + + +IMPERMEABLE PAPER. + +To make impermeable paper, prepare the two following baths: (1) alum, 25 +ozs.; white soap, 12-1/2 ozs.; water, 100 ozs. (2) gum arabic, 6 ozs.; +Colle de Flandre, 18 ozs.; water, 100 ozs. Place the sheet of paper in the +first bath to be well impregnated. In this bath the paper is left only for +a short time. It is then dried and dipped in the second bath, the same +precautions being used as for the first bath. When dry, the paper is +hot-pressed in order to render it uniform. + + +TO MOUNT CHROMOS FOR FRAMING. + +To mount chromos for framing, first soak for fifteen minutes in a shallow +dish, or lay between two newspapers that have been thoroughly saturated +with water; then paste to the panel of the wood or canvas which has been +prepared to receive them. Care must be taken that there are no lumps in +the paste. + + +A VARNISH FOR MAKING PAPER TRANSPARENT. + +A varnish formed of Canada balsam, dissolved in turpentine, supplies a +most valuable means of making paper transparent. The mode by which this is +most satisfactorily accomplished is by applying a pretty thin coating of +this varnish to the paper, so as to permeate it thoroughly, after which it +is to be coated on both sides with a much thicker sample. The paper is +kept warm by performing the operation before a hot fire, and a third, or +even a fourth, coating may be applied, until the texture of the paper is +seen to merge into a homogeneous translucency. Paper prepared according to +this process is said to come nearer than any other to the highest standard +of perfection in transparent paper. Care must be used in making, as the +materials are highly inflammable. + + +CARBON PAPER. + +To make carbon paper:--Take of clear lard, five oz.; beeswax, one oz.; +Canada balsam, one-tenth oz.; lampblack, q. s. Melt by aid of heat, and +mix. Apply with a flannel dauber, removing as much as possible with clean +woolen rags. + + +LUMINOUS PAPER. + +To make paper which shall be luminous in the dark, it is sufficient to +mingle with the pulp the following ingredients in their +proportions:--Water, ten parts; pulp, forty parts; phosphorescent powder, +ten parts; gelatine, one part; bichromate of potash, one part. The paper +will also be waterproof. + + +SIZES AND WEIGHTS OF DRAWING PAPERS. + +The following are the sizes and weights of drawing papers: + + Inches. Lbs. + + Emperor, 72 × 48 620 + Antiquarian, 53 × 31 250 + Double Elephant, 40 × 26-3/4 136 + Atlas, 34 × 26 98 + Columbier, 34-1/2 × 23-1/2 102 + Imperial, 30 × 22 72 + Elephant, 28 × 23 72 + Super Royal, 27 × 19 54 + Royal, 24 × 19 44 + Medium, 22 × 17-1/2 34 + Demy, 20 × 15-1/2 25 + Large Post, 20-3/4 × 16-3/4 23 + Post, 19 × 15-1/4 20 + Foolscap, 17 × 13-1/2 15 + Pott, 15 × 12-1/2 10 + Copy, 20 × 16 20 + + +TO MAKE BRONZED PAPER. + +Dissolve gum lac in four parts by volume of pure alcohol, and then add +bronze or other metal powder in the proportion of one part to every three +of the solution. A smooth paper must be chosen, and the mixture applied +with a fine brush. The coating is not dull, and may be highly burnished. + +Another process consists in first applying a coat of copal or other +varnish, and when this has become of a tacky dryness, dusting bronze +powder over it. After remaining a few hours, this bronzed surface should +be burnished with an agate or steel burnisher. + + +TO MAKE DRAWING-PAPER TRANSPARENT. + +Drawing paper of any thickness may be made perfectly transparent by +damping it with benzine. India ink and water colors can be used on this +paper. The paper resumes its opacity as the benzine evaporates, so that +any place that has not been duly traced requires to be redamped with the +benzine for that purpose. A sponge should be used for the application. + + +TO MAKE PAPER WATER-PROOF. + +The following is a recipe for making paper water-proof:--Add a little +acetic acid to a weak solution of carpenters' glue. Dissolve also a small +quantity of bichromate of potash in distilled water, and mix both +solutions together. The sheets of paper are drawn separately through the +solution, and hung up to dry. + + +HOW TO SIZE POOR DRAWING PAPER. + +To size poor drawing paper, take one oz. of white glue, one oz. of white +soap, and one-half oz. of alum. Soak the glue and soap in water until they +appear like jelly, then simmer in one quart of water until the whole is +melted. Add the alum, simmer again and filter. To be applied hot. + + +TO PREVENT ALTERATIONS IN WRITING. + +The following process of preparing paper will prevent alterations in +writing:--Add to the sizing 5 per cent of cyanide of potassium and +sulphide of antimony, and run the sized paper through a thin solution of +sulphate of manganese or copper. Any writing on this paper with ink made +from nutgalls and sulphate of iron, can neither be removed with acids nor +erased mechanically. Any acid will change immediately the writing from +black to blue or red. Any alkali will change the paper to brown. Any +erasure will remove the layer of color, and the white ground of the paper +will be exposed, since the color of the paper is only fixed to the outside +of the paper without penetrating it. + + +TO PREVENT GUMMED PAPER FROM COCKLING. + +It is well known that paper, when gummed, often cockles. To remedy this a +little glycerine or sugar should be added to the gum. + + +COPYING DRAWING IN COLOR. + +The paper on which the copy is to appear is first dipped in a bath +consisting of thirty parts of white soap, thirty parts of alum, forty +parts of English glue, ten parts of albumen, two parts of glacial acetic +acid, ten parts of alcohol of 60°, and 500 parts of water. It is +afterwards put into a second bath, which contains fifty parts of burnt +umber ground in alcohol, twenty parts of lampblack, ten parts of English +glue, and ten parts of bichromate of potash in 500 parts of water. They +are now sensitive to light, and must, therefore, be preserved in the dark. +In preparing paper to make the positive print, another bath is made just +like the first one, except that lampblack is substituted for the burnt +umber. To obtain colored positives the black is replaced by some red, +blue, or other pigment. + +In making the copy, the drawing to be copied is put in a photographic +printing frame, and the negative paper laid on it, and then exposed in the +usual manner. In clear weather an illumination of two minutes will +suffice. After the exposure the negative is put in water to develop it, +and the drawing will appear in white on a dark ground; in other words, it +is a negative or reversed picture. The paper is then dried and a positive +made from it by placing it on the glass of a printing frame, and laying +the positive paper upon it, and exposing as before. After placing the +frame in the sun for two minutes, the positive is taken out and put in +water. The black dissolves off without the necessity of moving back and +forth. + + +WASHING FORMS. + +Forms sent down to machine ought not to be wet too much with lye or with +water, otherwise it becomes necessary to dry them before working, which +takes time and often much trouble. The wet works up little by little to +the face of the letter, and then the form becomes unworkable. It has often +to be taken off the coffin, the feet of the types have to be thoroughly +dried, then some sheets of unsized paper have to be placed under the form; +it has also to be unlocked, shaken, locked up again, the sheets removed +with the moisture they have imbibed, and then it is to be hoped the form +will be workable. If not there is nothing to be done but to lift it and +dry it by heat. + +Lye is generally used for washing forms which do not contain wood blocks; +turpentine where wood-cuts or wood-letters are to be found in them. The +bristles of the lye-brush should be longer than those of the +turpentine-brush, and, in order to preserve it, each brush should be +properly washed with water after using, and shaken and stood up to dry. If +this is not done the brush will last but a short time. + +There is no good in taking up with the brush a large quantity of lye or +turps, and to shed it at once. Yet this is too commonly done, regardless +of waste. In order to wash a form well the brush should be passed lightly +over all the pages, in order to wet them uniformly. Then they should be +rubbed round and round, and finally lengthwise and crosswise. Leaning on +the brush not only wears away the bristles, but sometimes injures the face +of the type, too. It is a bad practice. + +After washing, before printing, a sponge with pure water should be passed +lightly over the form, and then the form should be dried with a cloth. +Care should be taken not to use a woolen cloth, which is liable to leave +little pieces on the face of the types, and to see that there are no hard +substances in it. After printing it is always best to wash with +turpentine. Lye induces oxidation of the types, while turps leave an oily +film on them, which preserves them from the action of the atmosphere. + + +HOW TO PREVENT OFF-SETTING. + +A practical pressman says that a sheet of paper wet with glycerine and +used as a tympan-sheet will prevent off-setting. This will be found better +than using oiled sheets. + + +PRINTING ENVELOPES. + +To prevent the lumpy particles of mucilage on gummed envelopes from +"battering" the type, use a heavy piece of blotting paper as a tympan, and +when beaten down, touch the injured part with a drop of water, which will +bring up the impression again. + + +TO PREVENT SET-OFF ON WRITING PAPERS PRINTED ON ONE SIDE. + +To prevent set-off on writing papers printed on one side, do not lay the +sheets straight as they leave the press or machine; this will enable the +air to get between them, and wonderfully expedite the drying of the ink. +Do not allow the heap to become too heavy. + + +A QUICK DRYER. + +A quick dryer:--Japanese gold size, 2 parts; copal varnish, 1 part; elber +powder (radix carlinæ, carline thistle), 2 parts. Incorporate well +together with a small spatula, and use in quantities to suit the +consistency of the ink employed and the rapidity with which it is desired +to dry. The usual proportion is a small teaspoonful of the dryer to about +one ounce of average good ink. + + +TO PREVENT WARPING IN BLOCKS AND WOOD. + +To prevent warping in blocks and wood-letter used in large bills, a French +printer advises that they should be placed in a zinc basin, provided with +an air-tight lid; they should then be thoroughly saturated with paraffine +oil, and left thus for about four days, when they should be wiped with a +clean dry rag. Prepared in this way when new, wood-letter resists the +effects of lye, petroleum, turpentine, and atmospheric changes. + + +HOW TO KEEP ROLLERS WHEN OUT OF USE. + +It is a good plan, when rollers are to be kept out of use for any +particular time, to put them away with the ink on them. It protects their +surface from the hardening effects of the atmosphere, and causes them to +retain those properties which give them the much desired "tackiness." But +about half an hour before using them, remove the ink and see that they are +really in condition again. + + +PRESERVATIVE OF ROLLERS WHEN NOT IN USE. + +The following preservative of rollers when not in use is often +applied:--Corrosive sublimate, 1 drachm; fine table salt, 2 ozs.; put +together in 1/2 gallon of soft water. It is allowed to stand 24 hours, and +is to be well shaken before using. Sponge the rollers with the mixture +after washing. + + +OILS FOR LUBRICATING ROLLER MOLDS. + +Sperm and lard oils are the best for lubricating roller molds. If they are +properly used, no trouble will be experienced in drawing the rollers. + + +CARE OF ROLLERS IN THE SUMMER TIME. + +In hot, sultry weather rollers will not need sponging, as some of the +materials used in their manufacture, having an affinity for moisture, will +absorb enough humidity from the atmosphere to keep the surface soft. +Indeed, too much moisture is absorbed in close and sultry weather. Cover +the rollers while not in use with tallow (in damp weather); this will +prevent the absorbtion of moisture and keep the roller dry. When starting +up put a little tallow on the distributor. This will prevent the rollers +from sticking, and keep them cool. + +The safest thing for the pressman is to have on hand, as a reserve, a set +of old, hard rollers. + +Remember, it is not dry, hot weather that causes trouble so much as it is +hot moist weather. When the weather is dry, soft rollers can be used, but +when dampness comes on, take out the soft and put in the old hard rollers +that have become rejuvenated by the absorption of moisture. + + +TO KEEP GREEN MOULD FROM ROLLERS. + +Nothing destroys the surface of a roller so much as green mould. It takes +all the life out of them. Green mould results from a damp place and a +careless pressman, and is always a disgrace to all concerned. + + +TREATMENT OF OLD ROLLERS. + +When rollers have been lying for weeks with a coating of ink dried on to +the surface--a circumstance that often occurs, more especially when +colored inks have been used--get an ordinary red paving brick (an old one +with the edges worn away will be the best), place the roller on a board, +then dip the brick in a trough of cold water, and work it gently to and +fro on the surface from end to end, taking care to apply plenty of water, +dipping the brick in repeatedly; and in a short time the ink will +disappear. Nor is this all; for if a little care and patience is +exercised, it will put a new face to the roller, making it almost equal to +new; the coating of ink having, by keeping the air from the surface, +tended to preserve the roller from perishing. Sponge off clean. + + +A RECIPE FOR PRINTERS' ROLLERS. + +Best white glue, one pound; concentrated glycerine, one pound. Soak the +glue over night in just enough cold soft water to cover it. Put the +softened glue in a fine cloth bag, gently press out excess of water, and +melt the glue by heating it over a salt water bath. Then gradually stir in +the glycerine and continue the heating, with occasional stirring, for +several hours, or until as much of the water is expelled as possible. +Cast in oiled brass molds, and give the composition plenty of time to cool +and harden properly before removing from the mold and inking. See that the +ink is well spread before bringing the roller in contact with type. + + +TEMPERATURE OF THE PRESS ROOM. + +The temperature of the press or machine room ought to be as near as +possible the same as that at which the ink is manufactured--_viz._, 16° of +Reamur (68° Fahrenheit). If the temperature of the room, and consequently, +of the iron receptacles the ink is kept in, be considerably less, the +varnish of the ink will stiffen, the paper will adhere to the type and +peel off, or, if this does not occur, there will at least be too little +varnish in the ink remaining on the type, and too much carbon, which, of +course, will not sufficiently adhere to the paper, and may be wiped off +even when the paint is perfectly dry. But if the temperature of the +work-room be too high, the varnish becomes too thin, the ink loses its +power of covering well all parts of the types, which then look as if they +had been printed with lamp-oil. Colors of different hues require generally +a somewhat higher temperature than black, say 70° to 75° Fahrenheit, but +any printer who wants to see a clear and sharp impression of his types on +the paper should not neglect to look sometimes to the thermometer, too low +or too high a temperature being much oftener the cause of unsatisfactory +printing than the ink we use. + + +WHEN TO WASH ROLLERS. + +The press or machine man must be guided by the condition of the face of +the roller, and the eyes and fingers will be the best guides. Where +machine rollers are required for a weekly newspaper, they should be washed +ready for the first set of forms, and when the number is long, a second +set should be got ready and inked to work the second side, as the paper +throws off a quantity of cotton waste, and powder, and neutralizes the +tack so necessary to the face of a good roller and a clear impression. +Should a roller require cleaning for a hurried work, the old ink may be +removed with turpentine, but must be done quickly, and immediately +distributed on the ink table, or the face will harden. + + +IMPROVED DRYER FOR PRINTING INK. + +A small quantity of perfectly dry acetate of lead or borate of manganese +in impalpable powder will hasten the drying of the ink. It is essential +that it be thoroughly incorporated with the ink by trituration in a +mortar. + + +HOW TO BEND A RULE. + +To bend a rule, get it thoroughly hot and let it cool slowly; this will +take the spring out, and it will stay in the shape it is bent to. + + +TO CLEAN GILT FRAMES. + +Use a soft sponge moderately moistened with spirits of wine; allow to dry +by evaporation. Do not use a cloth, and avoid friction. Another way is to +use a very soft shaving brush, and to gently rub backward and forward a +lather of curd soap. Rinse with water at about blood heat. This applied +morning after morning to old and dirt-covered oil paintings will greatly +restore them. In adopting this plan with regard to gilt frames around +water colors or prints, be sure that not enough moisture is used to run +off the frame, or the paper will be stained. The cleaning applies to gold +frames only. Dutch metal will bear no cleaning, but a new material, not +absolutely gold, but very like it, will stand any amount of soap and +water. + + +CLEANING NEW MACHINERY. + +As presses and machinery have their bright work covered with a compound to +keep it from rusting while shipping, parties who receive the machinery +will find benzine or kerosene oil the best articles to clean off the +compound with. + + +TO MAKE INVISIBLE WRITING. + +To make secret or invisible writing, procure some very thin starch, with +which write with a quill pen (which should be a soft one) anything that +fancy may dictate. Suffer it to dry perfectly; examine the paper upon +which you have written, and not one letter can be distinguished by the +naked eye. Procure a little iodine, which is an elementary body, dissolve +it in water, and with a camel's hair pencil, a quill, or any other +convenient article, dipped in the solution, slightly rub the paper on the +side which has been written upon; the writing will instantly appear as +distinctly visible as if written with the finest ink ever invented. + + +RED PRINTING INK. + +Red printing ink may be made in this way:--Boil linseed oil until smoke is +given off. Set the oil then on fire, and allow it to burn until it can be +drawn out into strings half an inch long. Add one pound of resin for each +quart of oil, and one-half pound of dry, brown soap cut into slices. The +soap must be put in cautiously, as the water in the soap causes a violent +commotion. Lastly, the oil is ground with a sufficient pigment on a stone +by means of a muller. Vermilion, red lead, carmine, Indian red, Venetian +red, and the lakes are all suitable for printing inks. + + +TO PREVENT ELECTROTYPE BLOCKS FROM WARPING. + +To prevent electrotype blocks from warping, shrinking or swelling, place +them in a shallow pan or dish, cover with kerosene oil and let them soak +as long as possible, say three or four days. Then wipe dry and place in +the form. After the first two or three washings they may swell a little; +if so, have them carefully dressed down, and after that you will have +little or no trouble with them, and can leave them in the form just as you +would were they solid. + + +BLACK PRINTING INK. + +To make a good, permanent black printing ink, take + + Balsam copaiva 9 oz. + Best lampblack 3 oz. + Prussian blue 1-1/2 oz. + Indian red 0-3/4 oz. + Turpentine soap, dried 3 oz. + +Grind on a stone until extreme fineness has been obtained. This ink will +work clear and sharp, and can easily be removed from the type. + + +SEALING WAX. + +Following are formulas for making sealing wax:--Fine red sealing wax--Pale +shellac, 4 oz.; Venice turpentine, 10 drachms; English vermilion, 2 oz. +Ordinary red sealing wax--Shellac, 2 oz.; resin, 4 oz.; Venice +turpentine, 12 drachms; chrome red, 12 drachms. Cheap red bottle +wax--Resin, 10 oz.; turpentine, 1 oz.; beeswax, 1-1/2 oz.; tallow, 1 oz.; +red lead or red ochre, 3 oz. The manipulation is about the same for the +three kinds. First, the resins are melted with as low a heat as will +suffice, then the turpentine, previously warmed, is to be added, and +lastly the coloring material. The first quality is only used in sticks, +and the third, when melted, for dipping bottles in. The second can be +employed for either purpose. When the wax is used for dipping it should be +kept at a temperature just sufficient to render it liquid, as too much +heat causes it to foam and to rapidly become brittle. Even with this +precaution, it is necessary to add a little turpentine, from time to time, +to replace the essential oil lost by evaporation. + + +FOR MAKING DEXTRINE. + +Five hundred parts of potato starch are mixed with 1,500 parts of cold +distilled water and eight parts of pure oxalic acid. This mixture is +placed in a suitable vessel on a water-bath, and heated until a small +sample tested with iodine solution does not produce the reaction of +starch. When this is found to be the case the vessel is immediately +removed from the water-bath, and the liquid neutralized with pure +carbonate of lime. After having been left standing for two days, the +liquor is filtered, and the clear filtrate evaporated upon a water-bath +until the mass has become quite a paste, which is removed by a spatula, +and having been made into thin cakes is placed upon paper and further +dried in a warm situation; 220 parts of pure dextrine are thus obtained. +When needed for making mucilage, the solution has only to be evaporated to +the proper thickness. + + +COLORS FOR PRINTING INKS. + +The different colors, and the inks which may be made from them, are as +follows: + +For Red.--Orange lead, vermilion, burnt sienna, Venetian red, Indian red, +lake vermilion, orange mineral, rose pink and red lead. + +Yellow.--Yellow ochre, gamboge, and chromate of lead. + +Blue.--Cobalt, Prussian blue, indigo, Antwerp blue, Chinese blue, French +ultramarine, and German ultramarine. + +Green.--Verdigris, green verditer, and mixtures of blue and yellow. + +Purple.--A mixture of those used for red and blue. + +Deep Brown.--Burnt umber, with a little scarlet lake. + +Pale Brown.--Burnt sienna; a rich shade is obtained by using a little +scarlet lake. + +Lilac.--Cobalt blue, with a little carmine added. + +Pale Lilac.--Carmine, with a little cobalt blue. + +Amber.--Pale chrome, with a little carmine. + +Pink.--Carmine or crimson lake. + +Shades and Tints.--A bright red is best got from pale vermilion, with a +little carmine added; dark vermilion, when mixed with the varnish, +produces a dull color. Orange lead and vermilion ground together also +produce a very bright tint, and one that is more permanent than an entire +vermilion color. The pigments are dear; when a cheap job is in hand, +orange mineral, rose pink and red lead may be used. + +Yellow.--Of the materials named, the chromate of lead makes the brightest +color. If a dull yellow be wanted, yellow ochre may be used; it grinds +easily and is very cheap. + +Blue.--Indigo is excessively dark, and requires a good deal of trouble to +lighten it. It makes a fine, showy color where brightness is not required. +Prussian blue is useful, but it must be thoroughly ground. It dries very +quickly, hence the roller must be frequently cleaned. Antwerp blue is very +light and easily worked. Chinese blue is also available. As already said, +the shade may be varied with flake white. There is this objection to +Prussian, Antwerp, and Chinese blues, that they are hard to grind, and +likely to turn greenish with varnish when used thin. A bright blue is also +to be got from cobalt, or French or German ultramarine. This is cheap, +easily ground, and works freely. Lime blue may also be used. + +Green.--Any of the yellows and blues may be mixed. Gamboge, a transparent +color, is very useful in mixture with Prussian blue; or chromate of lead +and Prussian blue may be used. The varnish, having a yellow tinge, has an +effect upon the mixture, and should be taken into account. With a slight +quantity of Antwerp blue, varnish in itself will produce a decidedly +greenish tint. Verdigris and green verditer also give greens. If Chinese +blue be added to pale chrome, it gives a good green, and any shade can be +obtained by increasing or diminishing either color. Emerald green is got +by mixing pale chrome with a little Chinese blue, and then adding the +emerald until the tint is satisfactory. + +Brown.--Sepia gives a nice tint, and burnt umber a very hot tint. Raw +umber gives a brighter brown, bistre a brighter still. + +Neutral tints are obtained by mixing Prussian blue, lake and gamboge. + +In using painters' colors, it is advisable to avoid, as much as possible, +the heavy ones. + +Tints of any desired depth may be made by using a finely-ground white ink +as a basis, and toning it with the color desired. + +Varnish tints are made by adding color to full-bodied, well-boiled +printers' varnish, using a little soap and drying preparation to make them +work smoothly and dry quickly. + +In mixing tints to print with, the muller should be used to rub in the +colors thoroughly, otherwise the work is liable to be streaky. It is +advisable to mix no more of a tint than is needed for the work in hand. +Most colored inks work best if applied to the rollers a little at a time, +until the depth of color desired is reached, as colored inks distribute +slower than black, and are more liable to thicken upon and clog the type +when too much is taken at once. + + +HINTS ON "CASTING UP." + +The most simple and effective contrivance for casting-up work is, for +every printer to set up, in vertical parallel lines, the m's of each font +in his office, with figures in succession beside them, and work them upon +good hard paper, but little wet or pressed, which ought to be dried very +gradually. If the cast-up work printed with the same type as these +measures very little variation will be found; for if the measure and the +measured page do vary from the measurement, the one is compensated by the +other. But even this method can scarcely be trusted in setting the price +with the compositor, since the difference between a thin and thick space +will carry an en quadrat, and thus may give the turn in the 500 letters, +so as to make 1,000 difference. + + +HOW TO ASCERTAIN THE QUANTITY OF PLAIN TYPE REQUIRED FOR NEWSPAPER. + +To ascertain the quantity of plain type required for a newspaper, +magazine, and other work, find the number of square inches and divide the +same by four; the quotient will be the approximate weight of the matter. +As it is impossible to set the cases entirely clear, it is necessary to +add 25 per cent to large fonts, and 33 per cent to small, to allow for +dead letter. This, of course, is only approximate, but will be found +sufficiently close for all practical purposes. + + +CARE OF WOOD-CUTS. + +Care should be taken that wood-cuts are thoroughly dry before being sent +to the foundry, as the intense heat to which they are subjected frequently +causes them to warp and split, especially if pierced. + + +REMEDY FOR TYPE THAT STICKS IN DISTRIBUTING. + +Great difficulty is sometimes experienced in distributing type which has +been allowed to remain in form for any length of time. Prevention, of +course, is better than cure; but where the remedy is required, the +following may be tried with advantage:--Pour boiling water over the type, +and allow it to stand for about half an hour. Repeat, if necessary, until +the desired effect has been obtained. + + +LAYING TYPE. + +The page as received from the founder, should be carefully unwrapped, and, +after having been placed on a galley, soaked thoroughly with thin soap +water, to prevent adhesion after the types have been used a short time; +then, with a firm rule or reglet, as many lines should be lifted as will +make about an inch in thickness, and, placing the rule close upon one side +of the bottom of the proper box, slide off the lines gently, taking care +not to rub the face against the side of the box. Proceed then with +successive lines till the box is filled. Careless compositors are prone to +huddle new type together, and grasping them by handfulls plunge them +pell-mell into the box, rudely shaking them down to crowd in more. This +should never be allowed, as shaking does more injury to type than press +wear. The type left over should be kept standing on galleys in regular +order till the cases need to be again filled or sorted. + + +TO FIX BRONZE COLORS ON GLASS. + +Bronze colors can be fixed upon glass or porcelain by painting the +articles with a concentrated solution of potash water glass of 30° B., and +dusting them with the bronze powder. The latter adheres so firmly that it +will not be affected by water, and may be polished with steel or agate. + + +TO DESTROY BOOK WORMS. + +For the destruction of book worms, put the books into a case which closes +pretty well, and keep a saucer supplied with benzine within it for some +few weeks. Worms, larvæ, eggs--all are said to be got rid of. + + +TINNING PAPER AND CLOTH. + +The following is a method of tinning paper and cloth:--Zinc powder is +ground with an albumen solution, the boiling mixture is then spread over +the tissue by means of a brush, when dry, the layer is fixed by dry steam, +which coagulates the albumen, and the tissue is then taken through a +solution of tin. Metallic tin is reduced, and sets in a very thin layer. +The tissues of paper are then washed, dried and hot pressed. + + +CARE OF BOOKS. + +Books should be shelved in the coolest part of the room, and where the air +is never likely to be overheated, which is near the floor, where we +ourselves live and move. In the private libraries of our residences a +mistake is often made in carrying the shelving of our book-cases so high +that they enter the upper and overheated stratum of air. If anyone be +skeptical on this point, let him test, by means of a step-ladder, the +condition of the air near the ceiling of his common sitting-room on a +Winter evening, when the gas is burning freely. The heat is simply +insufferable. + + +HOW TO PREVENT MILDEW ON BOOKS. + +To prevent mildew on books, lightly wash over the backs and covers with +spirits of wine, using as a brush the feather of a goose quill. + + +A CHEAP LYE. + +Boil six gallons of water and add while boiling one pound of unslacked +lime and four pounds of common soda. When cold, it should be carefully +dipped out, leaving the dregs of the lime at the bottom of the vessel, and +it is then fit for immediate application. Cost, about two cents per +gallon. + + +A GOOD DRYER. + +A good dryer for printers' use is made by taking a small quantity of +perfectly dry acetate of lead or borate of manganese in impalpable powder +will hasten the drying of the ink. It is essential that it should be +thoroughly incorporated with the ink by trituration in a mortar. + + +A STRONG LYE. + +A very strong printers' lye may be made as follows:--Take of table salt, 2 +oz.; unslacked lime, 2 lb., and bruised Scotch washing soda, 2 lb. Mix +together in three gallons of water, stirring frequently until the +ingredients are dissolved, when the lye will be ready for use. This is a +powerful mixture, and will wash off almost any color. + + +EFFECT OF PETROLEUM OIL ON WOOD TYPE. + +Although petroleum oil is a highly useful fluid for cleansing wood letter +or wood-cuts, the printer should be cautioned that it is highly +detrimental to type and stereoplate. While it has no effect in opening the +pores of the wood, but on the contrary, hardens the surface, rendering the +face peculiarly smooth, it corrodes or rots the metal, and leaves a white +powder on the face, which, although it may be removed with a brush, shows +that the type has been injured. Besides this, petroleum is highly +dangerous on account of its inflammability. It cannot be extinguished by +water. + + +A BRONZE OR CHANGEABLE HUE. + +A bronze or changeable hue may be given to inks with the following +mixture:--Gum shellac, 1-1/2 lb., dissolved in one gallon of 95 per cent +alcohol or Cologne spirits for 24 hours. Then add fourteen ounces aniline +red. Let it stand for a few hours longer, when it will be ready for use. +When added to a good blue, black, or other dark inks, it gives them a rich +hue. The quantity used must be very carefully apportioned. + +In mixing the materials, add the dark color sparingly at first, for it is +easier to add more, if necessary, than to take away, as in making a dark +color lighter, you increase its bulk considerably. + + +GOLD LEAF PRINTING. + +Gold leaf printing requires much more care than bronze printing, but if +properly managed will be found to be a great improvement. Ink should be +made of chrome yellow, mixed with Venice turpentine, virgin wax and +varnish. Cut the gold leaf into slips a shade wider than the lines it is +to cover, ink the form in the usual way, and pull a sheet; then lay on the +gold leaf with no great harm. Some colors will not keep at all, and +others deposit at the bottom of the can almost all their solid +ingredients. It is not easy to alter this, but colza oil will at least +prevent the surface skinning over. + + +TO PREVENT COLORED INKS FROM BECOMING HARD. + +Red and some other colored inks are often found to become so hard in a few +weeks after the can has been opened that the knife can scarcely be got +into them, and they cannot be got to work at all. Oil, varnish and +turpentine are of no use in such a case; the remedy is paraffine oil mixed +well up with the old ink. Many prefer paraffine oil rather than boiled oil +or turps for thinning down both black and colored inks. + + +TO KEEP COLORED INKS FROM SKINNING. + +Colored inks can be kept from "skinning" by pouring a little oil or water +on the top and closing the can tightly. + + +HOW TO REMOVE COLORED INKS. + +Benzine is a powerful chemical preparation which may be used to remove +colored inks when lye and turpentine fail. It should, however, not be used +after dark, as it is very inflammable, and it should be kept out of doors +if possible. + + +A VARNISH FOR COLOR PRINTS. + +To make a varnish for colored prints, etc., take of Canada balsam, 1 +ounce; spirits of turpentine, 2 ounces, and mix well together. The print +or drawing should first be sized with a solution of isinglass in water, +and when this has dried the varnish above named should be applied with a +camel's hair brush. + + +REPAIRING BATTERED WOOD TYPE. + +Wood type when battered may be repaired by removing the damaged part with +a sharp pointed knife, and fill in with beeswax or gutta-percha. + + +INKING SURFACES FOR COLOR WORK. + +The best inking surfaces or slabs for color work at press or machine are +porcelain, litho stone, marble or slab. Metals are injurious to colored +inks--even polished iron surfaces give a dullness to bright colors. + + +HOW TO PRESERVE COLORED INKS. + +If it is necessary to keep colored inks, the best way of preserving them +so that they shall be workable after standing some time is to pour a +little colza oil on the top, and securely close the vessel containing +them. This oil will not generally rob the ink of any of its color, and +even if it is not all poured off afterwards, its presence can do a piece +of cotton wool; when dry, it may be washed in the same way as bronze. +Rolling afterward will improve it very much. + + +HOW TO BRIGHTEN COMMON QUALITIES OF COLORED INKS. + +Common qualities of colored inks may be brightened by using the whites of +fresh eggs, but they must be applied a little at a time, as they dry very +hard and are apt to take away the suction of rollers if used for any +lengthend period. + + +PRINTERS' VARNISH. + +For fine work, a little Canada balsam of the consistency of honey makes a +good varnish of great purity. The coarser but similar Venice turpentine +may also be used with effect where time is precious and purity of tint not +indispensable. A little soft soap may be added to the Venice turpentine. + +If the work be coarse and varnish not at hand, a little oak varnish and +soft soap form a good substitute. + + +TO PREVENT OFF-SETTING. + +Setting off may be prevented by slightly greasing or oiling a sheet which +may be placed on the tympan if in press work, or the cylinder if at a +machine. This will answer for several thousands without requiring to be +replaced. + + +A HARDENING GLOSS FOR INKS. + +A hardening gloss for inks may be made by dissolving gum arabic in alcohol +or a weak solution of oxalic acid. This mixture should be used in small +quantities, and mixed with the ink while it is being consumed. + + +A MODELING MATERIAL. + +Some pretty effects can be produced by the use of a composition made by +thoroughly mixing rice flour with cold water, and allowing it to gently +simmer over the fire until a delicate and durable cement results. When +made of the consistency of plastic clay, models, busts, etc., may be +formed, and the articles when dry resemble white marble, and will take a +high polish, being very durable. Any coloring matter may be used at +pleasure. + + +LEAF COPYING. + +Take a piece of thin muslin and wrap it tightly round a ball of cotton +wool as big as an orange. This forms a dabber, and should have something +to hold it by. Then squeeze on to the corner of a half-sheet of foolscap a +little color from a tube of oil paint. Take up a very little color on the +dabber, and work it about on the center of the paper for some time, till +the dabber is evenly covered with a thin coating. A little oil can be used +to dilute or moisten the color if necessary. Then put your leaf down on +the paper and dab some color evenly over both sides. Place it then between +the pages of a folded sheet of paper (unglazed is best), and rub the paper +above it well all over with the finger. Open the sheet, remove the leaf, +and you will have an impression of each side of the leaf. Any color may be +used. Burnt or raw sienna works the most satisfactorily. + + +DRYER FOR RULING INKS. + +Ruling inks are made to dry quickly by using half a gill of methylated +spirits to every pint of ink. The spirit is partly soaked into the paper +and partly evaporates; it also makes the lines firm. + + +SIZE OF NEWSPAPER SHEETS AND NUMBER OF COLUMNS. + + Width of Column Paper. Column Rules. + 13 Ems Pica. + + 5 Column Folio 20 × 26 17-3/4 in. + 6 " " 22 × 31 19-3/4 " + 6 Col Fo (wide margin) 22 × 32 19-3/4 " + 7 Column Folio 24 × 35 21-3/4 " + 7 Col Fo (wide margin) 24 × 36 21-3/4 " + 8 Column Folio 26 × 40 23-3/4 " + 9 " " 28 × 44 26 " + 4 " Quarto 22 × 31 13-3/4 " + 4 Col Qu (wide margin) 22 × 32 13-3/4 " + 5 " " 26 × 40 17-3/4 " + 6 " " 30 × 44 19-3/4 " + 7 " " 35 × 48 21-3/4 " + + +USUAL SIZES AND WEIGHTS OF NEWS PRINTING PAPER. + + Size. Weight per Bundle. + + 22 × 30 44 lbs. + 22 × 32 45 and 50 " + 24 × 36 50, 56, 60 and 70 " + 26 × 38 60 and 70 " + 26 × 40 65, 70, 75, 80 and 90 " + 28 × 40 80 " + 28 × 42 70, 80, 90 and 100 " + 28 × 44 85, 90 and 105 " + 29 × 48 100 " + 29 × 58 110 " + 30 × 44 90, 95 and 100 " + 31 × 44 90, 95 and 100 " + 31 × 45 96 " + 22 × 44 90, 95, 100 and 120 " + 32 × 46 100 " + 34-1/2 × 47-1/2 120 " + 35 × 48 120 " + + +USUAL SIZES AND WEIGHTS OF BOOK PAPERS. + + Size. Weight per Ream. + + 22 × 32 30, 35 and 40 lbs. + 24 × 36 30, 35, 40 and 50 " + 25 × 38 35, 40, 45, 50, 60, 70, 80 and 100 " + 28 × 42 40, 50, 60, 70, 80, 100 and 120 " + 32 × 44 60, 70, 80, 100 and 120 " + + +USUAL SIZES AND WEIGHTS COLORED PRINT OR POSTER. + + Size. Weight per Ream. + + 24 × 36 25 lbs. + 25 × 38 27 " + 28 × 42 35, 40, 45 and 50 " + + +USUAL SIZES OF FLAT AND LEDGER PAPERS. + + Flat Letter 10 × 16 + Flat Foolscap 13 × 16 + Packet Post 12 × 19 + Cap 14 × 17 + Crown 15 × 19 + Double Flat Letter 16 × 20 + Demy 16 × 21 + Folio Post 17 × 22 + Check Folio 17 × 24 + Medium 18 × 23 + Double Flat Foolscap 16 × 26 + Bank Folio 19 × 24 + Royal 19 × 24 + Double Cap 17 × 28 + Super Royal 20 × 28 + Double Demy 21 × 32 + Double Demy 16 × 42 + Imperial 23 × 31 + Double Medium 23 × 36 + Double Medium 18 × 46 + Elephant 23 × 28 + Colombier 23 × 34 + Atlas 26 × 33 + Double Royal 24 × 38 + Double Elephant 27 × 40 + Antiquarian 31 × 53 + + + + +Transcriber's Notes: + +Passages in italics are indicated by _underscore_. + +Passages in bold are indicated by =bold=. + +The following misprints have been corrected: + "Lables" corrected to "Labels" (Index to Recipes) + "Sett-off" corrected to "Set-off" (Index to Recipes) + "I" corrected to "1" (page 5) + missing word "is" added (page 13) + missing word "A" added (page 14) + "Gildng" corrected to "Gilding" (page 19) + missing word "be" added (page 29) + "homoegeneous" corrected to "homogeneous" (page 35) + "posssble" corrected to "possible" (page 39) + "condiitons" corrected to "conditions" (page 48) + "a a" corrected to "a" (page 50) + "receipe" corrected to "recipe" (page 56) + missing word "a" added (page 67) + "he" corrected to "the" (page 74) + "when" corrected to "When" (page 80) + + + + + + +End of Project Gutenberg's Paper and Printing Recipes, by J. Sawtelle Ford + +*** END OF THIS PROJECT GUTENBERG EBOOK PAPER AND PRINTING RECIPES *** + +***** This file should be named 32400-8.txt or 32400-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/2/4/0/32400/ + +Produced by The Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Sawtelle Ford. + </title> + <style type="text/css"> + + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + + hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;} + + table {margin-left: auto; margin-right: auto;} + + body {margin-left: 12%; margin-right: 12%;} + + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + + .note {margin-left: 20%; margin-right: 20%;} + + .right {text-align: right;} + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .spacer {padding-left: 1em; padding-right: 1em;} + .spacer2 {padding-left: .5em; padding-right: .5em;} + + a:link {color:#0000ff; text-decoration:none} + a:visited {color:#6633cc; text-decoration:none} + + ins.correction {text-decoration:none; border-bottom: thin solid gray;} + + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's Paper and Printing Recipes, by J. Sawtelle Ford + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Paper and Printing Recipes + A Handy Volume of Practical Recipes, Concerning the + Every-Day Business of Stationers, Printers, Binders, and + the Kindred Trades + +Author: J. Sawtelle Ford + +Release Date: May 17, 2010 [EBook #32400] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK PAPER AND PRINTING RECIPES *** + + + + +Produced by The Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + +</pre> + + + + +<h2>Paper and Printing<br />RECIPES</h2> +<p> </p> +<p class="center">A Handy Volume of Practical Reci-<br /> +pes, Concerning the Every-Day<br /> +Business of Stationers, Print-<br /> +ers, Binders, and the<br /> +Kindred Trades.</p> +<p> </p> +<p class="center">PUBLISHED BY<br /> +J. SAWTELLE FORD,<br /> +<i>OFFICE OF “THE STATIONER AND PRINTER,”</i><br /> +CHICAGO.</p> +<p> </p><p> </p> +<p class="center">Entered according to the Act of Congress, in<br /> +the year 1883, by<br /> +J. SAWTELLE FORD,<br /> +In the Office of the Librarian at Washington.</p> + +<p> </p><p> </p> +<hr style="width: 45%;" /> +<h2>GLIMPSE OF CONTENTS.</h2> + +<p class="note">This Volume has nearly <b>Two Hundred</b> valuable Recipes for Stationers, +Printers, Bookbinders, etc. These Recipes are thoroughly practical, and +such as come up in every day’s work. They have been gathered from many +sources, and are endorsed by the best workmen of the United States and Europe.</p> + + +<p> </p><p> </p> +<h2>INDEX TO RECIPES.</h2> + +<table border="0" cellpadding="0" cellspacing="5" summary="index to recipes"> +<tr><td colspan="3" align="center"><b>WRITING INKS.</b></td></tr> +<tr><td>Removing Writing Ink from Paper</td><td> </td><td align="right"><a href="#Page_1">1</a></td></tr> +<tr><td>White Ink</td><td> </td><td align="right"><a href="#Page_3">3</a></td></tr> +<tr><td>Purple Hektograph Ink</td><td> </td><td align="right"><a href="#Page_3">3</a></td></tr> +<tr><td>A Dark Red Indelible Ink</td><td> </td><td align="right"><a href="#Page_4">4</a></td></tr> +<tr><td>Making Carmine</td><td> </td><td align="right"><a href="#Page_4">4</a></td></tr> +<tr><td>Violet Ink</td><td> </td><td align="right"><a href="#Page_5">5</a></td></tr> +<tr><td>Indelible Ink</td><td> </td><td align="right"><a href="#Page_5">5</a></td></tr> +<tr><td>To make Black Ink</td><td> </td><td align="right"><a href="#Page_6">6</a></td></tr> +<tr><td>An Ink which cannot be Erased</td><td> </td><td align="right"><a href="#Page_6">6</a></td></tr> +<tr><td>Copying Ink to be used without Press or Water</td><td> </td><td align="right"><a href="#Page_3">3</a></td></tr> +<tr><td>A Cardinal Ink</td><td> </td><td align="right"><a href="#Page_7">7</a></td></tr> +<tr><td>A Portable Ink</td><td> </td><td align="right"><a href="#Page_28">28</a></td></tr> +<tr><td>Indelible India Ink</td><td> </td><td align="right"><a href="#Page_28">28</a></td></tr> +<tr><td>Copying Inks</td><td> </td><td align="right"><a href="#Page_29">29</a></td></tr> +<tr><td>Invisible Writing</td><td> </td><td align="right"><a href="#Page_68">68</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>PRINTING INKS.</b></td></tr> +<tr><td>To Prevent Colored Inks from becoming Hard</td><td> </td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td>To keep Colored Inks from Skinning</td><td> </td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td>To Preserve Colored Inks</td><td> </td><td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td>How to Brighten Common Qualities of Colored Inks</td><td> </td><td align="right"><a href="#Page_83">83</a></td></tr> +<tr><td>A Good Dryer</td><td> </td><td align="right"><a href="#Page_79">79</a></td></tr> +<tr><td>A Quick Dryer</td><td> </td><td align="right"><a href="#Page_61">61</a></td></tr> +<tr><td>Improved Dryer for Printing Ink</td><td> </td><td align="right"><a href="#Page_66">66</a></td></tr> +<tr><td>To take Printer’s Ink out of Silk</td><td> </td><td align="right"><a href="#Page_17">17</a></td></tr> +<tr><td>Red Printing Ink</td><td> </td><td align="right"><a href="#Page_68">68</a></td></tr> +<tr><td>Black Printing Ink</td><td> </td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td>Colors for Printing Ink</td><td> </td><td align="right"><a href="#Page_71">71</a></td></tr> +<tr><td>Principal Colors of Gold for Grinding</td><td> </td><td align="right"><a href="#Page_45">45</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>MARKING INKS, ETC.</b></td></tr> +<tr><td>Ink for Rubber Stamps</td><td> </td><td align="right"><a href="#Page_7">7</a></td></tr> +<tr><td>Marking Ink</td><td> </td><td align="right"><a href="#Page_10">10</a></td></tr> +<tr><td>Black Ink for Stencils</td><td> </td><td align="right"><a href="#Page_6">6</a></td></tr> +<tr><td>Stencil Ink</td><td> </td><td align="right"><a href="#Page_2">2</a></td></tr> +<tr><td>Blue Marking Ink for White Goods</td><td> </td><td align="right"><a href="#Page_10">10</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>REMOVAL OF INK STAINS, ETC.</b></td></tr> +<tr><td>To Remove Writing Ink from Paper</td><td> </td><td align="right"><a href="#Page_1">1</a></td></tr> +<tr><td>To Remove Aniline Ink from the Hands</td><td> </td><td align="right"><a href="#Page_8">8</a></td></tr> +<tr><td>To take Ink Stains from the Hands</td><td> </td><td align="right"><a href="#Page_9">9</a></td></tr> +<tr><td>To Remove Grease Spots from Paper</td><td> </td><td align="right"><a href="#Page_13">13</a></td></tr> +<tr><td>How to Remove Colored Inks</td><td> </td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td>Paper for taking out Ink Stains</td><td> </td><td align="right"><a href="#Page_14">14</a></td></tr> +<tr><td>To Remove Ruling Ink Stains from Fingers</td><td> </td><td align="right"><a href="#Page_17">17</a></td></tr> +<tr><td>To Remove Ink Spots</td><td> </td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td>To Remove Oil Marks from Paper</td><td> </td><td align="right"><a href="#Page_20">20</a></td></tr> +<tr><td>To Remove Ink Stains from Mahogany</td><td> </td><td align="right"><a href="#Page_20">20</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>CARE OF BOOKS.</b></td></tr> +<tr><td>Care of Books</td><td> </td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td>To Destroy Book Worms</td><td> </td><td align="right"><a href="#Page_77">77</a></td></tr> +<tr><td>How to Prevent Mildew on Books</td><td> </td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>GLUES, PASTES, MUCILAGE, ETC.</b></td></tr> +<tr><td>Solid Pocket Glue</td><td> </td><td align="right"><a href="#Page_20">20</a></td></tr> +<tr><td>To Test Glue</td><td> </td><td align="right"><a href="#Page_21">21</a></td></tr> +<tr><td>Book-Binder’s Glue</td><td> </td><td align="right"><a href="#Page_22">22</a></td></tr> +<tr><td>Cement for Glass</td><td> </td><td align="right"><a href="#Page_22">22</a></td></tr> +<tr><td>Postage Stamp Mucilage</td><td> </td><td align="right"><a href="#Page_26">26</a></td></tr> +<tr><td>To keep Mucilage Fresh</td><td> </td><td align="right"><a href="#Page_26">26</a></td></tr> +<tr><td>Mucilage</td><td> </td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td>Mucilage for Pasteboard</td><td> </td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td>Cement for Labels</td><td> </td><td align="right"><a href="#Page_23">23</a></td></tr> +<tr><td>A Colorless Cement</td><td> </td><td align="right"><a href="#Page_23">23</a></td></tr> +<tr><td>A Cement that will Resist the Damp</td><td> </td><td align="right"><a href="#Page_24">24</a></td></tr> +<tr><td>To make Glue Water-proof</td><td> </td><td align="right"><a href="#Page_24">24</a></td></tr> +<tr><td>Two Glue Receipts</td><td> </td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td>A Good Paster</td><td> </td><td align="right"><a href="#Page_29">29</a></td></tr> +<tr><td>A Paste which will not Spoil</td><td> </td><td align="right"><a href="#Page_29">29</a></td></tr> +<tr><td>A Silver Solder</td><td> </td><td align="right"><a href="#Page_30">30</a></td></tr> +<tr><td>An Article for Labeling Bottles</td><td> </td><td align="right"><a href="#Page_8">8</a></td></tr> +<tr><td>For Making Dextrine</td><td> </td><td align="right"><a href="#Page_70">70</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>PRINTERS’ VARNISHES.</b></td></tr> +<tr><td>A Varnish for Color Prints</td><td> </td><td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td>Printers’ Varnish</td><td> </td><td align="right"><a href="#Page_83">83</a></td></tr> +<tr><td>A Varnish for Paper</td><td> </td><td align="right"><a href="#Page_13">13</a></td></tr> +<tr><td>A Transparent Paper Varnish</td><td> </td><td align="right"><a href="#Page_53">53</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>COLOR AND GOLD LEAF PRINTING.</b></td></tr> +<tr><td>To Fix Bronze Colors on Glass</td><td> </td><td align="right"><a href="#Page_77">77</a></td></tr> +<tr><td>A Bronze or Changeable Hue</td><td> </td><td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td>Gold Leaf Printing</td><td> </td><td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td>Inking Surfaces for Color Work</td><td> </td><td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td>Colors for Holding Bronze</td><td> </td><td align="right"><a href="#Page_2">2</a></td></tr> +<tr><td>Colors for Printing</td><td> </td><td align="right"><a href="#Page_51">51</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>ELECTROTYPING.</b></td></tr> +<tr><td>To Prevent Electrotype Blocks from Warping</td><td> </td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td>Electrotyping on China</td><td> </td><td align="right"><a href="#Page_42">42</a></td></tr> +<tr><td>Electrotyping Handwriting</td><td> </td><td align="right"><a href="#Page_35">35</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>WOOD CUTS AND ENGRAVING.</b></td></tr> +<tr><td>Care of Wood Cuts</td><td> </td><td align="right"><a href="#Page_75">75</a></td></tr> +<tr><td>To Produce Engraving or Types for Printing by Photography</td><td> </td><td align="right"><a href="#Page_15">15</a></td></tr> +<tr><td>Different kinds of Engraving</td><td> </td><td align="right"><a href="#Page_36">36</a></td></tr> +<tr><td>Care of Wood Type</td><td> </td><td align="right"><a href="#Page_38">38</a></td></tr> +<tr><td>To Restore the Original Whiteness of Copper plate, Wood Engravings, etc.</td><td> </td><td align="right"><a href="#Page_42">42</a></td></tr> +<tr><td>To Transfer Engraving to Mother of Pearl</td><td> </td><td align="right"><a href="#Page_39">39</a></td></tr> +<tr><td>An Improved Process of Photo-Engraving</td><td> </td><td align="right"><a href="#Page_31">31</a></td></tr> +<tr><td>To Prevent Warping in Blocks and Wood</td><td> </td><td align="right"><a href="#Page_61">61</a></td></tr> +<tr><td>Stereotyping Wood Cuts</td><td> </td><td align="right"><a href="#Page_46">46</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>PAPER.</b></td></tr> +<tr><td>Waterproof Paper</td><td> </td><td align="right"><a href="#Page_56">56</a></td></tr> +<tr><td>How to Size poor Drawing Paper</td><td> </td><td align="right"><a href="#Page_56">56</a></td></tr> +<tr><td>Paper Soft and Flexible</td><td> </td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td>Incombustible Writing and Printing Paper</td><td> </td><td align="right"><a href="#Page_17">17</a></td></tr> +<tr><td>Blue-Black Writing Paper</td><td> </td><td align="right"><a href="#Page_10">10</a></td></tr> +<tr><td>Electric Paper</td><td> </td><td align="right"><a href="#Page_30">30</a></td></tr> +<tr><td>Tinning Paper and Cloth</td><td> </td><td align="right"><a href="#Page_77">77</a></td></tr> +<tr><td>Gummed Paper from Cockling</td><td> </td><td align="right"><a href="#Page_57">57</a></td></tr> +<tr><td>Qualities of Good Paper</td><td> </td><td align="right"><a href="#Page_14">14</a></td></tr> +<tr><td>Impermeable Paper</td><td> </td><td align="right"><a href="#Page_53">53</a></td></tr> +<tr><td>Aniline Ink Paper</td><td> </td><td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td>To make Paper Fine and Water-proof</td><td> </td><td align="right"><a href="#Page_52">52</a></td></tr> +<tr><td>To Bleach Sheepskin Parchment White</td><td> </td><td align="right"><a href="#Page_50">50</a></td></tr> +<tr><td>Carbon Paper</td><td> </td><td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td>Luminous Paper</td><td> </td><td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td>Sizes and Weights of Drawing Paper</td><td> </td><td align="right"><a href="#Page_55">55</a></td></tr> +<tr><td>Bronzed Paper</td><td> </td><td align="right"><a href="#Page_55">55</a></td></tr> +<tr><td>Transparent Drawing Paper</td><td> </td><td align="right"><a href="#Page_56">56</a></td></tr> +<tr><td>Paper for <ins class="correction" title="original reads 'Lables'">Labels</ins></td><td> </td><td align="right"><a href="#Page_14">14</a></td></tr> +<tr><td>To Split a Sheet of Paper</td><td> </td><td align="right"><a href="#Page_15">15</a></td></tr> +<tr><td>Photo-Lithographic Transfer Paper</td><td> </td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>MISCELLANEOUS.</b></td></tr> +<tr><td>An Ink Restorer</td><td> </td><td align="right"><a href="#Page_2">2</a></td></tr> +<tr><td>To Obtain a Bright and Lasting Red Edge</td><td> </td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td>To Mount Chromos</td><td> </td><td align="right"><a href="#Page_53">53</a></td></tr> +<tr><td>Sealing Wax</td><td> </td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td>Photo Prints on Glass</td><td> </td><td align="right"><a href="#Page_46">46</a></td></tr> +<tr><td>Enamel for Fine Cards</td><td> </td><td align="right"><a href="#Page_35">35</a></td></tr> +<tr><td>To Bend a Rule</td><td> </td><td align="right"><a href="#Page_67">67</a></td></tr> +<tr><td>To Make a Corroded Pen</td><td> </td><td align="right"><a href="#Page_31">31</a></td></tr> +<tr><td>To Restore the Lustre of Morocco Leather</td><td> </td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td>Non-erasible Pencil Marks</td><td> </td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td>Copy Drawing in Color</td><td> </td><td align="right"><a href="#Page_57">57</a></td></tr> +<tr><td>Black Paint for Blackboards</td><td> </td><td align="right"><a href="#Page_33">33</a></td></tr> +<tr><td>To Preserve Pencil Sketches</td><td> </td><td align="right"><a href="#Page_37">37</a></td></tr> +<tr><td>Treatment of India Ink Drawings</td><td> </td><td align="right"><a href="#Page_9">9</a></td></tr> +<tr><td>To Clean Gilt Frames</td><td> </td><td align="right"><a href="#Page_67">67</a></td></tr> +<tr><td>Cleaning New Machinery</td><td> </td><td align="right"><a href="#Page_67">67</a></td></tr> +<tr><td>Washing Forms</td><td> </td><td align="right"><a href="#Page_59">59</a></td></tr> +<tr><td>A Hardening Gloss for Inks</td><td> </td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td>A Modeling Material</td><td> </td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td>Leaf Copying</td><td> </td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td>Usual Sizes and Weights of Book papers</td><td> </td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td>Usual Sizes and Weights Colored Print or Poster</td><td> </td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td>Painting on Ebonized Wood</td><td> </td><td align="right"><a href="#Page_43">43</a></td></tr> +<tr><td>To Clean Steel Pens</td><td> </td><td align="right"><a href="#Page_33">33</a></td></tr> +<tr><td>To Clean a Chamois Skin</td><td> </td><td align="right"><a href="#Page_12">12</a></td></tr> +<tr><td>Dryer for Ruling Inks</td><td> </td><td align="right"><a href="#Page_85">85</a></td></tr> +<tr><td>Usual Sizes and Weights of News Printing Paper</td><td> </td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td>Usual Sizes of Flat and Ledger Papers</td><td> </td><td align="right"><a href="#Page_87">87</a></td></tr> +<tr><td>Size of Newspaper Sheets and Number of Columns</td><td> </td><td align="right"><a href="#Page_85">85</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>STATIONERS’ WINDOWS.</b></td></tr> +<tr><td>Stationers’ Windows</td><td> </td><td align="right"><a href="#Page_33">33</a></td></tr> +<tr><td>Hints on Dressing the Store Windows</td><td> </td><td align="right"><a href="#Page_12">12</a></td></tr> +<tr><td>To Prevent Window Steaming</td><td> </td><td align="right"><a href="#Page_18">18</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>GILDING.</b></td></tr> +<tr><td>For Cheaply Gilding Bronze, etc.</td><td> </td><td align="right"><a href="#Page_11">11</a></td></tr> +<tr><td>Electro-Gilding in Colors</td><td> </td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td>How Gilding is Done</td><td> </td><td align="right"><a href="#Page_43">43</a></td></tr> +<tr><td>Gilding with Gold Leaf</td><td> </td><td align="right"><a href="#Page_46">46</a></td></tr> +<tr><td>Gilding on Wood</td><td> </td><td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td>Gilding in Oil</td><td> </td><td align="right"><a href="#Page_48">48</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>METALS.</b></td></tr> +<tr><td>Coloring Metals</td><td> </td><td align="right"><a href="#Page_11">11</a></td></tr> +<tr><td>Copper Plating on Zinc</td><td> </td><td align="right"><a href="#Page_38">38</a></td></tr> +<tr><td>An Alloy for Glass or Metal</td><td> </td><td align="right"><a href="#Page_30">30</a></td></tr> +<tr><td>Writings on Metals</td><td> </td><td align="right"><a href="#Page_45">45</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>TYPE.</b></td></tr> +<tr><td>Laying Type</td><td> </td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td>Metal for Stereotyping</td><td> </td><td align="right"><a href="#Page_40">40</a></td></tr> +<tr><td>Effect of Petroleum Oil on Wood Type</td><td> </td><td align="right"><a href="#Page_79">79</a></td></tr> +<tr><td>Remedy for Type that Sticks in Distributing</td><td> </td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td>Care of Wood Type</td><td> </td><td align="right"><a href="#Page_38">38</a></td></tr> +<tr><td>To Ascertain the Quantity of Plain Type Required for Newspapers</td><td> </td><td align="right"><a href="#Page_75">75</a></td></tr> +<tr><td>Repairing Battered Wood Type</td><td> </td><td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>PRINTERS’ ROLLERS.</b></td></tr> +<tr><td>Keeping Rollers when not in Use</td><td> </td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td>Preservative of Rollers when not in Use</td><td> </td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td>Rollers in Summer Time</td><td> </td><td align="right"><a href="#Page_63">63</a></td></tr> +<tr><td>To Keep Green Mould from Rollers</td><td> </td><td align="right"><a href="#Page_63">63</a></td></tr> +<tr><td>Treatment of Old Rollers</td><td> </td><td align="right"><a href="#Page_64">64</a></td></tr> +<tr><td>A Recipe for Printer’s Rollers</td><td> </td><td align="right"><a href="#Page_64">64</a></td></tr> +<tr><td>When to Wash Rollers</td><td> </td><td align="right"><a href="#Page_66">66</a></td></tr> +<tr><td>Oils for Lubricating Roller Moulds</td><td> </td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>PRINTING METHODS.</b></td></tr> +<tr><td>Gloss Printing</td><td> </td><td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td>Colors for Printing</td><td> </td><td align="right"><a href="#Page_51">51</a></td></tr> +<tr><td>Off-Setting</td><td> </td><td align="right"><a href="#Page_83">83</a></td></tr> +<tr><td>Printing Envelopes</td><td> </td><td align="right"><a href="#Page_60">60</a></td></tr> +<tr><td>On “Casting Up”</td><td> </td><td align="right"><a href="#Page_74">74</a></td></tr> +<tr><td>To Prevent <ins class="correction" title="original reads 'Sett-off'">Set-off</ins></td><td> </td><td align="right"><a href="#Page_61">61</a></td></tr> +<tr><td>Temperature of the Pressroom</td><td> </td><td align="right"><a href="#Page_65">65</a></td></tr> +<tr><td> </td></tr> +<tr><td colspan="3" align="center"><b>LYE.</b></td></tr> +<tr><td>A Strong Lye</td><td> </td><td align="right"><a href="#Page_79">79</a></td></tr> +<tr><td>A Cheap Lye</td><td> </td><td align="right"><a href="#Page_77">77</a></td></tr></table> + + +<p> </p><p> </p> +<hr style="width: 65%;" /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h2>Paper and Printing Recipes.</h2> + +<p> </p> +<h4><span class="smcap">How to Remove Common Writing Ink From Paper Without Injury to the Print.</span></h4> + +<p>Common writing ink may be removed from paper without injury to the print +by oxalic acid and lime, carefully washing it in water before restoring it +to the volume.</p> + +<p> </p> +<h4><span class="smcap">To Render Pencil Notes Indelible.</span></h4> + +<p>Pencil notes found in a book, or placed there as annotations, may be +rendered indelible by washing them with a soft sponge dipped in warm +vellum size or milk.</p> + +<p> </p> +<h4><span class="smcap">To Remove Grease Spots from Paper.</span></h4> + +<p>Grease may be removed from paper in the following manner: Warm gradually +the parts containing the grease, and extract as much as possible of it by +applying blotting-paper. Apply to the warm paper with a soft, clean brush, +some clear essential oil of turpentine that has been boiled, and then +complete the operation by rubbing over a little rectified spirits of +wine.</p> + +<p> <span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> +<h4><span class="smcap">How to Detect Arsenic in Paper.</span></h4> + +<p>A simple method for detecting arsenic in paper, cards, etc., is described +as follows:—Immerse the suspected paper in strong ammonia on a white +plate or saucer; if the ammonia becomes blue, the presence of salt of +copper is proved; then drop a crystal of nitrate of silver into the blue +liquid, and, if any arsenic be present, the crystal will become coated +with yellow arseniate of silver, which will disappear on stirring.</p> + +<p> </p> +<h4><span class="smcap">An Ink Restorer.</span></h4> + +<p>The process consists in moistening the paper with water and then passing +over the lines in writing a brush which has been wet in a solution of +sulphide of ammonia. The writing will immediately appear quite dark in +color, and this color, in the case of parchment, it will preserve.</p> + +<p> </p> +<h4><span class="smcap">Colors for Holding Bronze.</span></h4> + +<p>Red and green inks are good colors for holding bronze, when you are not +working with size or varnish.</p> + +<p> </p> +<h4><span class="smcap">Stencil Ink.</span></h4> + +<p>A good and cheap stencil ink in cakes is said to be obtained by mixing +lampblack with fine clay, a little gum arabic or dextrine, and enough +water to bring the whole to a satisfactory consistence.</p> + +<p> <span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> +<h4><span class="smcap">Copying Ink to be Used Without Press or Water</span>.</h4> + +<p>Well mix three pints of jet-black writing ink and one pint of glycerine. +This, if used on glazed paper, will not dry for hours, and will yield one +or two fair, neat, dry copies, by simple pressure of the hand, in any good +letter copy-book. The writing should not be excessively fine, nor the +strokes uneven or heavy. To prevent “setting off,” the leaves after +copying should be removed by blotting-paper. The copies and the originals +are neater than where water is used.</p> + +<p> </p> +<h4><span class="smcap">White Ink.</span></h4> + +<p>There is really no such article as “white ink.” A true ink is a solution +of some substance or combination of substances in liquid. Colored liquids, +however, may be prepared with various substances not soluble in the +liquids available for writing fluids. A “white ink” may be made by rubbing +the finest zinc white, or white lead, with a dilute solution of gum +arabic. It must be stirred up whenever the pen or brush is dipped into it.</p> + +<p> </p> +<h4><span class="smcap">Purple Hektograph Ink.</span></h4> + +<p>To make the purple hektograph ink:—Dissolve 1 part of methyl-violet in 8 +parts of water, and add 1 part of glycerine.<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> Gently warm the whole for +about an hour, then allow to cool and add ¼ part alcohol. It is said, on +good authority, that the alcohol may be advantageously omitted, and that +the following proportions will give even better results than the above, +viz: Methyl-violet, 1 part; water, 7 parts; glycerine, 2 parts. This +formula, it is said, produces an ink which is less liable to sink into the +paper.</p> + +<p> </p> +<h4><span class="smcap">A Dark Red Indelible Ink.</span></h4> + +<p>An indelible red ink for marking linen may be made from the following +formula:</p> + +<p>Prepare three separate solutions:</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="sodium"> +<tr><td>I.</td><td>Sodium carbonate</td><td> </td><td align="right">3</td><td>drs.</td></tr> +<tr><td> </td><td>Acacia</td><td> </td><td align="right">3</td><td align="center">"</td></tr> +<tr><td> </td><td>Water</td><td> </td><td align="right">12</td><td align="center">"</td></tr></table> + +<p>With this moisten the spot to be marked, and dry and smooth with a hot +flat iron.</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="platinum"> +<tr><td>II.</td><td>Platinum bichloride</td><td> </td><td align="right">1 dr.</td></tr> +<tr><td> </td><td>Water</td><td> </td><td align="right">2 oz.</td></tr></table> + +<p>Trace the letters with this fluid, permit to dry, and finally apply +solution.</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="stannous"> +<tr><td>III.</td><td>Stannous chloride</td><td> </td><td align="right">1</td><td>dr.</td></tr> +<tr><td> </td><td>Water, distilled</td><td> </td><td align="right">4</td><td align="center">"</td></tr></table> + +<p> </p> +<h4><span class="smcap">To Make a Carmine.</span></h4> + +<p>Take 9 ozs. carbonate of soda and dissolve in 27 quarts of rain-water, to +which add 8 ozs. of citric acid. When boiling,<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> add 1½ lbs. of best +cochineal, ground fine, and boil for one and a quarter hours. Filter and +set the liquor aside until cool. Then boil the clear liquor for ten +minutes with 9½ ozs. of alum. Draw off, and allow the mixture to settle +for two or three days. Again draw off the liquor, and wash the sediment +with clear, cold, soft water, and then dry the sediment.</p> + +<p> </p> +<h4><span class="smcap">Violet Ink.</span></h4> + +<p>To make violet ink:—Put 8 ozs. logwood into 3 pints of water, and boil +until half the water has gone off in steam. The rest will be good ink, if +strained, and supplemented by 1½ ozs. gum, and 2½ ozs. alum. +Chloride of tin may be used instead of alum. Another plan is to mix, in +hot water, 1 oz. cudbear (a dye obtained from lichen fermented in urine) +and 1½ ozs. pearlash; let it stand 12 hours; strain; add 3 ozs. gum and +<ins class="correction" title="original reads 'I'">1</ins> oz. spirit.</p> + +<p> </p> +<h4><span class="smcap">Indelible Ink.</span></h4> + +<p>A cheap indelible ink can be made by the following recipe:—Dissolve in +boiling water 20 parts of potassa, 10 parts of fine-cut leather chips, and +5 parts of flowers of sulphur are added, and the whole heated in an iron +kettle until it is evaporated to dryness. Then the heat is continued until +the<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> mass becomes soft, care being taken that it does not ignite. The pot +is now removed from the fire, allowed to cool, water is added, the +solution strained and preserved in bottles. This ink will flow readily +from the pen.</p> + +<p> </p> +<h4><span class="smcap">How to Remove Ink-stains from the Hands.</span></h4> + +<p>Ripe tomatoes will remove ink or other stains from the hands.</p> + +<p> </p> +<h4><span class="smcap">Treatment of India Ink Drawings.</span></h4> + +<p>An easy method for rendering drawings in Indian ink insensible to water, +and thus preventing the ink from running when the drawing has to be +colored and the lines are very thick:—To the water in which the ink has +to be rubbed, is added a weak solution of bichromate of potash of about 2 +per cent. The animal gum contained in the Indian ink combines with the +bichrome, and becomes insoluble under the influence of light.</p> + +<p> </p> +<h4><span class="smcap">Black Ink.</span></h4> + +<p>To make a black ink for fountain pens, add 1 part of nigrosein to 50 parts +of hot water; agitate well at intervals; let it cool, and after twelve +hours filter through a fine linen cloth, and add a few drops of carbolic +acid<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> to each pint. This may be diluted with three times its volume of +water, and still form a good ink for ordinary pens.</p> + +<p> </p> +<h4><span class="smcap">Ink for Rubber Stamps.</span></h4> + +<p>Aniline (red violet), 16 parts; boiling distilled water, 80 parts; +glycerine, 7 parts; molasses, 3 parts.</p> + +<p> </p> +<h4><span class="smcap">Cardinal Ink.</span></h4> + +<p>Improved cardinal ink for draughtsmen is made as follows:—Triturate 1 +gram of pure carmine with 15 grams of acetate ammonia solution and an +equal quantity of distilled water, in a porcelain mortar, and allow the +whole to stand for some time. In this way a portion of the alumina which +is combined with the carmine dye is taken up by the acetate acid of the +ammonia salt and separates as precipitate, while the pure pigment of the +cochineal remains dissolved in the half saturated ammonia. It is now +filtered and a few drops of pure white sugar syrup added to thicken it. In +this way an excellent red drawing ink is obtained, which holds its color a +long time. A solution of gum arabic cannot be employed to thicken this +ink, as it still contains some acetic acid, which would coagulate the +bassorine, one of the natural constituents of gum arabic.</p> + +<p> <span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> +<h4><span class="smcap">An Article for Labeling Bottles.</span></h4> + +<p>A very useful article for labeling bottles containing substances which +would destroy ordinary labels consists of a mixture of ammonium fluoride, +barium sulphate and sulphuric acid, the proportions for its manufacture +being: barium sulphate, 3 parts; ammonium fluoride, 1 part; and sulphuric +acid enough to decompose the fluoride and make a mixture of semi-fluid +consistency. This mixture, when brought in contact with a glass surface +with a common pen, at once etches a rough surface on the parts it comes in +contact with. The philosophy of the action is the decomposition of the +ammonium fluoride by the acid, which attacks the glass; the barium +sulphate is inert, and is simply used to prevent the spreading of the +markings. The mixture must be kept in bottles coated on the inside with +paraffine or wax.</p> + +<p> </p> +<h4><span class="smcap">How to Remove Aniline Ink from the Hands.</span></h4> + +<p>Aniline inks are now in common use, especially in connection with the +various gelatine tablets for multiplying copies of written matter. Upon +the hands it makes annoying stains, difficult of removal by water or +acids. They may be easily washed out by using a mixture of alcohol 3 +parts, and glycerine 1 part.</p> + +<p> <span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> +<h4><span class="smcap">An Ink which Cannot be Erased.</span></h4> + +<p>An ink which cannot be erased from paper or parchment by any known +chemical solvent, and will retain its original color indefinitely, and +last as long as the material on which it is written, is made as +follows:—Make a solution of shellac in borax, to which add sufficient +lampblack to give the requisite depth of color.</p> + +<p> </p> +<h4><span class="smcap">To Make Black Ink.</span></h4> + +<p>Lactate of iron, 15 grains; powdered gum arabic, 75 grains; powdered +sugar, half a drachm; gallic acid, 9 grains; hot water, 3 ounces. (Lactate +of iron is a novelty in ink-making, and the above formula may possibly +suit those who have a taste for writing with mucilaginous matters instead +of limpid solutions.)</p> + +<p> </p> +<h4>Black Ink for Stencils.</h4> + +<p>The following is commended for the preparation of a black ink or paste for +use with stencils:—Boneblack, 1 lb.; molasses, 8 ozs.; sulphuric acid, 4 +ozs.; dextrine, 2 ozs.; water sufficient. Mix the acid with about two +ounces of water, and add it to the other ingredients, previously mixed +together. When the effervescence has subsided, enough water is to be added +to form a paste of convenient consistence.</p> + +<p> <span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> +<h4><span class="smcap">Marking Ink.</span></h4> + +<p>Put two pennyworths’ lunar caustic (nitrate of silver) into half a +tablespoonful of gin, and in a day or two the ink is fit for use. The +linen to be marked must first be wet with a strong solution of common +soda, and be thoroughly dried before the ink is used upon it. The color +will be faint at first, but by exposure to the sun or the fire it will +become quite black and very durable.</p> + +<p> </p> +<h4><span class="smcap">Blue Marking Ink for White Goods.</span></h4> + +<table border="0" cellpadding="0" cellspacing="5" summary="marking ink"> +<tr><td>Crystallized nitrate of silver, dram</td><td> </td><td align="right">1</td></tr> +<tr><td>Water of ammonia, drams</td><td> </td><td align="right">3</td></tr> +<tr><td>Crystallized carbonate of soda, dram</td><td> </td><td align="right">1</td></tr> +<tr><td>Powdered gum arabic, drams</td><td> </td><td align="right">1½</td></tr> +<tr><td>Sulphate of copper, grains</td><td> </td><td align="right">30</td></tr> +<tr><td>Distilled water, drams</td><td> </td><td align="right">4</td></tr></table> + +<p>Dissolve the silver salt in the ammonia; dissolve the carbonate of soda, +gum arabic, and sulphate of copper in the distilled water, and mix the two +solutions together.</p> + +<p> </p> +<h4><span class="smcap">Blue-Black Writing Paper.</span></h4> + +<p>Take of Aleppo galls, bruised, 9 ozs.; bruised cloves, 2 drachms; cold +water, 80 ozs.; sulphate of iron, 3 ozs.; sulphuric acid, 70 minims; +indigo-paste, 4 drachms. Place the galls and the cloves in a gallon +bottle, pour upon them the water, and let them macerate, with frequent +agitation, for a fortnight. Press, and filter through<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> paper into another +gallon bottle. Next, put in the sulphate of iron, dissolve it, add the +acid, and shake the whole briskly. Lastly, add the indigo-paste, mix well, +and filter again through paper. Keep the ink in well-corked bottles.</p> + +<p> </p> +<h4><span class="smcap">Coloring Metals.</span></h4> + +<p>Metals may be rapidly colored by covering their surfaces with a thin layer +of sulphuric acid. According to the thickness of the layer and the +durability of its action, there may be obtained tints of gold, copper, +carmine, chestnut-brown, clear and aniline blue and reddish-white. These +tints are all brilliant, and if care be taken to scour the metallic +objects before treating them with the acid, the color will suffer nothing +from the polishing.</p> + +<p> </p> +<h4><span class="smcap">For Cheaply Gilding Bronzes, Etc.</span></h4> + +<p>A mixture for cheaply gilding bronzes, gas-fittings, etc.:—Two and +one-half pounds cyanide of potash, five ounces carbonate of potash and two +ounces cyanate of potass, the whole diluted in five pints of water, +containing in solution one-fourth ounce chloride of gold. The mixture must +be used at boiling heat, and, after it has been applied, the gilt surface +must be varnished over.</p> + +<p> <span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> +<h4><span class="smcap">How To Clean a Chamois Skin.</span></h4> + +<p>When a chamois skin gets into a dirty condition, rub plenty of soft soap +into it, and allow it to soak for a couple of hours in a weak solution of +soda and water. Then rub it until it appears quite clean. Now take a weak +solution of warm water, soda and yellow soap, and rinse the leather in +this liquor, afterward wringing it in a rough towel, and drying it as +quickly as possible. Do not use water alone, as that would harden the +leather and make it useless. When dry brush it well and pull it about; the +result will be that the leather will become almost as soft as fine silk, +and will be, to all intents and purposes, far superior to most new +leathers.</p> + +<p> </p> +<h4><span class="smcap">Hints on Dressing the Store Windows.</span></h4> + +<p>In dressing store windows avoid as far as possible placing cards or note +sheets flat; endeavor in some manner to have them erect, leaning against a +box or placed upon a small easel. Neither crowd your window nor place +things in exact rows. Give each article plenty of space in your window; +then you do not need so much to fill up, and on the following week put in +the pieces you might have displayed the previous week had you crowded your +window.</p> + +<p> <span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h4><span class="smcap">A Varnish for Paper.</span></h4> + +<p>A varnish for paper which produces no stains, may be prepared as +follows:—Clear damar resin is covered in a flask, with four and a half to +six times its weight of acetone, and allowed to stand for fourteen days at +a moderate temperature, after which the clear solution is poured off. +Three parts of this solution are mixed with four parts of thick collodian, +and the mixture allowed to become clear by standing. It is applied with a +soft hair brush in vertical strokes. At first the coating looks like a +thin, white film, but on complete drying it becomes transparent and +shining. It should be laid on two or three times. It retains its +elasticity under all circumstances, and remains glossy in every kind of +weather.</p> + +<p> </p> +<h4><span class="smcap">To Remove Grease Spots From Paper.</span></h4> + +<p>The following is a recipe for removing grease spots from paper:—Scrape +finely some pipe clay on the sheet of paper which <ins class="correction" title="Not in the original.">is</ins> to be cleaned. Let it +completely cover it, then lay a thin piece of paper over it, and pass a +heated iron on it for a few seconds. Then take a perfectly clean piece of +India rubber and rub off the pipe clay. In most cases one application will +be found sufficient, but if it is not, repeat it.</p> + +<p> <span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> +<h4><span class="smcap">Paper for Taking Out Ink Stains.</span></h4> + +<p>Thick blotting paper is soaked in a concentrated solution of oxalic acid +and dried. Laid immediately on a blot it takes it out without leaving a +trace behind.</p> + +<p> </p> +<h4><span class="smcap">Qualities of Good Paper.</span></h4> + +<p><ins class="correction" title="Not in the original.">A</ins> good paper ought to feel tight and healthy, not clammy and soft, as if a +little muscle were required. Paper-makers say that a good paper has +“plenty of guts” in it, a forcible if not extremely polite expression. In +buying a good paper always look out for the “guts.” Clay gives paper a +soft feel. Perhaps the first qualification about a good writing paper is +its cleanliness and freedom from specks of all kinds. A dirty paper is +never salable except to dirty people and firms who don’t mind using dirty +materials.</p> + +<p> </p> +<h4><span class="smcap">Paste for Labels.</span></h4> + +<p>For adhesive labels dissolve 1½ ozs. common glue, which has laid a day +in cold water, with some candy sugar, and ¾ oz. gum arabic, in 6 ounces +hot water, stirring constantly till the whole is homogeneous. If this +paste is applied to labels with a brush and allowed to dry, they will then +be ready for use by merely moistening with the tongue.</p> + +<p> <span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> +<h4><span class="smcap">How to Produce Engravings or Types for Printing by Photography</span></h4> + +<p>The process of producing engravings or types for printing by photography +consists first, in making a sharp negative of the picture to be engraved; +second, in the photographic printing of a sheet of sensitized gelatine by +means of the negative; third, the development of the printed lines upon +the surface of the gelatine by water; and fourth, the casting of a copy of +the developed gelatine sheet in metal, the metal so produced being used +for printing on the press in the ordinary manner. All this is very simple, +and in the hands of experienced and skilled persons very beautiful +examples of printing plates, having all the fineness and artistic effect +of superior hand engraved work, may be produced.</p> + +<p> </p> +<h4><span class="smcap">How to Split a Sheet of Paper.</span></h4> + +<p>Get a piece of plate glass and place on it a sheet of paper; then let the +paper be thoroughly soaked. With care and a little dexterity the sheet can +be split by the top surface being removed. But the best plan is to paste a +piece of cloth or strong paper on each side of the sheet to be split. When +dry, violently and without hesitation pull the two pieces asunder, when +part of the sheet will be found to have adhered to one and part to the +other. Soften the paste in<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> water and the pieces can be easily removed +from the cloth. The process is generally demonstrated as a matter of +curiosity, yet it can be utilized in various ways. If we want to paste in +a scrap book a newspaper article printed on both sides of the paper, and +possess only one copy, it is very convenient to know how to detach the one +side from the other. The paper, when split, as may be imagined, is more +transparent than it was before being subjected to the operation, and the +printing ink is somewhat duller; otherwise the two pieces present the +appearance of the original if again brought together.</p> + +<p> </p> +<h4><span class="smcap">Aniline Ink Paper.</span></h4> + +<p>To make aniline ink paper thick filtering paper is soaked in a very +concentrated solution of an aniline dye and allowed to dry; it may then be +soaked again to make it absorb more color. With a little attention it will +not be difficult to prepare the paper so as to have a known quantity of +coloring matter in a square of a given size. Paper prepared as above is +very convenient to have when traveling; when one wishes to write, it is +only necessary to tear off a small piece of the paper and let it soak in a +little water. Aniline blue paper may also be employed conveniently for +bluing in washing.</p> + +<p> <span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> +<h4><span class="smcap">To Make Incombustible Writing and Printing Paper.</span></h4> + +<p>To make incombustible writing and printing paper, asbestos of the best +quality is treated with potassium permanganate and then with sulphuric +acid. About ninety-five per cent of such asbestos is mixed with five per +cent of wood pulp in water containing borax and glue. A fire proof ink is +made of platinous chloride and oil of lavender, mixed for writing with +India ink and gum, and for printing with lampblack and varnish.</p> + +<p> </p> +<h4><span class="smcap">How to Take Printers’ Ink out of Silk.</span></h4> + +<p>To take printer’s ink out of silk without damaging the goods:—Put the +stained parts of the fabric into a quantity of benzine, then use a fine, +rather stiff brush, with fresh benzine. Dry and rub bright with warm water +and curd soap. The benzine will not injure the fabric or dye.</p> + +<p> </p> +<h4><span class="smcap">To Remove Ruling Ink Stains From Fingers.</span></h4> + +<p>Wash in chloride of lime and then rinse hands in a spoonful of alcohol. +The operation should be done quickly, as the lime, of course, eats into +the flesh. The alcohol renders the hands smooth again, and takes away the +disagreeable odor.</p> + +<p> <span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> +<h4><span class="smcap">To Prevent Window Steaming.</span></h4> + +<p>A remedy against window steaming is composed of methylated spirit at about +63 per cent over-proof, glycerine and any of the essential oils, and in +some cases amber dissolved in spirit, according to the state of the +atmosphere.</p> + +<p>About eight ounces of glycerine to about one gallon of spirit, the +quantity of essential oil depending upon the nature of the same; but it +will be understood that these proportions may be varied. Instead of +methylated spirit, spirit of wine may be employed, but methylated spirit +is preferable as being the cheaper. In combining the above-named +ingredients, the essential is destroyed by being mixed with the methylated +spirit or with the spirit of wine, and the liquid is then incorporated +with the glycerine. The combination is affected at the ordinary +temperature, the employment of heat being unnecessary. This liquid +composition is applied to the internal surface of the pane of glass or the +lens, either by rubbing it on with felt or with cotton-waste, or by +spreading it thereon with a camel’s hair brush, or with other suitable +appliances, and thus the dull and dimmed appearance of glass usually +produced by condensation—known as steaming or sweating—is avoided.</p> + +<p> <span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> +<h4><span class="smcap">To Render Paper Soft and Flexible.</span></h4> + +<p>To render paper soft and flexible, heat it with a solution of acetate of +soda, or of potash dissolved in four to ten times its weight of water. For +permanent paper, to twenty parts of this solution one part of starch or +dextrine is added. If the paper has to be made transparent, a little of a +solution containing one part soluble glass in four to eight parts water is +added. To render the paper fit for copying without being made wet, to the +acetate solution chromic acid or ferro-cyanide of potassium is added.</p> + +<p> </p> +<h4><span class="smcap">To Remove Ink Spots.</span></h4> + +<p>First moisten the blots with a strong solution of oxalic acid, then with a +clear saturated aqueous solution of fresh chloride of lime—bleaching +powder. Absorb excess of the liquids from the paper as quickly as possible +with a clean piece of blotting paper. Repeat the treatment if necessary, +and dry thoroughly between blotting pads under pressure.</p> + +<p> </p> +<h4><span class="smcap">Electro <ins class="correction" title="original reads 'Gildng'">Gilding</ins> in Colors.</span></h4> + +<p>Electro-gilding in various colors may be readily effected by adding to the +gold bath small quantities of copper or silver solution until the desired +tint is obtained. A little silver solution added to the gilding bath<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> +causes the deposit to assume a pale yellow tint. By increasing the dose of +silver solution a pale greenish tint is obtained. Copper solution added to +the gold bath yields a warm, red gold tint. It is best to use a current of +rather high tension, such as that of the Bunsen battery, for depositing +the alloy of gold and copper.</p> + +<p> </p> +<h4><span class="smcap">To Remove Oil Marks From Paper.</span></h4> + +<p>Oil marks on wall paper, where careless persons have rested their heads, +may be removed by making a paste of cold water and pipe clay or fuller’s +earth, and laying it on the stains without rubbing it in; leave it on all +night, and in the morning it can be brushed off, and the spot, unless it +be a very old one, will have disappeared. If old, renew the application.</p> + +<p> </p> +<h4><span class="smcap">To Remove Ink Stains From Mahogany.</span></h4> + +<p>To remove ink stains from mahogany apply carefully with a feather a +mixture of a teaspoonful of water and a few drops of nitre, and rub +quickly with a damp cloth.</p> + +<p> </p> +<h4><span class="smcap">Solid Pocket Glue.</span></h4> + +<p>Is made from 600 grams of glue and 250 grams of sugar. The glue is at +first completely dissolved by boiling with water; the sugar is then +introduced into the hot solution, and the mixture evaporated until it<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> +becomes solid on cooling. The hard mass dissolves very rapidly in lukewarm +water, and then gives a paste which is especially adapted for paper.</p> + +<p> </p> +<h4><span class="smcap">To Test Glue.</span></h4> + +<p>An article of glue which will stand damp atmosphere is a desideratum among +mechanics. Few know how to judge of quality except by the price they pay +for it. But price is no criterion; neither is color, upon which so many +depend. Its adhesive and lasting properties depend more upon the material +from which it is made, and the method of securing purity in the raw +material, for if that is inferior and not well cleansed, the product will +have to be unduly charged with alum or some other antiseptic, to make it +keep during the drying process. Weathered glue is that which has +experienced unfavorable weather while drying, at which time it is rather a +delicate substance. To resist damp atmosphere well, it should contain as +little saline matter as possible. When buying the article, venture to +apply your tongue to it, and if it tastes salt or acid, reject it for +anything but the commonest purpose. The same operation will also bring out +any bad smell the glue may have. These are simple and ready tests and are +the ones usually adopted by dealers and large consumers. Another<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> good +test is to soak a weighed portion of dry glue in cold water for +twenty-four hours, then dry again and weigh. The nearer it approaches to +its original weight the better glue it is, thereby showing its degree of +insolubility.</p> + +<p> </p> +<h4><span class="smcap">Book-Binders’ Glue.</span></h4> + +<p>To prevent book-binders glue from turning sour, add enough of the raw +salicylic acid in boiling water to keep it soluble. It is also commended +never to keep glue in open pots, but in cylindrical shaped vessels that +admit of tight corking.</p> + +<p> </p> +<h4><span class="smcap">How to Make a Cement for Glass That Will Resist Acids.</span></h4> + +<p>To make a cement for glass that will resist acids, the following has been +recommended:—Take 10½ pounds of pulverized stone and glass, and mix +with it 4¾ pounds of sulphur. Subject the mixture to such a moderate +degree of heat that the sulphur melts. Stir until the whole becomes +homogeneous, and then run it into molds. When required for use it is to be +heated to 248°, degrees, at which temperature it melts, and may be +employed in the usual manner. This, it is said, resists the action of +acids, never changes in the air, and is not affected in boiling water. At +230° it is said to be as hard as stone.</p> + +<p> <span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<h4><span class="smcap">Cement for Labels.</span></h4> + +<p>1. Macerate 5 parts of glue in 18 parts of water. Boil and add 9 parts +rock candy and 5 parts gum arabic. 2. Mix dextrine with water and add a +drop or two of glycerine. 3. A mixture of one part of dry chloride of +calcium, or 2 parts of the same salt in the crystallized form, and 36 +parts of gum arabic, dissolved in water to a proper consistency, forms a +mucilage which holds well, does not crack by drying, and yet does not +attract sufficient moisture from the air to become wet in damp weather. 4. +For attaching labels to tin and other bright metallic surfaces, first rub +the surface with a mixture of muriatic acid and alcohol, then apply the +label with a very thin coating of the paste, and it will adhere almost as +well as on glass. 5. To make cement for attaching labels to metals, take +10 parts tragacanth mucilage, 10 parts of honey, and 1 part flour. The +flour appears to hasten the drying, and renders it less susceptible to +damp.</p> + +<p> </p> +<h4><span class="smcap">A Colorless Cement for Joining Sheets of Mica.</span></h4> + +<p>A colorless cement for joining sheets of mica is prepared as +follows:—Clear gelatine softened by soaking it in a little cold water, +and the excess of water pressed out by gently squeezing it in a cloth. It +is<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> then heated over a water bath until it begins to melt, and just enough +hot proof spirit (not in excess) stirred in to make it fluid. To each pint +of this solution is gradually added, while stirring, one-fourth ounce of +sal-ammoniac and one and one-third ounces of gum mastic, previously +dissolved in four ounces of rectified spirits. It must be warmed to +liquefy it for use, and kept in stoppered bottles when not required. This +cement, when properly prepared, resists cold water.</p> + +<p> </p> +<h4><span class="smcap">A Cement That Will Resist the Damp.</span></h4> + +<p>A cement that will resist the damp, but will not adhere if the surface is +greasy, is made by boiling together 2 parts shellac, 1 part borax, and 16 +parts water.</p> + +<p> </p> +<h4><span class="smcap">To Make Glue Waterproof.</span></h4> + +<p>The best substance is bichromate of potash. Add about one part of it, +first dissolved in water, to every thirty or forty parts of glue; but you +must keep the mixture in the dark, as light makes it insoluble. When you +have glued your substances together, expose the joint to the light, and +every part of the glue thus exposed will become insoluble, and therefore +waterproof. If the substances glued together are translucent like paper, +all will become waterproof; if opaque like wood, only the<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> exposed edges +will become so, but they also protect the interior—not exposed +parts—against the penetration of moisture.</p> + +<p> </p> +<h4><span class="smcap">Two Glue Recipes.</span></h4> + +<p>A glue ready for use is made by adding to any quantity of glue, common +whisky, instead of water. Put both together in a bottle, cork it tight and +set it for three or four days, when it will be fit for use without the +application of heat. Glue thus prepared will keep for years, and is at all +times fit for use, except in very cold weather, when it should be set in +warm water before using. To obviate the difficulty of the stopper getting +tight by the glue drying in the mouth of the vessel, use a tin vessel with +the cover fitting tight on the outside to prevent the escape of the spirit +by evaporization. A strong solution of isinglass made in the same manner +is an excellent cement for leather.</p> + +<p>A valuable glue is made by an admixture with common glue of one part of +acid chromate of lime in solution to five parts of gelatine. The glue made +in this manner, after exposure, is insoluble in water, and can be used for +mending glass objects likely to be exposed to hot water. It can also be +made available for waterproofing articles such as sails or awnings, but +for<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> flexible fabrics it is not suitable. A few immersions will be found +sufficient to render the article impervious to wet. It is necessary that +fractured articles should be exposed to the light after being mended, and +then warm water will have no effect on them, the chromate of lime being +better than the more generally used bichromate of potash.</p> + +<p> </p> +<h4><span class="smcap">Postage Stamp Mucilage.</span></h4> + +<p>Postage stamp mucilage can be made by dissolving an ounce of dextrine in +five ounces of hot water, and adding one ounce of acetic acid and one +ounce of alcohol. The dextrine should be dissolved in water in a glue pot, +or some similar vessel, which will prevent burning. The quantities in this +recipe may be varied by taking any required weights in the proportions +mentioned. Dr. Phin says that dextrine mixed with water makes a good label +mucilage if a drop or two of glycerine be added to it. Too much glycerine +will prevent the mucilage drying; with too little it will be likely to +crack.</p> + +<p> </p> +<h4><span class="smcap">How to Keep Mucilage Fresh.</span></h4> + +<p>To keep mucilage fresh, and prevent the formation of mould, drop into the +bottle a few crystals of thymol, which is a strong and harmless +antiseptic.</p> + +<p> <span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> +<h4><span class="smcap">Mucilage in a Solid Form Which Will Dissolve in Water.</span></h4> + +<p>Mucilage in a convenient solid form, and which will readily dissolve in +water, for fastening paper, prints, etc., may be made as follows:—Boil +one pound of the best white glue, and strain very clear; boil also four +ounces of isinglass, and mix the two together; place them in a water +bath—a glue pot will do—with one-half pound of white sugar, and +evaporate till the liquid is quite thick, when it is to be poured into +molds, dried, and cut into pieces of convenient size.</p> + +<p> </p> +<h4><span class="smcap">Mucilage for Pasteboard.</span></h4> + +<p>Persons are often at a loss for a very strong mucilage having sufficient +power of tenacity to fasten sheets of pasteboard together. The following +cement is recommended by a scientific authority. It has the additional +advantage of being waterproof. Melt together equal parts of pitch and +gutta-percha. To nine parts of this add three parts of boiled oil, and +one-fifth part of litharge. Continue the heat with stirring until a +thorough union of the ingredients is effected. Apply the mixture hot or +somewhat cooled, and thinned with a small quantity of benzole or +turpentine oil.</p> + +<p> <span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> +<h4><span class="smcap">A Portable Ink.</span></h4> + +<p>The aniline colors, which possess great tinctorial powers, can be +conveniently used in the preparation of a portable ink. Saturate white +tissue paper with an aniline violet, or with aniline black, by dipping the +sheets into a saturated alcoholic solution of these colors; then dry and +pack them in suitable parcels, and you will have a portable ink, either +violet or black.</p> + +<p> </p> +<h4><span class="smcap">Indelible India Ink.</span></h4> + +<p>Draughtsmen are aware that lines drawn on paper with good India ink well +prepared cannot be washed out by mere sponging or washing. Now, however, +it is proposed to take advantage of the fact that glue or gelatine, when +mixed with bichromate of potassa, and exposed to the light, becomes +insoluble, and thus renders India ink, which always contains a little +gelatine, indelible. Reisenbichler, the discoverer, calls this kind of ink +“Harttusche,” or “hard India ink.” It is made by adding to the common +India ink of commerce about one per cent, in a very fine powder, of +bichromate of potash. This must be mixed with the ink in a dry state; +otherwise, it is said, the ink could not be easily ground in water. Those +who cannot provide themselves with ink prepared as above in a cake,<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> can +use a dilute solution of bichromate of potash in rubbing up the ink. It +answers the same purpose, though the ink should be used thick, so that the +yellow salt will not spread.</p> + +<p> </p> +<h4><span class="smcap">To Make Copying Inks.</span></h4> + +<p>Dissolve in a pint and a half of writing ink (violet or any other color) +an ounce of lump sugar or sugar candy. A copying ink, so slow drying that +writing in it can be copied by the use of no greater pressure than the +hand can produce when passed over a sheet of paper, may <ins class="correction" title="Not in the original.">be</ins> made by boiling +away nearly half of some ordinary writing fluid and then adding as much +glycerine.</p> + +<p> </p> +<h4><span class="smcap">A Good Paster.</span></h4> + +<p>Let a little starch lie in vinegar over night. Pour in boiling water, +stirring briskly till it thickens. It will keep better if a few drops of +carbolic acid are added. A very little corrosive sublimate will keep out +insects. A little glue dissolved in the vinegar will make it stronger. It +leaves the pasted scrap-page flexible, adheres firmly, dries quickly, and +does not give a varnishy look to even the thinnest print paper.</p> + +<p> </p> +<h4><span class="smcap">A Paste Which Will Not Spoil.</span></h4> + +<p>A paste that will not spoil is made by dissolving a piece of alum the size +of a walnut<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> in one pint of water. Add to this two tablespoonfuls flour +made smooth with a little cold water, and a few drops of oil of cloves, +putting the whole to a boil. Put up in a glass canning-jar.</p> + +<p> </p> +<h4><span class="smcap">Electric Paper.</span></h4> + +<p>Electric paper may be made thus:—Tissue paper or filtering paper is +soaked in a mixture consisting of equal quantities of saltpetre and +sulphuric acid. It is afterwards exposed to dry, when a pyroxyline (a +substance resembling gun-cotton) forms. This is in the highest degree +electrical.</p> + +<p> </p> +<h4><span class="smcap">A Silver Solder.</span></h4> + +<p>To make silver solder melt together 34 parts, by weight, silver coin, and +five parts copper; after cooling a little, drop into the mixture 4 parts +zinc, then heat again.</p> + +<p> </p> +<h4><span class="smcap">An Alloy For Glass Or Metal.</span></h4> + +<p>The following alloy, it is said, will attach itself firmly to glass, +porcelain or metal.—Twenty to thirty parts of finely pulverulent copper, +prepared by precipitation or reduction with the battery, are made into a +paste with oil of vitriol. To this seventy parts of mercury are added, and +well triturated. The acid is then washed out with boiling water and the +compound allowed to cool. In ten or twelve hours it becomes sufficiently<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +hard to receive a brilliant polish, and to scratch the surface of tin or +gold. When heated it is plastic, but does not contract on cooling.</p> + +<p> </p> +<h4><span class="smcap">An Improved Process of Photo-Engraving.</span></h4> + +<p>The metal plate, of copper or zinc, is coated with a very thin layer of +bitumen of Judæa, and when this coat has become perfectly dry, a film of +bichromatized albumen is flowed over the plate. It is next exposed in the +camera, and afterwards washed with water, in order to dissolve all the +albumen which has not been rendered insoluble by the luminous action; it +is then treated with spirit of turpentine, which dissolves all those parts +of the layer of bitumen that have become exposed. The plate can now be +attacked directly by water acidulated with from four to six per cent of +nitric acid. The great advantage of this method consists in the high +sensitiveness of the bichromatized albumen, at the same time preserving +the solid reserve produced by the bitumen of Judæa on a metallic surface.</p> + +<p> </p> +<h4><span class="smcap">To Make New a Corroded Pen.</span></h4> + +<p>When a pen has become so corroded as to be useless, it can be made good as +new by holding it in the flame of a gas jet for<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> half a minute; then drop +in cold water, take out, wipe clean, and it will be ready for use again.</p> + +<p> </p> +<h4><span class="smcap">Enamel for Fine Cards.</span></h4> + +<p>For the brilliant enamel now often generally applied to fine cards and +other purposes, the following formula is given:—For white and for all +pale and delicate shades, take twenty-four parts, by weight, of paraffine; +add thereto 100 parts of pure kaolin (China clay), very dry and reduced to +a fine powder. Before mixing with the kaolin, the paraffine must be heated +to fusing point. Let the mixture cool, and it will form a homogeneous +mass, which is to be reduced to powder, and worked into paste in a +paint-mill, with warm water. This is the enamel ready for application. It +can be tinted according to fancy.</p> + +<p> </p> +<h4><span class="smcap">Electrotyping Handwriting.</span></h4> + +<p>To produce electrotypes or stereotypes of letters, signatures, ordinary +written matter, drawings or sketches, coat a smooth surface of glass or +metal with a smooth, thin layer of gelatine, and let it dry. Then write or +draw upon it with an ink containing chrome alum, allow it to dry exposed +to light, and immerse the plate in water. Those parts of the surface which +have not been written upon will swell up and form a<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> relief plate, while +those parts which have been written upon with the chrome ink have become +insoluble in water, after exposure to light. The relief may be transferred +to plaster of Paris, and from this may be made a plate in type metal.</p> + +<p> </p> +<h4><span class="smcap">Black Paint for Blackboards.</span></h4> + +<p>Take shellac varnish, one-half gallon; lampblack, five ounces; powdered +iron ore or emery in fine powder, three ounces. If too thick, thin down +with alcohol. Give the wood three coats of the composition, allowing each +to dry before putting on the next. The first coat may be of shellac and +lampblack alone.</p> + +<p> </p> +<h4><span class="smcap">To Clean Steel Pens.</span></h4> + +<p>Potato is used to clean steel pens, and generally act as a pen-wiper. It +removes all ink crust, and gives a peculiarly smooth flow to the ink. Pass +new pens two or three times through a gas flame, and then the ink will +flow freely.</p> + +<p> </p> +<h4><span class="smcap">Stationers’ Windows.</span></h4> + +<p>It is important that strangers should get a good impression with a tasty +window, or a polite reception when entering the store. Remember that first +impressions go a great way, and when once formed, good or bad, are very +hard to get rid of. Make it a<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> special point to clean the window once a +week, put in different stock every time, and do not be afraid to display +goods because the dust will spoil them. If the article in question is +delicate and easily ruined, leave it in the window only a few days; +display samples of the latest goods, and, if necessary, buy some article +that is showy, and which you think will attract people, especially for the +window, even though the amount expended is “sunk.” It will certainly pay +in the end. If your stock of a certain article or class of goods is large, +devote the whole window to it for a week.</p> + +<p>It is impossible to give rules for the arrangement, which, of course, +depends on the goods to be shown and the taste of the person dressing the +window. Stamped papers and visiting cards can be shown effectively in the +following manner:—Have a number of wooden blocks made the size of a +quarter of a ream of paper and a package of visiting cards; wrap these +neatly with a sample sheet of paper or cards on the outside, tied with +ribbon. Another way to show printed visiting cards is to make a small +pyramid of them by taking three small square boxes of different sizes, +which, when placed one on top of the other, will form a small pyramid. +Cover these entirely with samples of visiting cards, and place in the +center of the window.</p> + +<p> <span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> +<h4><span class="smcap">Photo-Lithographic Transfer Paper.</span></h4> + +<p>Photo-lithographic transfer paper and ink are prepared in the following +manner:—The paper is treated with a solution of a hundred parts of +gelatine and one part of chrome alum in 2,400 parts of water. After +drying, it is treated with the white of egg. It is made sensitive with a +bath consisting of one part of chrome alum, 14 parts of water and 4 parts +of alcohol. The latter ingredient prevents the white of egg from +dissolving. On the dark places the white of egg, together with the ink +with which the exposed paper has been coated, separates in water. The +transfer ink consists of 20 parts of printing ink, 50 parts of wax, 40 +parts of tallow, 35 parts of colophony, 210 parts of oil of turpentine, 30 +parts of Berlin blue. It is found that a varnish formed of Canadian +balsam, dissolved in turpentine, supplies a most valuable means of making +paper transparent. The mode by which this is most satisfactorily +accomplished is by applying a thin coating of this varnish to the paper, +so as to permeate it thoroughly, after which it is to be coated on both +sides with a much thicker mixture. The paper is kept warm by performing +the operation before a hot fire, and a third and even a fourth coating may +be applied until the texture of the paper is seen to merge into +<ins class="correction" title="original reads 'homoegeneous'">homogeneous</ins> translucency. Paper<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> prepared according to this process is +said to come nearer than any other to the highest standard of perfection +in transparent paper. Care must be used in making, as the materials are +highly inflammable.</p> + +<p> </p> +<h4><span class="smcap">Different Kinds of Engraving.</span></h4> + +<p>“Line” engraving is of the highest order. All engravings are done in +“line”—simply straight lines. Next comes “line” and “stiple.” “Stiple” +means dots—small dots like this:—....—.... These small dots are used to +lighten up the high parts of the face or drapery. It is very hard to +engrave a face in lines, simply, and only master engravers have ever +undertaken it. The masters understand and practice both in “line” and +“stiple.” Claude Mellan engraved, in 1700, a full head of Christ, with one +unbroken line. This line commenced at the apex of the nose, and wound out +and out like a watch spring. Mezzotint engravings are produced thus:—The +steel or copper is made rough like fine sand paper. To produce soft +effects, this rough surface is scraped off. If you want a high place or +“high light” in your engraving, scrape the surface smooth, then the ink +will not touch it. If you want faint color, scrape off a little. Such +engravings look like lithographs. Etching is adapted to homely and +familiar-sketches. Etching is done thus:—The<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> copper or steel plate is +heated and covered with black varnish. The engraver scratches off this +varnish with sharp needles, working on the surface as he would on paper +with a pencil. Nitric acid is then passed over the plate, and it eats away +at the steel and copper wherever the needle has scraped off the varnish. +When the varnish is removed with spirits of turpentine, the engraving is +seen in sunken lines on the plate.</p> + +<p> </p> +<h4><span class="smcap">How to Preserve Pencil Sketches.</span></h4> + +<p>The pencil drawings of mechanical draughtsmen and engineers may be +rendered ineffaceable by the following process:—Slightly warm a sheet of +ordinary drawing paper, then place it carefully on the surface of a +solution of white resin in alcohol, leaving it there long enough to become +thoroughly moistened. Afterward dry it in a current of warm air. Paper +prepared in this way has a very smooth surface. In order to fix the +drawing, the paper is to be warmed for a few moments. This process may +prove useful for the preservation of plans or designs when the want of +time or any other cause will not allow the draughtsman reproducing them in +ink. A simpler method than the above, however, is to brush over the back +of the paper containing the charcoal or pencil sketch with a weak solution +of white shellac in alcohol.</p> + +<p> <span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> +<h4><span class="smcap">Care of Wood Type.</span></h4> + +<p>Wood type should always be kept in a cool and dry place—not, as is often +the case, a few feet from a large stove, or directly over the lye and wash +tub. The drawer or shelves—drawers or cases are preferable to +shelves—where they are kept, should not, as very often happens, be made +of unseasoned wood, for this reason: type wood is usually perfectly +seasoned, and when allowed to remain for any length of time on a damp +surface, the moisture is absorbed, the bottom expands, and a warped type, +ready to be broken at the first impression, is the result.</p> + +<p>Wood type should only be washed with oil. A moistened cloth is sufficient, +is more economical, and is certainly much cleaner than using their weight +in oil. All wood type have a smooth and polished face, and if properly +cleaned when put away will last for years. In fact, proper use only +improves the working qualities. Wood type forms should not be left +standing near hot stoves, or left locked up over night on a damp press or +stone to warp, swell, and perhaps ruin a costly chase.</p> + +<p> </p> +<h4><span class="smcap">Copper-Plating on Zinc.</span></h4> + +<p>Take an organic salt of copper—for instance, a tartrate. Dissolve 126 +grammes sulphate of copper (blue vitriol) in two<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> litres of water; also +227 grammes tartrate of potash and 286 grammes crystallized carbonate of +soda in 2 litres of water. On mixing the two solutions, a light +bluish-green precipitate of tartrate of copper is formed. It is thrown on +a linen filter and afterwards dissolved in half a litre of caustic soda +solution of 16° B. when it is ready for use.</p> + +<p>The coating obtained from this solution is very pliable, smooth and +coherent, with a fine surface; acquires any desired thickness if left long +enough in the bath.</p> + +<p>Other metals can also be employed for plating, in the form of tartrates. +Instead of tartrates, phosphates, oxalates, citrates, acetates and borates +of metals can be used; so that it seems <ins class="correction" title="original reads 'posssble'">possible</ins> to entirely dispense with +the use of cyanide baths.</p> + +<p> </p> +<h4><span class="smcap">To Transfer Engravings To Mother-of-Pearl.</span></h4> + +<p>To transfer engravings to mother-of-pearl, coat the shell with thin white +copal varnish. As soon as the varnish becomes sticky, place the engraving +face down on it, and press it well into the varnish. After the varnish +becomes thoroughly dry, moisten the back of the engraving and remove the +paper very carefully by rubbing. When the paper is all removed and the +surface becomes dry, varnish lightly with copal.</p> + +<p> <span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p> +<h4><span class="smcap">Metal for Stereotyping.</span></h4> + +<p>For every six pounds of lead add one pound of antimony. The antimony +should be broken into very small pieces, and thrown on the top of the lead +when it is at red heat. It is a white metal, and so brittle that it may be +reduced to powder; it melts when heated to redness; at a higher heat it +evaporates.</p> + +<p>The cheapest and most simple mode of making a stereotype metal is to melt +old type, and to every fourteen pounds add about six pounds of grocer’s +tea-chest lead. To prevent any smoke arising from the melting of tea-chest +lead it is necessary to melt it over an ordinary fire-place, for the +purpose of cleansing it, which can be done by throwing in a small piece of +tallow about the size of a nut, and stir it briskly with the ladle, when +the impurities will rise to the surface, and can be skimmed off.</p> + +<p>In the mixing of lead and type-metal see that there are no pieces of zinc +among it, the least portion of which will spoil the whole of the other +metal that is mixed with it. Zinc is of a bluish white color; its hue is +intermediate between that of lead and tin. It takes about eighty degrees +more heat than lead to bring it into fusion; therefore, should any metal +float on the top of the lead, do not try to mix it, but immediately take +it off with the ladle.</p> + +<p> <span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> +<h4><span class="smcap">How to Fix Pencil Marks so They Will Not Rub.</span></h4> + +<p>To fix pencil marks so they will not rub, take well skimmed milk and +dilute with an equal bulk of water. Wash the pencil marks (whether writing +or drawing) with this liquid, using a soft camel-hair brush, and avoid all +rubbing. Place upon a flat board to dry.</p> + +<p> </p> +<h4><span class="smcap">How to Obtain a Bright and Lasting Red Edge.</span></h4> + +<p>A bright and lasting red edge may be obtained by the following +process:—Take the best vermillion and add a pinch of carmine; mix this +with glaire, slightly diluted. Take the book and bend over the edge so as +to allow the color to slightly permeate it; then apply the color with a +bit of fine Turkey sponge, bend over the edge in the opposite direction, +and color again. When the three edges have been done in this manner, allow +them to dry. Next screw the book tightly up in the cutting press, and +after wiping the edge with a waxed rag, burnish well with a flat agate +burnisher.</p> + +<p> </p> +<h4><span class="smcap">To Restore the Lustre of Morocco Leather.</span></h4> + +<p>The lustre of morocco leather is restored by varnishing with white of egg.</p> + +<p> <span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> +<h4><span class="smcap">To Restore the Original Whiteness Of Copper-Plate, Wood Engraving, Etc.</span></h4> + +<p>The following process will restore the original whiteness of copper-plate, +wood-engraving or printed matter:—Place a piece of phosphorus in a large +glass vessel; pour in water of 30° centigrade (that is 86° Fahrenheit) +temperature until the phosphorus is half covered. Cork up, but not +tightly, the glass vessel, and lay it in a moderately warm place for +fourteen hours. Damp the paper that is to be bleached, with distilled +water; fasten it to a piece of platinum wire and hang it up inside the +glass vessel. The faded paper after a short time will regain its original +white color. It should then be taken out and washed in water; next drawn +through a weak solution of soda, and finally dipped in pure water and laid +on a glass table, and thus made dry and smooth.</p> + +<p> </p> +<h4><span class="smcap">For Electrotyping on China.</span></h4> + +<p>For electrotyping on China and similar non-conducting materials:—Sulphur +is dissolved in oil of spike lavender to a syrupy consistence; then +chloride of gold or chloride of platinum is dissolved in ether, and the +two solutions mixed under a gentle heat. The compound is next evaporated +until the thickness of ordinary paint, in which condition it is applied +with a brush to such portions of the china, glass or other<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> fabric as it +is desired to cover, according to the design or pattern, with the +electrometallic deposit. The objects are baked in the usual way before +they are immersed in the bath.</p> + +<p> </p> +<h4><span class="smcap">Painting on Ebonized Wood.</span></h4> + +<p>The great difficulty to be overcome in painting on ebonized wood, is the +non-absorbent character of the surface, which will not allow the paint to +sink in. Washing the panel over with onion juice enables the paint to +adhere more easily. The paint, whether oil or water color, must be laid on +thickly. In order that the painting, whether of flowers or figures, shall +prove a decoration, the black space between the painted figures must be +graceful in shape. Water color paintings on such panels require to be +varnished. Oil color does not need the varnish.</p> + +<p> </p> +<h4><span class="smcap">How Gilding is Done.</span></h4> + +<p>Letters written on vellum or paper are gilded in three ways. In the first +a little size is mixed with the ink, and the letters are written as usual; +when they are dry a slight degree of stickiness is produced by breathing +on them, upon which the gold leaf is immediately applied, and by a little +pressure may be made to adhere with sufficient firmness. In the second +method some<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> white lead or chalk is ground up with strong size, and the +letters are made with this by means of a brush; when the mixture is almost +dry, the gold leaf may be laid on and afterward burnished. The best method +is to mix up some gold powder with size, and make the letters of this by +means of a brush.</p> + +<p>The edges of the leaves of books are gilded while in the binders’ press, +by first applying a composition formed of four parts of Armenian bole and +one of sugar candy, ground together to a proper consistence; it is laid on +by a brush with white of egg; this coating, when nearly dry, is smoothed +by the burnisher; it is then slightly moistened with clear water, the gold +leaf applied, and afterwards burnished.</p> + +<p>In order to impress the gilt figures on the leather covers of books, the +leather is first dusted over with very fine powdered resin or mastic; then +the iron tool by which the figure is made is moderately heated and pressed +down upon a piece of leaf gold which slightly adheres to it, being then +immediately applied to the surface of the leather with a certain force; +the tool at the same time makes an impression, and melts the mastic which +lies between the heated iron and the leather; in consequence of this, the +gold with which the face of the tool is covered is made to adhere to the<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> +leather, so that on removing the tool a gilded impression of it remains +behind.</p> + +<p> </p> +<h4><span class="smcap">Principal Colors of Gold for Grinding.</span></h4> + +<p>The principal colors of gold for grinding are red, green, yellow. These +should be kept in different amalgams. The part which is to remain of the +first color is to be stopped off with a composition of chalk and glue; the +variety required is produced by gilding the unstopped parts with the +proper amalgam, according to the usual mode of gilding. Sometimes the +amalgam is applied to the surface to be gilt, without any quicking, by +spreading it with aquafortis; but this depends on the same principle as a +previous quicking.</p> + +<p> </p> +<h4><span class="smcap">Writing on Metals.</span></h4> + +<p>To write on metals, take half a pound of nitric acid and one ounce +muriatic acid. Mix and shake well together, and then it is ready for use. +Cover the plate you wish to mark with melted beeswax; when cold, write +your inscription plainly in the wax clear to the metal with a sharp +instrument. Then apply the mixed acids with a feather, carefully filling +each letter. Let it remain from one to ten hours, according to the +appearance desired, throw on water, which stops the process, and remove +the wax.</p> + +<p> <span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> +<h4><span class="smcap">How to Transfer a Photographic Print to Glass.</span></h4> + +<p>To transfer a photographic print to glass for painting or for other +purposes, separate the paper print from the background by steaming it; dry +thoroughly, and having given the warmed glass an even coating of clean +balsam or negative varnish, place the face of the print on the surface +thus prepared, smooth it out and let it stand in a cool place until the +varnish has hardened. Then apply water, and with a soft piece of +gum-rubber rub off the paper so as to leave the photographic image on the +varnished glass.</p> + +<p> </p> +<h4><span class="smcap">Stereotyping Woodcuts.</span></h4> + +<p>In stereotyping woodcuts, care should be taken that they are thoroughly +dry before being sent to the foundry, as the intense heat to which they +are subjected frequently causes them to warp and split, especially if +pierced.</p> + +<p> </p> +<h4><span class="smcap">To Gild with Gold Leaf.</span></h4> + +<p>Bookbinders use gold leaf in two ways—to gild on the edge, and to place +gold letters on the binding. To gild on the edge, the edge is smoothly +cut, put in a strong press, scraped so as to make it solid, and the +well-beaten white of an egg, or albumen, put on thinly; the gold leaf is +then put on before the albumen is dry; it is<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> pressed down with cotton, +and when dry polished with an agate polisher. To put on the lettering, the +place where the letters are to appear is coated with albumen, and after it +is dry, the type to be used is heated to about the boiling point of water, +the gold leaf is put on, either on the book or on the type, and then +placed on the spot where the lettering is desired, when the gold leaf will +adhere by the heat of the type, while the excess of gold leaf loosely +around is rubbed off with a tuft of cotton.</p> + +<p> </p> +<h4><span class="smcap">Gilding on Wood.</span></h4> + +<p>To gild in oil, the wood, after being properly smoothed, is covered with a +coat of gold size, made of drying linseed oil mixed with yellow ochre. +When this has become so dry as to adhere to the fingers without soiling +them, the gold leaf is laid on with great care and dexterity, and pressed +down with cotton wool. Places that have been missed are covered with small +pieces of gold leaf, and when the whole is dry the ragged bits are rubbed +off with cotton. This is by far the easiest mode of gilding. Any other +metallic leaves may be applied in a similar manner. Pale leaf gold has a +greenish-yellow color, and is an alloy of gold with silver. Dutch gold +leaf is only copper colored with the fumes of zinc. Being much cheaper +than<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> gold leaf, it is very useful when large quantities of gilding are +required in places where it can be defended from the weather, as it +changes color if exposed to moisture; and it should be covered with +varnish. Silver leaf is prepared like gold leaf, but when applied should +be kept well covered with varnish, as otherwise it will tarnish. A +transparent yellow varnish will give it the appearance of gold.</p> + +<p> </p> +<h4><span class="smcap">Gilding in Oil.</span></h4> + +<p>In order to make good work in oil gilding there are several indispensable +<ins class="correction" title="original reads 'condiitons'">conditions</ins> which must be observed. First, a smooth ground. Second, gold +size free from grit or skins. Third, in putting oil gold size on the work +it must be dross black, ground in turpentine, and mixed with boiled +linseed oil and a small piece of dryers; well sand-paper again, when this +coat is dry. And now for the finishing coat of color, which should be +flat, <i>i. e.</i>, mixed with turpentine and a few drops of japanner’s +gold-size, but no oil. The dross black should be first ground in +turpentine and the gold-size added after. When this has dried, varnish +with hard drying oak varnish, leave for a day or two, and then rub down +with pumice-stone powder, sifted through muslin; use a piece of cloth or +felt wrapped on a small block of wood, and first wet the surface to be +rubbed with<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> water; dry with a wash-leather, and re-varnish. The ornaments +are usually done with stencil patterns, and the lines are done with +straight edges and lining fitches. Stencil patterns can be cut out of card +paper. Before using, give a coat or two of patent knotting. For gilding +panels, give a coat of buff first, then a coat of gold-size, in oil. When +this has dried just sticky, press the gold leaf upon it with a ball of +wadding, and leave for five or six hours, then rub over with a piece of +soft wadding, and wash well with a sponge and cold water. The gold will +not need any preparation before painting on, but if varnished afterward +use pale varnish. Screens should be painted in colors to match the rooms +they are intended to be used in. Birds, flowers and animals are the +subjects generally introduced for this purpose. Birds should be painted +toward the top of the screen, animals, flowers, etc., in the centre or at +the bottom.</p> + +<p> </p> +<h4><span class="smcap">Gloss Printing.</span></h4> + +<p>Gloss printing is done in two ways; one by using the gloss inks specially +prepared for the purpose, the other by printing the gloss preparation on +over the finished job, or over that portion of it required to be glossed. +To the inexperienced this is a difficult operation, attended by many +failures. It is accomplished as follows:—<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>Prepare a tint block the exact +size and shape to cover the printing to be glossed. The block should be of +boxwood or hard metal—soft metal will not do. Fix it on the press and +make it ready as for ordinary work, with a good, even impression. Wash up +the ink table, the rollers and the block itself thoroughly, removing the +least trace of ink. Replace the rollers and distributors. Now, with a +clean palette knife put <ins class="correction" title="original reads 'a a'">a</ins> little of the gloss preparation on the ink +cylinder or table, let it distribute for about a minute, and then pull an +impression; if it comes up perfectly clean, the work may proceed, but if +there are any signs of dirt, it is best to wash up again at once. While +working the gloss, keep the machine in motion, and should the gloss become +too sticky (which it is apt to do) sprinkle a very little turpentine on +the rollers. It is best to have a separate hand to put on the gloss, so as +not to delay the feeder, and the sheets should be taken away at once and +laid out singly to dry. The two most important points are to have the +machine clean and keep it in motion. After printing, wash up the gloss +quickly with benzine.</p> + +<p> </p> +<h4><span class="smcap">To Bleach Sheepskin Parchment White.</span></h4> + +<p>To bleach sheepskin parchment white, expose the pieces to strong sunlight +under glass, in a moist atmosphere.</p> + +<p> <span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> +<h4><span class="smcap">Colors for Printing.</span></h4> + +<p>For a black color for printing, 25 parts paraffine oil and 45 parts resin +are mixed, either by melting at 80°C., or by mechanical means at the +ordinary temperature. To this mass 15 parts of black are added. For +printing machines, the mixture is composed of 40 parts of resin only, +instead of 45. Resin can, in some cases, be replaced by dammar. Other +colors are mixed by substituting the equivalent of the color to the black. +When cheapness has to be considered, paraffine oil can be substituted by +resinous oil, and resin by Burgundy resin, etc.</p> + +<p> </p> +<h4><span class="smcap">How to Dye Parchment Blue or Red.</span></h4> + +<p>Parchment can be dyed green, blue or red. To dye it blue, use the +following process:—Dissolve verdigris in vinegar; heat the solution, and +apply it by means of a brush on the parchment, till it takes a nice green +color. The blue color is then obtained by applying on the parchment thus +prepared a solution of carbonate of potash. Use two ounces for one gallon +of water. Another method is to cover it by means of a brush with +aquafortis, in which copper dust has been dissolved. The potash solution +is then applied as before, till the required shade is obtained. Another +method is by using the following solution:—<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>Indigo, 5 ozs.; white wood, +10 ozs.; alum, 1 oz.; water, 50 ozs. Red:—The parchment is dyed red by +applying with a brush a cold logwood solution, and then using a 3 per cent +potash solution.</p> + +<p> </p> +<h4><span class="smcap">To Make Paper Fire and Water-proof.</span></h4> + +<p>To make paper fire and water-proof, mix two-thirds ordinary paper-pulp +with one-third asbestos. Steep in a solution of common salt and alum, and +after being made into paper coat with an alcoholic solution of shellac. By +plunging a sheet of paper into an ammoniacal solution of copper for an +instant, then passing it between the cylinders and drying it, it is +rendered entirely impermeable to water, and may even be boiled without +disintegrating. Two, three, or any number of sheets rolled together become +permanently adherent, and form a material having the strength of wood. By +the interposition of cloth or any kind of fiber between the layers, the +strength is greatly increased.</p> + +<p> </p> +<h4><span class="smcap">A New Blotting Paper.</span></h4> + +<p>A blotting paper that will not only dry the blot, but bleach the remainder +of it can be made by passing ordinary blotting paper or card through a +concentrated solution of oxalic acid. Care must be taken that no crystals +appear, which would injure the porosity of the paper.</p> + +<p> <span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> +<h4><span class="smcap">Impermeable Paper.</span></h4> + +<p>To make impermeable paper, prepare the two following baths: (1) alum, 25 +ozs.; white soap, 12½ ozs.; water, 100 ozs. (2) gum arabic, 6 ozs.; +Colle de Flandre, 18 ozs.; water, 100 ozs. Place the sheet of paper in the +first bath to be well impregnated. In this bath the paper is left only for +a short time. It is then dried and dipped in the second bath, the same +precautions being used as for the first bath. When dry, the paper is +hot-pressed in order to render it uniform.</p> + +<p> </p> +<h4><span class="smcap">To Mount Chromos for Framing.</span></h4> + +<p>To mount chromos for framing, first soak for fifteen minutes in a shallow +dish, or lay between two newspapers that have been thoroughly saturated +with water; then paste to the panel of the wood or canvas which has been +prepared to receive them. Care must be taken that there are no lumps in +the paste.</p> + +<p> </p> +<h4><span class="smcap">A Varnish for Making Paper Transparent.</span></h4> + +<p>A varnish formed of Canada balsam, dissolved in turpentine, supplies a +most valuable means of making paper transparent. The mode by which this is +most satisfactorily accomplished is by applying a pretty<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> thin coating of +this varnish to the paper, so as to permeate it thoroughly, after which it +is to be coated on both sides with a much thicker sample. The paper is +kept warm by performing the operation before a hot fire, and a third, or +even a fourth, coating may be applied, until the texture of the paper is +seen to merge into a homogeneous translucency. Paper prepared according to +this process is said to come nearer than any other to the highest standard +of perfection in transparent paper. Care must be used in making, as the +materials are highly inflammable.</p> + +<p> </p> +<h4><span class="smcap">Carbon Paper.</span></h4> + +<p>To make carbon paper:—Take of clear lard, five oz.; beeswax, one oz.; +Canada balsam, one-tenth oz.; lampblack, q. s. Melt by aid of heat, and +mix. Apply with a flannel dauber, removing as much as possible with clean +woolen rags.</p> + +<p> </p> +<h4><span class="smcap">Luminous Paper.</span></h4> + +<p>To make paper which shall be luminous in the dark, it is sufficient to +mingle with the pulp the following ingredients in their +proportions:—Water, ten parts; pulp, forty parts; phosphorescent powder, +ten parts; gelatine, one part; bichromate of potash, one part. The paper +will also be waterproof.</p> + +<p> <span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> +<h4><span class="smcap">Sizes and Weights of Drawing Papers.</span></h4> + +<p>The following are the sizes and weights of drawing papers:</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="papers"> +<tr><td> </td><td><span class="spacer"> </span></td><td align="center" colspan="3">Inches.</td><td><span class="spacer"> </span></td><td align="center">Lbs.</td></tr> +<tr><td>Emperor,</td><td> </td><td align="left">72</td><td align="center">×</td><td align="left">48</td><td> </td><td align="right">620</td></tr> +<tr><td>Antiquarian,</td><td> </td><td align="left">53</td><td align="center">×</td><td align="left">31</td><td> </td><td align="right">250</td></tr> +<tr><td>Double Elephant,</td><td> </td><td align="left">40</td><td align="center">×</td><td align="left">26¾</td><td> </td><td align="right">136</td></tr> +<tr><td>Atlas,</td><td> </td><td align="left">34</td><td align="center">×</td><td align="left">26</td><td> </td><td align="right">98</td></tr> +<tr><td>Columbier,</td><td> </td><td align="left">34½</td><td align="center">×</td><td align="left">23½</td><td> </td><td align="right">102</td></tr> +<tr><td>Imperial,</td><td> </td><td align="left">30</td><td align="center">×</td><td align="left">22</td><td> </td><td align="right">72</td></tr> +<tr><td>Elephant,</td><td> </td><td align="left">28</td><td align="center">×</td><td align="left">23</td><td> </td><td align="right">72</td></tr> +<tr><td>Super Royal,</td><td> </td><td align="left">27</td><td align="center">×</td><td align="left">19</td><td> </td><td align="right">54</td></tr> +<tr><td>Royal,</td><td> </td><td align="left">24</td><td align="center">×</td><td align="left">19</td><td> </td><td align="right">44</td></tr> +<tr><td>Medium,</td><td> </td><td align="left">22</td><td align="center">×</td><td align="left">17½</td><td> </td><td align="right">34</td></tr> +<tr><td>Demy,</td><td> </td><td align="left">20</td><td align="center">×</td><td align="left">15½</td><td> </td><td align="right">25</td></tr> +<tr><td>Large Post,</td><td> </td><td align="left">20¾</td><td align="center">×</td><td align="left">16¾</td><td> </td><td align="right">23</td></tr> +<tr><td>Post,</td><td> </td><td align="left">19</td><td align="center">×</td><td align="left">15¼</td><td> </td><td align="right">20</td></tr> +<tr><td>Foolscap,</td><td> </td><td align="left">17</td><td align="center">×</td><td align="left">13½</td><td> </td><td align="right">15</td></tr> +<tr><td>Pott,</td><td> </td><td align="left">15</td><td align="center">×</td><td align="left">12½</td><td> </td><td align="right">10</td></tr> +<tr><td>Copy,</td><td> </td><td align="left">20</td><td align="center">×</td><td align="left">16</td><td> </td><td align="right">20</td></tr></table> + +<p> </p> +<h4><span class="smcap">To Make Bronzed Paper.</span></h4> + +<p>Dissolve gum lac in four parts by volume of pure alcohol, and then add +bronze or other metal powder in the proportion of one part to every three +of the solution. A smooth paper must be chosen, and the mixture applied +with a fine brush. The coating is not dull, and may be highly burnished.</p> + +<p>Another process consists in first applying a coat of copal or other +varnish, and when this has become of a tacky dryness, dusting bronze +powder over it. After remaining a few hours, this bronzed surface<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> should +be burnished with an agate or steel burnisher.</p> + +<p> </p> +<h4><span class="smcap">To Make Drawing-Paper Transparent.</span></h4> + +<p>Drawing paper of any thickness may be made perfectly transparent by +damping it with benzine. India ink and water colors can be used on this +paper. The paper resumes its opacity as the benzine evaporates, so that +any place that has not been duly traced requires to be redamped with the +benzine for that purpose. A sponge should be used for the application.</p> + +<p> </p> +<h4><span class="smcap">To Make Paper Water-Proof.</span></h4> + +<p>The following is a <ins class="correction" title="original reads 'receipe'">recipe</ins> for making paper water-proof:—Add a little +acetic acid to a weak solution of carpenters’ glue. Dissolve also a small +quantity of bichromate of potash in distilled water, and mix both +solutions together. The sheets of paper are drawn separately through the +solution, and hung up to dry.</p> + +<p> </p> +<h4><span class="smcap">How to Size Poor Drawing Paper.</span></h4> + +<p>To size poor drawing paper, take one oz. of white glue, one oz. of white +soap, and one-half oz. of alum. Soak the glue and soap in water until they +appear like jelly, then simmer in one quart of water until the whole is +melted. Add the alum, simmer again and filter. To be applied hot.</p> + +<p> <span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> +<h4><span class="smcap">To Prevent Alterations in Writing.</span></h4> + +<p>The following process of preparing paper will prevent alterations in +writing:—Add to the sizing 5 per cent of cyanide of potassium and +sulphide of antimony, and run the sized paper through a thin solution of +sulphate of manganese or copper. Any writing on this paper with ink made +from nutgalls and sulphate of iron, can neither be removed with acids nor +erased mechanically. Any acid will change immediately the writing from +black to blue or red. Any alkali will change the paper to brown. Any +erasure will remove the layer of color, and the white ground of the paper +will be exposed, since the color of the paper is only fixed to the outside +of the paper without penetrating it.</p> + +<p> </p> +<h4><span class="smcap">To Prevent Gummed Paper From Cockling.</span></h4> + +<p>It is well known that paper, when gummed, often cockles. To remedy this a +little glycerine or sugar should be added to the gum.</p> + +<p> </p> +<h4><span class="smcap">Copying Drawing in Color.</span></h4> + +<p>The paper on which the copy is to appear is first dipped in a bath +consisting of thirty parts of white soap, thirty parts of alum, forty +parts of English glue, ten parts of albumen, two parts of glacial acetic +acid, ten parts of alcohol of 60°,<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> and 500 parts of water. It is +afterwards put into a second bath, which contains fifty parts of burnt +umber ground in alcohol, twenty parts of lampblack, ten parts of English +glue, and ten parts of bichromate of potash in 500 parts of water. They +are now sensitive to light, and must, therefore, be preserved in the dark. +In preparing paper to make the positive print, another bath is made just +like the first one, except that lampblack is substituted for the burnt +umber. To obtain colored positives the black is replaced by some red, +blue, or other pigment.</p> + +<p>In making the copy, the drawing to be copied is put in a photographic +printing frame, and the negative paper laid on it, and then exposed in the +usual manner. In clear weather an illumination of two minutes will +suffice. After the exposure the negative is put in water to develop it, +and the drawing will appear in white on a dark ground; in other words, it +is a negative or reversed picture. The paper is then dried and a positive +made from it by placing it on the glass of a printing frame, and laying +the positive paper upon it, and exposing as before. After placing the +frame in the sun for two minutes, the positive is taken out and put in +water. The black dissolves off without the necessity of moving back and +forth.</p> + +<p> <span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> +<h4><span class="smcap">Washing Forms.</span></h4> + +<p>Forms sent down to machine ought not to be wet too much with lye or with +water, otherwise it becomes necessary to dry them before working, which +takes time and often much trouble. The wet works up little by little to +the face of the letter, and then the form becomes unworkable. It has often +to be taken off the coffin, the feet of the types have to be thoroughly +dried, then some sheets of unsized paper have to be placed under the form; +it has also to be unlocked, shaken, locked up again, the sheets removed +with the moisture they have imbibed, and then it is to be hoped the form +will be workable. If not there is nothing to be done but to lift it and +dry it by heat.</p> + +<p>Lye is generally used for washing forms which do not contain wood blocks; +turpentine where wood-cuts or wood-letters are to be found in them. The +bristles of the lye-brush should be longer than those of the +turpentine-brush, and, in order to preserve it, each brush should be +properly washed with water after using, and shaken and stood up to dry. If +this is not done the brush will last but a short time.</p> + +<p>There is no good in taking up with the brush a large quantity of lye or +turps, and to shed it at once. Yet this is too commonly done, regardless +of waste. In order to wash a form well the brush should be<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> passed lightly +over all the pages, in order to wet them uniformly. Then they should be +rubbed round and round, and finally lengthwise and crosswise. Leaning on +the brush not only wears away the bristles, but sometimes injures the face +of the type, too. It is a bad practice.</p> + +<p>After washing, before printing, a sponge with pure water should be passed +lightly over the form, and then the form should be dried with a cloth. +Care should be taken not to use a woolen cloth, which is liable to leave +little pieces on the face of the types, and to see that there are no hard +substances in it. After printing it is always best to wash with +turpentine. Lye induces oxidation of the types, while turps leave an oily +film on them, which preserves them from the action of the atmosphere.</p> + +<p> </p> +<h4><span class="smcap">How to Prevent Off-setting.</span></h4> + +<p>A practical pressman says that a sheet of paper wet with glycerine and +used as a tympan-sheet will prevent off-setting. This will be found better +than using oiled sheets.</p> + +<p> </p> +<h4><span class="smcap">Printing Envelopes.</span></h4> + +<p>To prevent the lumpy particles of mucilage on gummed envelopes from +“battering” the type, use a heavy piece of blotting paper as a tympan, and +when beaten down, touch the injured part with a drop of water, which will +bring up the impression again.</p> + +<p> <span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> +<h4><span class="smcap">To Prevent Set-off on Writing Papers Printed on One Side.</span></h4> + +<p>To prevent set-off on writing papers printed on one side, do not lay the +sheets straight as they leave the press or machine; this will enable the +air to get between them, and wonderfully expedite the drying of the ink. +Do not allow the heap to become too heavy.</p> + +<p> </p> +<h4><span class="smcap">A Quick Dryer.</span></h4> + +<p>A quick dryer:—Japanese gold size, 2 parts; copal varnish, 1 part; elber +powder (radix carlinæ, carline thistle), 2 parts. Incorporate well +together with a small spatula, and use in quantities to suit the +consistency of the ink employed and the rapidity with which it is desired +to dry. The usual proportion is a small teaspoonful of the dryer to about +one ounce of average good ink.</p> + +<p> </p> +<h4><span class="smcap">To Prevent Warping in Blocks and Wood.</span></h4> + +<p>To prevent warping in blocks and wood-letter used in large bills, a French +printer advises that they should be placed in a zinc basin, provided with +an air-tight lid; they should then be thoroughly saturated with paraffine +oil, and left thus for about four days, when they should be wiped with a +clean dry rag. Prepared in this way when<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> new, wood-letter resists the +effects of lye, petroleum, turpentine, and atmospheric changes.</p> + +<p> </p> +<h4><span class="smcap">How to Keep Rollers When Out of Use.</span></h4> + +<p>It is a good plan, when rollers are to be kept out of use for any +particular time, to put them away with the ink on them. It protects their +surface from the hardening effects of the atmosphere, and causes them to +retain those properties which give them the much desired “tackiness.” But +about half an hour before using them, remove the ink and see that they are +really in condition again.</p> + +<p> </p> +<h4><span class="smcap">Preservative of Rollers When not in Use.</span></h4> + +<p>The following preservative of rollers when not in use is often +applied:—Corrosive sublimate, 1 drachm; fine table salt, 2 ozs.; put +together in ½ gallon of soft water. It is allowed to stand 24 hours, and +is to be well shaken before using. Sponge the rollers with the mixture +after washing.</p> + +<p> </p> +<h4><span class="smcap">Oils for Lubricating Roller Molds.</span></h4> + +<p>Sperm and lard oils are the best for lubricating roller molds. If they are +properly used, no trouble will be experienced in drawing the rollers.</p> + +<p> <span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span></p> +<h4><span class="smcap">Care of Rollers in the Summer Time.</span></h4> + +<p>In hot, sultry weather rollers will not need sponging, as some of the +materials used in their manufacture, having an affinity for moisture, will +absorb enough humidity from the atmosphere to keep the surface soft. +Indeed, too much moisture is absorbed in close and sultry weather. Cover +the rollers while not in use with tallow (in damp weather); this will +prevent the absorbtion of moisture and keep the roller dry. When starting +up put a little tallow on the distributor. This will prevent the rollers +from sticking, and keep them cool.</p> + +<p>The safest thing for the pressman is to have on hand, as a reserve, a set +of old, hard rollers.</p> + +<p>Remember, it is not dry, hot weather that causes trouble so much as it is +hot moist weather. When the weather is dry, soft rollers can be used, but +when dampness comes on, take out the soft and put in the old hard rollers +that have become rejuvenated by the absorption of moisture.</p> + +<p> </p> +<h4><span class="smcap">To Keep Green Mould from Rollers.</span></h4> + +<p>Nothing destroys the surface of a roller so much as green mould. It takes +all the life out of them. Green mould results from a damp place and a +careless pressman, and is always a disgrace to all concerned.</p> + +<p> <span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> +<h4><span class="smcap">Treatment of Old Rollers.</span></h4> + +<p>When rollers have been lying for weeks with a coating of ink dried on to +the surface—a circumstance that often occurs, more especially when +colored inks have been used—get an ordinary red paving brick (an old one +with the edges worn away will be the best), place the roller on a board, +then dip the brick in a trough of cold water, and work it gently to and +fro on the surface from end to end, taking care to apply plenty of water, +dipping the brick in repeatedly; and in a short time the ink will +disappear. Nor is this all; for if a little care and patience is +exercised, it will put a new face to the roller, making it almost equal to +new; the coating of ink having, by keeping the air from the surface, +tended to preserve the roller from perishing. Sponge off clean.</p> + +<p> </p> +<h4><span class="smcap">A Recipe for Printers’ Rollers.</span></h4> + +<p>Best white glue, one pound; concentrated glycerine, one pound. Soak the +glue over night in just enough cold soft water to cover it. Put the +softened glue in a fine cloth bag, gently press out excess of water, and +melt the glue by heating it over a salt water bath. Then gradually stir in +the glycerine and continue the heating, with occasional stirring, for +several hours, or until as much of the water is expelled as possible.<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> +Cast in oiled brass molds, and give the composition plenty of time to cool +and harden properly before removing from the mold and inking. See that the +ink is well spread before bringing the roller in contact with type.</p> + +<p> </p> +<h4><span class="smcap">Temperature of the Press Room.</span></h4> + +<p>The temperature of the press or machine room ought to be as near as +possible the same as that at which the ink is manufactured—<i>viz.</i>, 16° of +Reamur (68° Fahrenheit). If the temperature of the room, and consequently, +of the iron receptacles the ink is kept in, be considerably less, the +varnish of the ink will stiffen, the paper will adhere to the type and +peel off, or, if this does not occur, there will at least be too little +varnish in the ink remaining on the type, and too much carbon, which, of +course, will not sufficiently adhere to the paper, and may be wiped off +even when the paint is perfectly dry. But if the temperature of the +work-room be too high, the varnish becomes too thin, the ink loses its +power of covering well all parts of the types, which then look as if they +had been printed with lamp-oil. Colors of different hues require generally +a somewhat higher temperature than black, say 70° to 75° Fahrenheit, but +any printer who wants to see a clear and sharp impression of his types<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> on +the paper should not neglect to look sometimes to the thermometer, too low +or too high a temperature being much oftener the cause of unsatisfactory +printing than the ink we use.</p> + +<p> </p> +<h4><span class="smcap">When to Wash Rollers.</span></h4> + +<p>The press or machine man must be guided by the condition of the face of +the roller, and the eyes and fingers will be the best guides. Where +machine rollers are required for a weekly newspaper, they should be washed +ready for the first set of forms, and when the number is long, a second +set should be got ready and inked to work the second side, as the paper +throws off a quantity of cotton waste, and powder, and neutralizes the +tack so necessary to the face of a good roller and a clear impression. +Should a roller require cleaning for a hurried work, the old ink may be +removed with turpentine, but must be done quickly, and immediately +distributed on the ink table, or the face will harden.</p> + +<p> </p> +<h4><span class="smcap">Improved Dryer for Printing Ink.</span></h4> + +<p>A small quantity of perfectly dry acetate of lead or borate of manganese +in impalpable powder will hasten the drying of the ink. It is essential +that it be thoroughly incorporated with the ink by trituration in a +mortar.</p> + +<p> <span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> +<h4><span class="smcap">How to Bend a Rule.</span></h4> + +<p>To bend <ins class="correction" title="Not in the original.">a</ins> rule, get it thoroughly hot and let it cool slowly; this will +take the spring out, and it will stay in the shape it is bent to.</p> + +<p> </p> +<h4><span class="smcap">To Clean Gilt Frames.</span></h4> + +<p>Use a soft sponge moderately moistened with spirits of wine; allow to dry +by evaporation. Do not use a cloth, and avoid friction. Another way is to +use a very soft shaving brush, and to gently rub backward and forward a +lather of curd soap. Rinse with water at about blood heat. This applied +morning after morning to old and dirt-covered oil paintings will greatly +restore them. In adopting this plan with regard to gilt frames around +water colors or prints, be sure that not enough moisture is used to run +off the frame, or the paper will be stained. The cleaning applies to gold +frames only. Dutch metal will bear no cleaning, but a new material, not +absolutely gold, but very like it, will stand any amount of soap and +water.</p> + +<p> </p> +<h4><span class="smcap">Cleaning New Machinery.</span></h4> + +<p>As presses and machinery have their bright work covered with a compound to +keep it from rusting while shipping, parties who receive the machinery +will find benzine or kerosene oil the best articles to clean off the +compound with.</p> + +<p> <span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p> +<h4><span class="smcap">To Make Invisible Writing.</span></h4> + +<p>To make secret or invisible writing, procure some very thin starch, with +which write with a quill pen (which should be a soft one) anything that +fancy may dictate. Suffer it to dry perfectly; examine the paper upon +which you have written, and not one letter can be distinguished by the +naked eye. Procure a little iodine, which is an elementary body, dissolve +it in water, and with a camel’s hair pencil, a quill, or any other +convenient article, dipped in the solution, slightly rub the paper on the +side which has been written upon; the writing will instantly appear as +distinctly visible as if written with the finest ink ever invented.</p> + +<p> </p> +<h4><span class="smcap">Red Printing Ink.</span></h4> + +<p>Red printing ink may be made in this way:—Boil linseed oil until smoke is +given off. Set the oil then on fire, and allow it to burn until it can be +drawn out into strings half an inch long. Add one pound of resin for each +quart of oil, and one-half pound of dry, brown soap cut into slices. The +soap must be put in cautiously, as the water in the soap causes a violent +commotion. Lastly, the oil is ground with a sufficient pigment on a stone +by means of a muller. Vermilion, red lead, carmine, Indian red, Venetian +red, and the lakes are all suitable for printing inks.</p> + +<p> <span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> +<h4><span class="smcap">To Prevent Electrotype Blocks from Warping.</span></h4> + +<p>To prevent electrotype blocks from warping, shrinking or swelling, place +them in a shallow pan or dish, cover with kerosene oil and let them soak +as long as possible, say three or four days. Then wipe dry and place in +the form. After the first two or three washings they may swell a little; +if so, have them carefully dressed down, and after that you will have +little or no trouble with them, and can leave them in the form just as you +would were they solid.</p> + +<p> </p> +<h4><span class="smcap">Black Printing Ink.</span></h4> + +<p>To make a good, permanent black printing ink, take</p> + +<table border="0" cellpadding="0" cellspacing="5" summary="printing ink"> +<tr><td>Balsam copaiva</td><td><span class="spacer"> </span></td><td align="right">9 oz.</td></tr> +<tr><td>Best lampblack</td><td> </td><td align="right">3 oz.</td></tr> +<tr><td>Prussian blue</td><td> </td><td align="right">1½ oz.</td></tr> +<tr><td>Indian red</td><td> </td><td align="right">0¾ oz.</td></tr> +<tr><td>Turpentine soap, dried</td><td> </td><td align="right">3 oz.</td></tr></table> + +<p>Grind on a stone until extreme fineness has been obtained. This ink will +work clear and sharp, and can easily be removed from the type.</p> + +<p> </p> +<h4><span class="smcap">Sealing Wax.</span></h4> + +<p>Following are formulas for making sealing wax:—Fine red sealing wax—Pale +shellac, 4 oz.; Venice turpentine, 10 drachms; English vermilion, 2 oz. +Ordinary red<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> sealing wax—Shellac, 2 oz.; resin, 4 oz.; Venice +turpentine, 12 drachms; chrome red, 12 drachms. Cheap red bottle +wax—Resin, 10 oz.; turpentine, 1 oz.; beeswax, 1½ oz.; tallow, 1 oz.; +red lead or red ochre, 3 oz. The manipulation is about the same for the +three kinds. First, the resins are melted with as low a heat as will +suffice, then the turpentine, previously warmed, is to be added, and +lastly the coloring material. The first quality is only used in sticks, +and the third, when melted, for dipping bottles in. The second can be +employed for either purpose. When the wax is used for dipping it should be +kept at a temperature just sufficient to render it liquid, as too much +heat causes it to foam and to rapidly become brittle. Even with this +precaution, it is necessary to add a little turpentine, from time to time, +to replace the essential oil lost by evaporation.</p> + +<p> </p> +<h4><span class="smcap">For Making Dextrine.</span></h4> + +<p>Five hundred parts of potato starch are mixed with 1,500 parts of cold +distilled water and eight parts of pure oxalic acid. This mixture is +placed in a suitable vessel on a water-bath, and heated until a small +sample tested with iodine solution does not produce the reaction of +starch. When this is found to be the case the vessel is<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> immediately +removed from the water-bath, and the liquid neutralized with pure +carbonate of lime. After having been left standing for two days, the +liquor is filtered, and the clear filtrate evaporated upon a water-bath +until the mass has become quite a paste, which is removed by a spatula, +and having been made into thin cakes is placed upon paper and further +dried in a warm situation; 220 parts of pure dextrine are thus obtained. +When needed for making mucilage, the solution has only to be evaporated to +the proper thickness.</p> + +<p> </p> +<h4><span class="smcap">Colors for Printing Inks.</span></h4> + +<p>The different colors, and the inks which may be made from them, are as +follows:</p> + +<p>For Red.—Orange lead, vermilion, burnt sienna, Venetian red, Indian red, +lake vermilion, orange mineral, rose pink and red lead.</p> + +<p>Yellow.—Yellow ochre, gamboge, and chromate of lead.</p> + +<p>Blue.—Cobalt, Prussian blue, indigo, Antwerp blue, Chinese blue, French +ultramarine, and German ultramarine.</p> + +<p>Green.—Verdigris, green verditer, and mixtures of blue and yellow.</p> + +<p>Purple.—A mixture of those used for red and blue.</p> + +<p>Deep Brown.—Burnt umber, with a little scarlet lake.</p> + +<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>Pale Brown.—Burnt sienna; a rich shade is obtained by using a little +scarlet lake.</p> + +<p>Lilac.—Cobalt blue, with a little carmine added.</p> + +<p>Pale Lilac.—Carmine, with a little cobalt blue.</p> + +<p>Amber.—Pale chrome, with a little carmine.</p> + +<p>Pink.—Carmine or crimson lake.</p> + +<p>Shades and Tints.—A bright red is best got from pale vermilion, with a +little carmine added; dark vermilion, when mixed with the varnish, +produces a dull color. Orange lead and vermilion ground together also +produce a very bright tint, and one that is more permanent than an entire +vermilion color. The pigments are dear; when a cheap job is in hand, +orange mineral, rose pink and red lead may be used.</p> + +<p>Yellow.—Of the materials named, the chromate of lead makes the brightest +color. If a dull yellow be wanted, yellow ochre may be used; it grinds +easily and is very cheap.</p> + +<p>Blue.—Indigo is excessively dark, and requires a good deal of trouble to +lighten it. It makes a fine, showy color where brightness is not required. +Prussian blue is useful, but it must be thoroughly ground. It dries very +quickly, hence the roller must be frequently cleaned. Antwerp blue is very +light and easily worked. Chinese<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> blue is also available. As already said, +the shade may be varied with flake white. There is this objection to +Prussian, Antwerp, and Chinese blues, that they are hard to grind, and +likely to turn greenish with varnish when used thin. A bright blue is also +to be got from cobalt, or French or German ultramarine. This is cheap, +easily ground, and works freely. Lime blue may also be used.</p> + +<p>Green.—Any of the yellows and blues may be mixed. Gamboge, a transparent +color, is very useful in mixture with Prussian blue; or chromate of lead +and Prussian blue may be used. The varnish, having a yellow tinge, has an +effect upon the mixture, and should be taken into account. With a slight +quantity of Antwerp blue, varnish in itself will produce a decidedly +greenish tint. Verdigris and green verditer also give greens. If Chinese +blue be added to pale chrome, it gives a good green, and any shade can be +obtained by increasing or diminishing either color. Emerald green is got +by mixing pale chrome with a little Chinese blue, and then adding the +emerald until the tint is satisfactory.</p> + +<p>Brown.—Sepia gives a nice tint, and burnt umber a very hot tint. Raw +umber gives a brighter brown, bistre a brighter still.</p> + +<p>Neutral tints are obtained by mixing Prussian blue, lake and gamboge.</p> + +<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>In using painters’ colors, it is advisable to avoid, as much as possible, +the heavy ones.</p> + +<p>Tints of any desired depth may be made by using a finely-ground white ink +as a basis, and toning it with the color desired.</p> + +<p>Varnish tints are made by adding color to full-bodied, well-boiled +printers’ varnish, using a little soap and drying preparation to make them +work smoothly and dry quickly.</p> + +<p>In mixing tints to print with, the muller should be used to rub in the +colors thoroughly, otherwise the work is liable to be streaky. It is +advisable to mix no more of a tint than is needed for the work in hand. +Most colored inks work best if applied to the rollers a little at a time, +until the depth of color desired is reached, as colored inks distribute +slower than black, and are more liable to thicken upon and clog the type +when too much is taken at once.</p> + +<p> </p> +<h4><span class="smcap">Hints on “Casting Up.”</span></h4> + +<p>The most simple and effective contrivance for casting-up work is, for +every printer to set up, in vertical parallel lines, the m’s of each font +in his office, with figures in succession beside them, and work them upon +good hard paper, but little wet or pressed, which ought to be dried very +gradually. If <ins class="correction" title="original reads 'he'">the</ins> cast-up work printed with the same type<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> as these +measures very little variation will be found; for if the measure and the +measured page do vary from the measurement, the one is compensated by the +other. But even this method can scarcely be trusted in setting the price +with the compositor, since the difference between a thin and thick space +will carry an en quadrat, and thus may give the turn in the 500 letters, +so as to make 1,000 difference.</p> + +<p> </p> +<h4><span class="smcap">How to Ascertain the Quantity of Plain Type Required for Newspaper.</span></h4> + +<p>To ascertain the quantity of plain type required for a newspaper, +magazine, and other work, find the number of square inches and divide the +same by four; the quotient will be the approximate weight of the matter. +As it is impossible to set the cases entirely clear, it is necessary to +add 25 per cent to large fonts, and 33 per cent to small, to allow for +dead letter. This, of course, is only approximate, but will be found +sufficiently close for all practical purposes.</p> + +<p> </p> +<h4><span class="smcap">Care of Wood-cuts.</span></h4> + +<p>Care should be taken that wood-cuts are thoroughly dry before being sent +to the foundry, as the intense heat to which they are subjected frequently +causes them to warp and split, especially if pierced.</p> + +<p> <span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> +<h4><span class="smcap">Remedy for Type that Sticks in Distributing.</span></h4> + +<p>Great difficulty is sometimes experienced in distributing type which has +been allowed to remain in form for any length of time. Prevention, of +course, is better than cure; but where the remedy is required, the +following may be tried with advantage:—Pour boiling water over the type, +and allow it to stand for about half an hour. Repeat, if necessary, until +the desired effect has been obtained.</p> + +<p> </p> +<h4><span class="smcap">Laying Type.</span></h4> + +<p>The page as received from the founder, should be carefully unwrapped, and, +after having been placed on a galley, soaked thoroughly with thin soap +water, to prevent adhesion after the types have been used a short time; +then, with a firm rule or reglet, as many lines should be lifted as will +make about an inch in thickness, and, placing the rule close upon one side +of the bottom of the proper box, slide off the lines gently, taking care +not to rub the face against the side of the box. Proceed then with +successive lines till the box is filled. Careless compositors are prone to +huddle new type together, and grasping them by handfulls plunge them +pell-mell into the box, rudely shaking them down to crowd in more. This +should never be allowed, as shaking does more injury to type than press +wear. The<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> type left over should be kept standing on galleys in regular +order till the cases need to be again filled or sorted.</p> + +<p> </p> +<h4><span class="smcap">To Fix Bronze Colors on Glass.</span></h4> + +<p>Bronze colors can be fixed upon glass or porcelain by painting the +articles with a concentrated solution of potash water glass of 30° B., and +dusting them with the bronze powder. The latter adheres so firmly that it +will not be affected by water, and may be polished with steel or agate.</p> + +<p> </p> +<h4><span class="smcap">To Destroy Book Worms.</span></h4> + +<p>For the destruction of book worms, put the books into a case which closes +pretty well, and keep a saucer supplied with benzine within it for some +few weeks. Worms, larvæ, eggs—all are said to be got rid of.</p> + +<p> </p> +<h4><span class="smcap">Tinning Paper and Cloth.</span></h4> + +<p>The following is a method of tinning paper and cloth:—Zinc powder is +ground with an albumen solution, the boiling mixture is then spread over +the tissue by means of a brush, when dry, the layer is fixed by dry steam, +which coagulates the albumen, and the tissue is then taken through a +solution of tin. Metallic tin is reduced, and sets in a very thin layer. +The tissues of paper are then washed, dried and hot pressed.</p> + +<p> <span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> +<h4><span class="smcap">Care of Books.</span></h4> + +<p>Books should be shelved in the coolest part of the room, and where the air +is never likely to be overheated, which is near the floor, where we +ourselves live and move. In the private libraries of our residences a +mistake is often made in carrying the shelving of our book-cases so high +that they enter the upper and overheated stratum of air. If anyone be +skeptical on this point, let him test, by means of a step-ladder, the +condition of the air near the ceiling of his common sitting-room on a +Winter evening, when the gas is burning freely. The heat is simply +insufferable.</p> + +<p> </p> +<h4><span class="smcap">How to Prevent Mildew on Books.</span></h4> + +<p>To prevent mildew on books, lightly wash over the backs and covers with +spirits of wine, using as a brush the feather of a goose quill.</p> + +<p> </p> +<h4><span class="smcap">A Cheap Lye.</span></h4> + +<p>Boil six gallons of water and add while boiling one pound of unslacked +lime and four pounds of common soda. When cold, it should be carefully +dipped out, leaving the dregs of the lime at the bottom of the vessel, and +it is then fit for immediate application. Cost, about two cents per gallon.</p> + +<p> <span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> +<h4><span class="smcap">A Good Dryer.</span></h4> + +<p>A good dryer for printers’ use is made by taking a small quantity of +perfectly dry acetate of lead or borate of manganese in impalpable powder +will hasten the drying of the ink. It is essential that it should be +thoroughly incorporated with the ink by trituration in a mortar.</p> + +<p> </p> +<h4><span class="smcap">A Strong Lye.</span></h4> + +<p>A very strong printers’ lye may be made as follows:—Take of table salt, 2 +oz.; unslacked lime, 2 lb., and bruised Scotch washing soda, 2 lb. Mix +together in three gallons of water, stirring frequently until the +ingredients are dissolved, when the lye will be ready for use. This is a +powerful mixture, and will wash off almost any color.</p> + +<p> </p> +<h4><span class="smcap">Effect of Petroleum Oil on Wood Type.</span></h4> + +<p>Although petroleum oil is a highly useful fluid for cleansing wood letter +or wood-cuts, the printer should be cautioned that it is highly +detrimental to type and stereoplate. While it has no effect in opening the +pores of the wood, but on the contrary, hardens the surface, rendering the +face peculiarly smooth, it corrodes or rots the metal, and leaves a white +powder on the face, which, although it may be removed with a brush, shows +that the type has been<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> injured. Besides this, petroleum is highly +dangerous on account of its inflammability. It cannot be extinguished by +water.</p> + +<p> </p> +<h4><span class="smcap">A Bronze or Changeable Hue.</span></h4> + +<p>A bronze or changeable hue may be given to inks with the following +mixture:—Gum shellac, 1½ lb., dissolved in one gallon of 95 per cent +alcohol or Cologne spirits for 24 hours. Then add fourteen ounces aniline +red. Let it stand for a few hours longer, when it will be ready for use. +<ins class="correction" title="original reads 'when'">When</ins> added to a good blue, black, or other dark inks, it gives them a rich +hue. The quantity used must be very carefully apportioned.</p> + +<p>In mixing the materials, add the dark color sparingly at first, for it is +easier to add more, if necessary, than to take away, as in making a dark +color lighter, you increase its bulk considerably.</p> + +<p> </p> +<h4><span class="smcap">Gold Leaf Printing.</span></h4> + +<p>Gold leaf printing requires much more care than bronze printing, but if +properly managed will be found to be a great improvement. Ink should be +made of chrome yellow, mixed with Venice turpentine, virgin wax and +varnish. Cut the gold leaf into slips a shade wider than the lines it is +to cover, ink the form in the usual way, and pull a sheet; then lay on the +gold leaf with<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> no great harm. Some colors will not keep at all, and +others deposit at the bottom of the can almost all their solid +ingredients. It is not easy to alter this, but colza oil will at least +prevent the surface skinning over.</p> + +<p> </p> +<h4><span class="smcap">To Prevent Colored Inks from Becoming Hard.</span></h4> + +<p>Red and some other colored inks are often found to become so hard in a few +weeks after the can has been opened that the knife can scarcely be got +into them, and they cannot be got to work at all. Oil, varnish and +turpentine are of no use in such a case; the remedy is paraffine oil mixed +well up with the old ink. Many prefer paraffine oil rather than boiled oil +or turps for thinning down both black and colored inks.</p> + +<p> </p> +<h4><span class="smcap">To Keep Colored Inks from Skinning.</span></h4> + +<p>Colored inks can be kept from “skinning” by pouring a little oil or water +on the top and closing the can tightly.</p> + +<p> </p> +<h4><span class="smcap">How to Remove Colored Inks.</span></h4> + +<p>Benzine is a powerful chemical preparation which may be used to remove +colored inks when lye and turpentine fail. It should, however, not be used +after dark, as it is very inflammable, and it should be kept out of doors +if possible.</p> + +<p> <span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> +<h4><span class="smcap">A Varnish for Color Prints.</span></h4> + +<p>To make a varnish for colored prints, etc., take of Canada balsam, 1 +ounce; spirits of turpentine, 2 ounces, and mix well together. The print +or drawing should first be sized with a solution of isinglass in water, +and when this has dried the varnish above named should be applied with a +camel’s hair brush.</p> + +<p> </p> +<h4><span class="smcap">Repairing Battered Wood Type.</span></h4> + +<p>Wood type when battered may be repaired by removing the damaged part with +a sharp pointed knife, and fill in with beeswax or gutta-percha.</p> + +<p> </p> +<h4><span class="smcap">Inking Surfaces for Color Work.</span></h4> + +<p>The best inking surfaces or slabs for color work at press or machine are +porcelain, litho stone, marble or slab. Metals are injurious to colored +inks—even polished iron surfaces give a dullness to bright colors.</p> + +<p> </p> +<h4><span class="smcap">How to Preserve Colored Inks.</span></h4> + +<p>If it is necessary to keep colored inks, the best way of preserving them +so that they shall be workable after standing some time is to pour a +little colza oil on the top, and securely close the vessel containing +them. This oil will not generally rob the ink of any of its color, and +even if it is not all poured off afterwards, its presence can do<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> a piece +of cotton wool; when dry, it may be washed in the same way as bronze. +Rolling afterward will improve it very much.</p> + +<p> </p> +<h4><span class="smcap">How to Brighten Common Qualities of Colored Inks.</span></h4> + +<p>Common qualities of colored inks may be brightened by using the whites of +fresh eggs, but they must be applied a little at a time, as they dry very +hard and are apt to take away the suction of rollers if used for any +lengthend period.</p> + +<p> </p> +<h4><span class="smcap">Printers’ Varnish.</span></h4> + +<p>For fine work, a little Canada balsam of the consistency of honey makes a +good varnish of great purity. The coarser but similar Venice turpentine +may also be used with effect where time is precious and purity of tint not +indispensable. A little soft soap may be added to the Venice turpentine.</p> + +<p>If the work be coarse and varnish not at hand, a little oak varnish and +soft soap form a good substitute.</p> + +<p> </p> +<h4><span class="smcap">To Prevent Off-setting.</span></h4> + +<p>Setting off may be prevented by slightly greasing or oiling a sheet which +may be placed on the tympan if in press work, or the cylinder if at a +machine. This will answer for several thousands without requiring to be +replaced.</p> + +<p> <span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p> +<h4><span class="smcap">A Hardening Gloss for Inks.</span></h4> + +<p>A hardening gloss for inks may be made by dissolving gum arabic in alcohol +or a weak solution of oxalic acid. This mixture should be used in small +quantities, and mixed with the ink while it is being consumed.</p> + +<p> </p> +<h4><span class="smcap">A Modeling Material.</span></h4> + +<p>Some pretty effects can be produced by the use of a composition made by +thoroughly mixing rice flour with cold water, and allowing it to gently +simmer over the fire until a delicate and durable cement results. When +made of the consistency of plastic clay, models, busts, etc., may be +formed, and the articles when dry resemble white marble, and will take a +high polish, being very durable. Any coloring matter may be used at +pleasure.</p> + +<p> </p> +<h4><span class="smcap">Leaf Copying.</span></h4> + +<p>Take a piece of thin muslin and wrap it tightly round a ball of cotton +wool as big as an orange. This forms a dabber, and should have something +to hold it by. Then squeeze on to the corner of a half-sheet of foolscap a +little color from a tube of oil paint. Take up a very little color on the +dabber, and work it about on the center of the paper for some time, till +the dabber is evenly covered with a thin coating. A little oil can be used +to dilute or moisten the<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> color if necessary. Then put your leaf down on +the paper and dab some color evenly over both sides. Place it then between +the pages of a folded sheet of paper (unglazed is best), and rub the paper +above it well all over with the finger. Open the sheet, remove the leaf, +and you will have an impression of each side of the leaf. Any color may be +used. Burnt or raw sienna works the most satisfactorily.</p> + +<p> </p> +<h4><span class="smcap">Dryer for Ruling Inks.</span></h4> + +<p>Ruling inks are made to dry quickly by using half a gill of methylated +spirits to every pint of ink. The spirit is partly soaked into the paper +and partly evaporates; it also makes the lines firm.</p> + +<p> </p> +<h4><span class="smcap">Size of Newspaper Sheets and Number of Columns.</span></h4> + +<table border="0" cellpadding="0" cellspacing="5" summary="newspaper"> +<tr><td align="center">Width of Column<br />13 Ems Pica.</td><td><span class="spacer"> </span></td><td align="center">Paper.</td><td><span class="spacer"> </span></td><td align="center">Column Rules.</td></tr> +<tr><td>5 Column Folio</td><td> </td><td>20 × 26</td><td><span class="spacer"> </span></td><td align="center">17¾ in.</td></tr> +<tr><td>6<span class="spacer2"> </span>"<span class="spacer"> </span>"</td><td> </td><td>22 × 31</td><td> </td><td align="center">19¾ "</td></tr> +<tr><td>6 Col Fo (wide margin)</td><td> </td><td>22 × 32</td><td> </td><td align="center">19¾ "</td></tr> +<tr><td>7 Column Folio</td><td> </td><td>24 × 35</td><td> </td><td align="center">21¾ "</td></tr> +<tr><td>7 Col Fo (wide margin)</td><td> </td><td>24 × 36</td><td> </td><td align="center">21¾ "</td></tr> +<tr><td>8 Column Folio</td><td> </td><td>26 × 40</td><td> </td><td align="center">23¾ "</td></tr> +<tr><td>9<span class="spacer2"> </span>"<span class="spacer"> </span>"</td><td> </td><td>28 × 44</td><td> </td><td align="center">26 "</td></tr> +<tr><td>4<span class="spacer2"> </span>"<span class="spacer"> </span>Quarto</td><td> </td><td>22 × 31</td><td> </td><td align="center">13¾ "</td></tr> +<tr><td>4 Col Qu (wide margin)</td><td> </td><td>22 × 32</td><td> </td><td align="center">13¾ "</td></tr> +<tr><td>5 <span class="spacer2"> </span>"<span class="spacer"> </span>"</td><td> </td><td>26 × 40</td><td> </td><td align="center">17¾ "</td></tr> +<tr><td>6 <span class="spacer2"> </span>"<span class="spacer"> </span>"</td><td> </td><td>30 × 44</td><td> </td><td align="center">19¾ "</td></tr> +<tr><td>7 <span class="spacer2"> </span>"<span class="spacer"> </span>"</td><td> </td><td>35 × 48</td><td> </td><td align="center">21¾ "</td></tr></table> + +<p> <span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> +<h4><span class="smcap">Usual Sizes and Weights of News Printing Paper.</span></h4> + +<table border="0" cellpadding="0" cellspacing="5" summary="printing"> +<tr><td align="center">Size.</td><td><span class="spacer"> </span></td><td colspan="2" align="right">Weight per Bundle.</td></tr> +<tr><td>22 × 30</td><td> </td><td align="right">44</td><td>lbs.</td></tr> +<tr><td>22 × 32</td><td> </td><td align="right">45 and 50</td><td align="center">"</td></tr> +<tr><td>24 × 36</td><td> </td><td align="right">50, 56, 60 and 70</td><td align="center">"</td></tr> +<tr><td>26 × 38</td><td> </td><td align="right">60 and 70</td><td align="center">"</td></tr> +<tr><td>26 × 40</td><td> </td><td align="right">65, 70, 75, 80 and 90</td><td align="center">"</td></tr> +<tr><td>28 × 40</td><td> </td><td align="right">80</td><td align="center">"</td></tr> +<tr><td>28 × 42</td><td> </td><td align="right">70, 80, 90 and 100</td><td align="center">"</td></tr> +<tr><td>28 × 44</td><td> </td><td align="right">85, 90 and 105</td><td align="center">"</td></tr> +<tr><td>29 × 48</td><td> </td><td align="right">100</td><td align="center">"</td></tr> +<tr><td>29 × 58</td><td> </td><td align="right">110</td><td align="center">"</td></tr> +<tr><td>30 × 44</td><td> </td><td align="right">90, 95 and 100</td><td align="center">"</td></tr> +<tr><td>31 × 44</td><td> </td><td align="right">90, 95 and 100</td><td align="center">"</td></tr> +<tr><td>31 × 45</td><td> </td><td align="right">96</td><td align="center">"</td></tr> +<tr><td>22 × 44</td><td> </td><td align="right">90, 95, 100 and 120</td><td align="center">"</td></tr> +<tr><td>32 × 46</td><td> </td><td align="right">100</td><td align="center">"</td></tr> +<tr><td>34½ × 47½</td><td> </td><td align="right">120</td><td align="center">"</td></tr> +<tr><td>35 × 48</td><td> </td><td align="right">120</td><td align="center">"</td></tr></table> + + +<p> </p> +<h4><span class="smcap">Usual Sizes and Weights of Book Papers.</span></h4> + +<table border="0" cellpadding="0" cellspacing="5" summary="weights"> +<tr><td align="center">Size.</td><td><span class="spacer"> </span></td><td align="right" colspan="2">Weight per Ream.</td></tr> +<tr><td>22 × 32</td><td> </td><td align="right">30, 35 and 40</td><td>lbs.</td></tr> +<tr><td>24 × 36</td><td> </td><td align="right">30, 35, 40 and 50</td><td align="center">"</td></tr> +<tr><td>25 × 38</td><td> </td><td align="right">35, 40, 45, 50, 60, 70, 80 and 100</td><td align="center">"</td></tr> +<tr><td>28 × 42</td><td> </td><td align="right">40, 50, 60, 70, 80, 100 and 120</td><td align="center">"</td></tr> +<tr><td>32 × 44</td><td> </td><td align="right">60, 70, 80, 100 and 120</td><td align="center">"</td></tr></table> + + +<p> </p> +<h4><span class="smcap">Usual Sizes and Weights Colored Print Or Poster.</span></h4> + +<table border="0" cellpadding="0" cellspacing="5" summary="poster"> +<tr><td align="center">Size.</td><td><span class="spacer"> </span></td><td align="right" colspan="2">Weight per Ream.</td></tr> +<tr><td>24 × 36</td><td> </td><td align="right">25</td><td>lbs.</td></tr> +<tr><td>25 × 38</td><td> </td><td align="right">27</td><td align="center">"</td></tr> +<tr><td>28 × 42</td><td> </td><td align="right">35, 40, 45 and 50</td><td align="center">"</td></tr></table> + + +<p> <span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> +<h4><span class="smcap">Usual Sizes of Flat and Ledger Papers.</span></h4> + +<table border="0" cellpadding="0" cellspacing="5" summary="ledger"> +<tr><td>Flat Letter</td><td><span class="spacer"> </span></td><td>10 × 16</td></tr> +<tr><td>Flat Foolscap</td><td> </td><td>13 × 16</td></tr> +<tr><td>Packet Post</td><td> </td><td>12 × 19</td></tr> +<tr><td>Cap</td><td> </td><td>14 × 17</td></tr> +<tr><td>Crown</td><td> </td><td>15 × 19</td></tr> +<tr><td>Double Flat Letter</td><td> </td><td>16 × 20</td></tr> +<tr><td>Demy</td><td> </td><td>16 × 21</td></tr> +<tr><td>Folio Post</td><td> </td><td>17 × 22</td></tr> +<tr><td>Check Folio</td><td> </td><td>17 × 24</td></tr> +<tr><td>Medium</td><td> </td><td>18 × 23</td></tr> +<tr><td>Double Flat Foolscap</td><td> </td><td>16 × 26</td></tr> +<tr><td>Bank Folio</td><td> </td><td>19 × 24</td></tr> +<tr><td>Royal</td><td> </td><td>19 × 24</td></tr> +<tr><td>Double Cap</td><td> </td><td>17 × 28</td></tr> +<tr><td>Super Royal</td><td> </td><td>20 × 28</td></tr> +<tr><td>Double Demy</td><td> </td><td>21 × 32</td></tr> +<tr><td>Double Demy</td><td> </td><td>16 × 42</td></tr> +<tr><td>Imperial</td><td> </td><td>23 × 31</td></tr> +<tr><td>Double Medium</td><td> </td><td>23 × 36</td></tr> +<tr><td>Double Medium</td><td> </td><td>18 × 46</td></tr> +<tr><td>Elephant</td><td> </td><td>23 × 28</td></tr> +<tr><td>Colombier</td><td> </td><td>23 × 34</td></tr> +<tr><td>Atlas</td><td> </td><td>26 × 33</td></tr> +<tr><td>Double Royal</td><td> </td><td>24 × 38</td></tr> +<tr><td>Double Elephant</td><td> </td><td>27 × 40</td></tr> +<tr><td>Antiquarian</td><td> </td><td>31 × 53</td></tr></table> + + + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Paper and Printing Recipes, by J. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Paper and Printing Recipes + A Handy Volume of Practical Recipes, Concerning the + Every-Day Business of Stationers, Printers, Binders, and + the Kindred Trades + +Author: J. Sawtelle Ford + +Release Date: May 17, 2010 [EBook #32400] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK PAPER AND PRINTING RECIPES *** + + + + +Produced by The Online Distributed Proofreading Team at +http://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + + + + + Paper and Printing Recipes + + + A Handy Volume of Practical Recipes, + Concerning the Every-Day Business of + Stationers, Printers, Binders, and the + Kindred Trades. + + + PUBLISHED BY + J. SAWTELLE FORD, + _OFFICE OF "THE STATIONER AND PRINTER,"_ + CHICAGO. + + + + Entered according to the Act of Congress, in the year 1883, by + J. SAWTELLE FORD, + In the Office of the Librarian at Washington. + + + + +GLIMPSE OF CONTENTS. + + +This Volume has nearly =Two Hundred= valuable Recipes for Stationers, +Printers, Bookbinders, etc. These Recipes are thoroughly practical, and +such as come up in every day's work. They have been gathered from many +sources, and are endorsed by the best workmen of the United States and +Europe. + + + + +INDEX TO RECIPES. + + +WRITING INKS. + + Removing Writing Ink from Paper 1 + White Ink 3 + Purple Hektograph Ink 3 + A Dark Red Indelible Ink 4 + Making Carmine 4 + Violet Ink 5 + Indelible Ink 5 + To make Black Ink 6 + An Ink which cannot be Erased 6 + Copying Ink to be used without Press or Water 3 + A Cardinal Ink 7 + A Portable Ink 28 + Indelible India Ink 28 + Copying Inks 29 + Invisible Writing 68 + + +PRINTING INKS. + + To Prevent Colored Inks from becoming Hard 81 + To keep Colored Inks from Skinning 81 + To Preserve Colored Inks 82 + How to Brighten Common Qualities of Colored Inks 83 + A Good Dryer 79 + A Quick Dryer 61 + Improved Dryer for Printing Ink 66 + To take Printer's Ink out of Silk 17 + Red Printing Ink 68 + Black Printing Ink 69 + Colors for Printing Ink 71 + Principal Colors of Gold for Grinding 45 + + +MARKING INKS, ETC. + + Ink for Rubber Stamps 7 + Marking Ink 10 + Black Ink for Stencils 6 + Stencil Ink 2 + Blue Marking Ink for White Goods 10 + + +REMOVAL OF INK STAINS, ETC. + + To Remove Writing Ink from Paper 1 + To Remove Aniline Ink from the Hands 8 + To take Ink Stains from the Hands 9 + To Remove Grease Spots from Paper 13 + How to Remove Colored Inks 81 + Paper for taking out Ink Stains 14 + To Remove Ruling Ink Stains from Fingers 17 + To Remove Ink Spots 19 + To Remove Oil Marks from Paper 20 + To Remove Ink Stains from Mahogany 20 + + +CARE OF BOOKS. + + Care of Books 78 + To Destroy Book Worms 77 + How to Prevent Mildew on Books 78 + + +GLUES, PASTES, MUCILAGE, ETC. + + Solid Pocket Glue 20 + To Test Glue 21 + Book-Binder's Glue 22 + Cement for Glass 22 + Postage Stamp Mucilage 26 + To keep Mucilage Fresh 26 + Mucilage 27 + Mucilage for Pasteboard 27 + Cement for Labels 23 + A Colorless Cement 23 + A Cement that will Resist the Damp 24 + To make Glue Water-proof 24 + Two Glue Receipts 25 + A Good Paster 29 + A Paste which will not Spoil 29 + A Silver Solder 30 + An Article for Labeling Bottles 8 + For Making Dextrine 70 + + +PRINTERS' VARNISHES. + + A Varnish for Color Prints 82 + Printers' Varnish 83 + A Varnish for Paper 13 + A Transparent Paper Varnish 53 + + +COLOR AND GOLD LEAF PRINTING. + + To Fix Bronze Colors on Glass 77 + A Bronze or Changeable Hue 80 + Gold Leaf Printing 80 + Inking Surfaces for Color Work 82 + Colors for Holding Bronze 2 + Colors for Printing 51 + + +ELECTROTYPING. + + To Prevent Electrotype Blocks from Warping 69 + Electrotyping on China 42 + Electrotyping Handwriting 35 + + +WOOD CUTS AND ENGRAVING. + + Care of Wood Cuts 75 + To Produce Engraving or Types for Printing by Photography 15 + Different kinds of Engraving 36 + Care of Wood Type 38 + To Restore the Original Whiteness of Copper plate, Wood + Engravings, etc. 42 + To Transfer Engraving to Mother of Pearl 39 + An Improved Process of Photo-Engraving 31 + To Prevent Warping in Blocks and Wood 61 + Stereotyping Wood Cuts 46 + + +PAPER. + + Waterproof Paper 56 + How to Size poor Drawing Paper 56 + Paper Soft and Flexible 19 + Incombustible Writing and Printing Paper 17 + Blue-Black Writing Paper 10 + Electric Paper 30 + Tinning Paper and Cloth 77 + Gummed Paper from Cockling 57 + Qualities of Good Paper 14 + Impermeable Paper 53 + Aniline Ink Paper 16 + To make Paper Fine and Water-proof 52 + To Bleach Sheepskin Parchment White 50 + Carbon Paper 54 + Luminous Paper 54 + Sizes and Weights of Drawing Paper 55 + Bronzed Paper 55 + Transparent Drawing Paper 56 + Paper for Labels 14 + To Split a Sheet of Paper 15 + Photo-Lithographic Transfer Paper 32 + + +MISCELLANEOUS. + + An Ink Restorer 2 + To Obtain a Bright and Lasting Red Edge 41 + To Mount Chromos 53 + Sealing Wax 69 + Photo Prints on Glass 46 + Enamel for Fine Cards 35 + To Bend a Rule 67 + To Make a Corroded Pen 31 + To Restore the Lustre of Morocco Leather 41 + Non-erasible Pencil Marks 41 + Copy Drawing in Color 57 + Black Paint for Blackboards 33 + To Preserve Pencil Sketches 37 + Treatment of India Ink Drawings 9 + To Clean Gilt Frames 67 + Cleaning New Machinery 67 + Washing Forms 59 + A Hardening Gloss for Inks 84 + A Modeling Material 84 + Leaf Copying 84 + Usual Sizes and Weights of Book papers 86 + Usual Sizes and Weights Colored Print or Poster 86 + Painting on Ebonized Wood 43 + To Clean Steel Pens 33 + To Clean a Chamois Skin 12 + Dryer for Ruling Inks 85 + Usual Sizes and Weights of News Printing Paper 86 + Usual Sizes of Flat and Ledger Papers 87 + Size of Newspaper Sheets and Number of Columns 85 + + +STATIONERS' WINDOWS. + + Stationers' Windows 33 + Hints on Dressing the Store Windows 12 + To Prevent Window Steaming 18 + + +GILDING. + + For Cheaply Gilding Bronze, etc. 11 + Electro-Gilding in Colors 19 + How Gilding is Done 43 + Gilding with Gold Leaf 46 + Gilding on Wood 47 + Gilding in Oil 48 + + +METALS. + + Coloring Metals 11 + Copper Plating on Zinc 38 + An Alloy for Glass or Metal 30 + Writings on Metals 45 + + +TYPE. + + Laying Type 76 + Metal for Stereotyping 40 + Effect of Petroleum Oil on Wood Type 79 + Remedy for Type that Sticks in Distributing 76 + Care of Wood Type 38 + To Ascertain the Quantity of Plain Type Required for + Newspapers 75 + Repairing Battered Wood Type 82 + + +PRINTERS' ROLLERS. + + Keeping Rollers when not in Use 62 + Preservative of Rollers when not in Use 62 + Rollers in Summer Time 63 + To Keep Green Mould from Rollers 63 + Treatment of Old Rollers 64 + A Recipe for Printer's Rollers 64 + When to Wash Rollers 66 + Oils for Lubricating Roller Moulds 62 + + +PRINTING METHODS. + + Gloss Printing 49 + Colors for Printing 51 + Off-Setting 83 + Printing Envelopes 60 + On "Casting Up" 74 + To Prevent Set-off 61 + Temperature of the Pressroom 65 + + +LYE. + + A Strong Lye 79 + A Cheap Lye 77 + + + + +Paper and Printing Recipes. + + +HOW TO REMOVE COMMON WRITING INK FROM PAPER WITHOUT INJURY TO THE PRINT. + +Common writing ink may be removed from paper without injury to the print +by oxalic acid and lime, carefully washing it in water before restoring it +to the volume. + + +TO RENDER PENCIL NOTES INDELIBLE. + +Pencil notes found in a book, or placed there as annotations, may be +rendered indelible by washing them with a soft sponge dipped in warm +vellum size or milk. + + +TO REMOVE GREASE SPOTS FROM PAPER. + +Grease may be removed from paper in the following manner: Warm gradually +the parts containing the grease, and extract as much as possible of it by +applying blotting-paper. Apply to the warm paper with a soft, clean brush, +some clear essential oil of turpentine that has been boiled, and then +complete the operation by rubbing over a little rectified spirits of +wine. + + +HOW TO DETECT ARSENIC IN PAPER. + +A simple method for detecting arsenic in paper, cards, etc., is described +as follows:--Immerse the suspected paper in strong ammonia on a white +plate or saucer; if the ammonia becomes blue, the presence of salt of +copper is proved; then drop a crystal of nitrate of silver into the blue +liquid, and, if any arsenic be present, the crystal will become coated +with yellow arseniate of silver, which will disappear on stirring. + + +AN INK RESTORER. + +The process consists in moistening the paper with water and then passing +over the lines in writing a brush which has been wet in a solution of +sulphide of ammonia. The writing will immediately appear quite dark in +color, and this color, in the case of parchment, it will preserve. + + +COLORS FOR HOLDING BRONZE. + +Red and green inks are good colors for holding bronze, when you are not +working with size or varnish. + + +STENCIL INK. + +A good and cheap stencil ink in cakes is said to be obtained by mixing +lampblack with fine clay, a little gum arabic or dextrine, and enough +water to bring the whole to a satisfactory consistence. + + +COPYING INK TO BE USED WITHOUT PRESS OR WATER. + +Well mix three pints of jet-black writing ink and one pint of glycerine. +This, if used on glazed paper, will not dry for hours, and will yield one +or two fair, neat, dry copies, by simple pressure of the hand, in any good +letter copy-book. The writing should not be excessively fine, nor the +strokes uneven or heavy. To prevent "setting off," the leaves after +copying should be removed by blotting-paper. The copies and the originals +are neater than where water is used. + + +WHITE INK. + +There is really no such article as "white ink." A true ink is a solution +of some substance or combination of substances in liquid. Colored liquids, +however, may be prepared with various substances not soluble in the +liquids available for writing fluids. A "white ink" may be made by rubbing +the finest zinc white, or white lead, with a dilute solution of gum +arabic. It must be stirred up whenever the pen or brush is dipped into it. + + +PURPLE HEKTOGRAPH INK. + +To make the purple hektograph ink:--Dissolve 1 part of methyl-violet in 8 +parts of water, and add 1 part of glycerine. Gently warm the whole for +about an hour, then allow to cool and add 1/4 part alcohol. It is said, on +good authority, that the alcohol may be advantageously omitted, and that +the following proportions will give even better results than the above, +viz: Methyl-violet, 1 part; water, 7 parts; glycerine, 2 parts. This +formula, it is said, produces an ink which is less liable to sink into the +paper. + + +A DARK RED INDELIBLE INK. + +An indelible red ink for marking linen may be made from the following +formula: + +Prepare three separate solutions: + + I. Sodium carbonate 3 drs. + Acacia 3 " + Water 12 " + +With this moisten the spot to be marked, and dry and smooth with a hot +flat iron. + + II. Platinum bichloride 1 dr. + Water 2 oz. + +Trace the letters with this fluid, permit to dry, and finally apply +solution. + + III. Stannous chloride 1 dr. + Water, distilled 4 " + + +TO MAKE A CARMINE. + +Take 9 ozs. carbonate of soda and dissolve in 27 quarts of rain-water, to +which add 8 ozs. of citric acid. When boiling, add 1-1/2 lbs. of best +cochineal, ground fine, and boil for one and a quarter hours. Filter and +set the liquor aside until cool. Then boil the clear liquor for ten +minutes with 9-1/2 ozs. of alum. Draw off, and allow the mixture to settle +for two or three days. Again draw off the liquor, and wash the sediment +with clear, cold, soft water, and then dry the sediment. + + +VIOLET INK. + +To make violet ink:--Put 8 ozs. logwood into 3 pints of water, and boil +until half the water has gone off in steam. The rest will be good ink, if +strained, and supplemented by 1-1/2 ozs. gum, and 2-1/2 ozs. alum. +Chloride of tin may be used instead of alum. Another plan is to mix, in +hot water, 1 oz. cudbear (a dye obtained from lichen fermented in urine) +and 1-1/2 ozs. pearlash; let it stand 12 hours; strain; add 3 ozs. gum and +1 oz. spirit. + + +INDELIBLE INK. + +A cheap indelible ink can be made by the following recipe:--Dissolve in +boiling water 20 parts of potassa, 10 parts of fine-cut leather chips, and +5 parts of flowers of sulphur are added, and the whole heated in an iron +kettle until it is evaporated to dryness. Then the heat is continued until +the mass becomes soft, care being taken that it does not ignite. The pot +is now removed from the fire, allowed to cool, water is added, the +solution strained and preserved in bottles. This ink will flow readily +from the pen. + + +HOW TO REMOVE INK-STAINS FROM THE HANDS. + +Ripe tomatoes will remove ink or other stains from the hands. + + +TREATMENT OF INDIA INK DRAWINGS. + +An easy method for rendering drawings in Indian ink insensible to water, +and thus preventing the ink from running when the drawing has to be +colored and the lines are very thick:--To the water in which the ink has +to be rubbed, is added a weak solution of bichromate of potash of about 2 +per cent. The animal gum contained in the Indian ink combines with the +bichrome, and becomes insoluble under the influence of light. + + +BLACK INK. + +To make a black ink for fountain pens, add 1 part of nigrosein to 50 parts +of hot water; agitate well at intervals; let it cool, and after twelve +hours filter through a fine linen cloth, and add a few drops of carbolic +acid to each pint. This may be diluted with three times its volume of +water, and still form a good ink for ordinary pens. + + +INK FOR RUBBER STAMPS. + +Aniline (red violet), 16 parts; boiling distilled water, 80 parts; +glycerine, 7 parts; molasses, 3 parts. + + +CARDINAL INK. + +Improved cardinal ink for draughtsmen is made as follows:--Triturate 1 +gram of pure carmine with 15 grams of acetate ammonia solution and an +equal quantity of distilled water, in a porcelain mortar, and allow the +whole to stand for some time. In this way a portion of the alumina which +is combined with the carmine dye is taken up by the acetate acid of the +ammonia salt and separates as precipitate, while the pure pigment of the +cochineal remains dissolved in the half saturated ammonia. It is now +filtered and a few drops of pure white sugar syrup added to thicken it. In +this way an excellent red drawing ink is obtained, which holds its color a +long time. A solution of gum arabic cannot be employed to thicken this +ink, as it still contains some acetic acid, which would coagulate the +bassorine, one of the natural constituents of gum arabic. + + +AN ARTICLE FOR LABELING BOTTLES. + +A very useful article for labeling bottles containing substances which +would destroy ordinary labels consists of a mixture of ammonium fluoride, +barium sulphate and sulphuric acid, the proportions for its manufacture +being: barium sulphate, 3 parts; ammonium fluoride, 1 part; and sulphuric +acid enough to decompose the fluoride and make a mixture of semi-fluid +consistency. This mixture, when brought in contact with a glass surface +with a common pen, at once etches a rough surface on the parts it comes in +contact with. The philosophy of the action is the decomposition of the +ammonium fluoride by the acid, which attacks the glass; the barium +sulphate is inert, and is simply used to prevent the spreading of the +markings. The mixture must be kept in bottles coated on the inside with +paraffine or wax. + + +HOW TO REMOVE ANILINE INK FROM THE HANDS. + +Aniline inks are now in common use, especially in connection with the +various gelatine tablets for multiplying copies of written matter. Upon +the hands it makes annoying stains, difficult of removal by water or +acids. They may be easily washed out by using a mixture of alcohol 3 +parts, and glycerine 1 part. + + +AN INK WHICH CANNOT BE ERASED. + +An ink which cannot be erased from paper or parchment by any known +chemical solvent, and will retain its original color indefinitely, and +last as long as the material on which it is written, is made as +follows:--Make a solution of shellac in borax, to which add sufficient +lampblack to give the requisite depth of color. + + +TO MAKE BLACK INK. + +Lactate of iron, 15 grains; powdered gum arabic, 75 grains; powdered +sugar, half a drachm; gallic acid, 9 grains; hot water, 3 ounces. (Lactate +of iron is a novelty in ink-making, and the above formula may possibly +suit those who have a taste for writing with mucilaginous matters instead +of limpid solutions.) + + +Black Ink for Stencils. + +The following is commended for the preparation of a black ink or paste for +use with stencils:--Boneblack, 1 lb.; molasses, 8 ozs.; sulphuric acid, 4 +ozs.; dextrine, 2 ozs.; water sufficient. Mix the acid with about two +ounces of water, and add it to the other ingredients, previously mixed +together. When the effervescence has subsided, enough water is to be added +to form a paste of convenient consistence. + + +MARKING INK. + +Put two pennyworths' lunar caustic (nitrate of silver) into half a +tablespoonful of gin, and in a day or two the ink is fit for use. The +linen to be marked must first be wet with a strong solution of common +soda, and be thoroughly dried before the ink is used upon it. The color +will be faint at first, but by exposure to the sun or the fire it will +become quite black and very durable. + + +BLUE MARKING INK FOR WHITE GOODS. + + Crystallized nitrate of silver, dram 1 + Water of ammonia, drams 3 + Crystallized carbonate of soda, dram 1 + Powdered gum arabic, drams 1-1/2 + Sulphate of copper, grains 30 + Distilled water, drams 4 + +Dissolve the silver salt in the ammonia; dissolve the carbonate of soda, +gum arabic, and sulphate of copper in the distilled water, and mix the two +solutions together. + + +BLUE-BLACK WRITING PAPER. + +Take of Aleppo galls, bruised, 9 ozs.; bruised cloves, 2 drachms; cold +water, 80 ozs.; sulphate of iron, 3 ozs.; sulphuric acid, 70 minims; +indigo-paste, 4 drachms. Place the galls and the cloves in a gallon +bottle, pour upon them the water, and let them macerate, with frequent +agitation, for a fortnight. Press, and filter through paper into another +gallon bottle. Next, put in the sulphate of iron, dissolve it, add the +acid, and shake the whole briskly. Lastly, add the indigo-paste, mix well, +and filter again through paper. Keep the ink in well-corked bottles. + + +COLORING METALS. + +Metals may be rapidly colored by covering their surfaces with a thin layer +of sulphuric acid. According to the thickness of the layer and the +durability of its action, there may be obtained tints of gold, copper, +carmine, chestnut-brown, clear and aniline blue and reddish-white. These +tints are all brilliant, and if care be taken to scour the metallic +objects before treating them with the acid, the color will suffer nothing +from the polishing. + + +FOR CHEAPLY GILDING BRONZES, ETC. + +A mixture for cheaply gilding bronzes, gas-fittings, etc.:--Two and +one-half pounds cyanide of potash, five ounces carbonate of potash and two +ounces cyanate of potass, the whole diluted in five pints of water, +containing in solution one-fourth ounce chloride of gold. The mixture must +be used at boiling heat, and, after it has been applied, the gilt surface +must be varnished over. + + +HOW TO CLEAN A CHAMOIS SKIN. + +When a chamois skin gets into a dirty condition, rub plenty of soft soap +into it, and allow it to soak for a couple of hours in a weak solution of +soda and water. Then rub it until it appears quite clean. Now take a weak +solution of warm water, soda and yellow soap, and rinse the leather in +this liquor, afterward wringing it in a rough towel, and drying it as +quickly as possible. Do not use water alone, as that would harden the +leather and make it useless. When dry brush it well and pull it about; the +result will be that the leather will become almost as soft as fine silk, +and will be, to all intents and purposes, far superior to most new +leathers. + + +HINTS ON DRESSING THE STORE WINDOWS. + +In dressing store windows avoid as far as possible placing cards or note +sheets flat; endeavor in some manner to have them erect, leaning against a +box or placed upon a small easel. Neither crowd your window nor place +things in exact rows. Give each article plenty of space in your window; +then you do not need so much to fill up, and on the following week put in +the pieces you might have displayed the previous week had you crowded your +window. + + +A VARNISH FOR PAPER. + +A varnish for paper which produces no stains, may be prepared as +follows:--Clear damar resin is covered in a flask, with four and a half to +six times its weight of acetone, and allowed to stand for fourteen days at +a moderate temperature, after which the clear solution is poured off. +Three parts of this solution are mixed with four parts of thick collodian, +and the mixture allowed to become clear by standing. It is applied with a +soft hair brush in vertical strokes. At first the coating looks like a +thin, white film, but on complete drying it becomes transparent and +shining. It should be laid on two or three times. It retains its +elasticity under all circumstances, and remains glossy in every kind of +weather. + + +TO REMOVE GREASE SPOTS FROM PAPER. + +The following is a recipe for removing grease spots from paper:--Scrape +finely some pipe clay on the sheet of paper which is to be cleaned. Let it +completely cover it, then lay a thin piece of paper over it, and pass a +heated iron on it for a few seconds. Then take a perfectly clean piece of +India rubber and rub off the pipe clay. In most cases one application will +be found sufficient, but if it is not, repeat it. + + +PAPER FOR TAKING OUT INK STAINS. + +Thick blotting paper is soaked in a concentrated solution of oxalic acid +and dried. Laid immediately on a blot it takes it out without leaving a +trace behind. + + +QUALITIES OF GOOD PAPER. + +A good paper ought to feel tight and healthy, not clammy and soft, as if a +little muscle were required. Paper-makers say that a good paper has +"plenty of guts" in it, a forcible if not extremely polite expression. In +buying a good paper always look out for the "guts." Clay gives paper a +soft feel. Perhaps the first qualification about a good writing paper is +its cleanliness and freedom from specks of all kinds. A dirty paper is +never salable except to dirty people and firms who don't mind using dirty +materials. + + +PASTE FOR LABELS. + +For adhesive labels dissolve 1-1/2 ozs. common glue, which has laid a day +in cold water, with some candy sugar, and 3/4 oz. gum arabic, in 6 ounces +hot water, stirring constantly till the whole is homogeneous. If this +paste is applied to labels with a brush and allowed to dry, they will then +be ready for use by merely moistening with the tongue. + + +HOW TO PRODUCE ENGRAVINGS OR TYPES FOR PRINTING BY PHOTOGRAPHY + +The process of producing engravings or types for printing by photography +consists first, in making a sharp negative of the picture to be engraved; +second, in the photographic printing of a sheet of sensitized gelatine by +means of the negative; third, the development of the printed lines upon +the surface of the gelatine by water; and fourth, the casting of a copy of +the developed gelatine sheet in metal, the metal so produced being used +for printing on the press in the ordinary manner. All this is very simple, +and in the hands of experienced and skilled persons very beautiful +examples of printing plates, having all the fineness and artistic effect +of superior hand engraved work, may be produced. + + +HOW TO SPLIT A SHEET OF PAPER. + +Get a piece of plate glass and place on it a sheet of paper; then let the +paper be thoroughly soaked. With care and a little dexterity the sheet can +be split by the top surface being removed. But the best plan is to paste a +piece of cloth or strong paper on each side of the sheet to be split. When +dry, violently and without hesitation pull the two pieces asunder, when +part of the sheet will be found to have adhered to one and part to the +other. Soften the paste in water and the pieces can be easily removed +from the cloth. The process is generally demonstrated as a matter of +curiosity, yet it can be utilized in various ways. If we want to paste in +a scrap book a newspaper article printed on both sides of the paper, and +possess only one copy, it is very convenient to know how to detach the one +side from the other. The paper, when split, as may be imagined, is more +transparent than it was before being subjected to the operation, and the +printing ink is somewhat duller; otherwise the two pieces present the +appearance of the original if again brought together. + + +ANILINE INK PAPER. + +To make aniline ink paper thick filtering paper is soaked in a very +concentrated solution of an aniline dye and allowed to dry; it may then be +soaked again to make it absorb more color. With a little attention it will +not be difficult to prepare the paper so as to have a known quantity of +coloring matter in a square of a given size. Paper prepared as above is +very convenient to have when traveling; when one wishes to write, it is +only necessary to tear off a small piece of the paper and let it soak in a +little water. Aniline blue paper may also be employed conveniently for +bluing in washing. + + +TO MAKE INCOMBUSTIBLE WRITING AND PRINTING PAPER. + +To make incombustible writing and printing paper, asbestos of the best +quality is treated with potassium permanganate and then with sulphuric +acid. About ninety-five per cent of such asbestos is mixed with five per +cent of wood pulp in water containing borax and glue. A fire proof ink is +made of platinous chloride and oil of lavender, mixed for writing with +India ink and gum, and for printing with lampblack and varnish. + + +HOW TO TAKE PRINTERS' INK OUT OF SILK. + +To take printer's ink out of silk without damaging the goods:--Put the +stained parts of the fabric into a quantity of benzine, then use a fine, +rather stiff brush, with fresh benzine. Dry and rub bright with warm water +and curd soap. The benzine will not injure the fabric or dye. + + +TO REMOVE RULING INK STAINS FROM FINGERS. + +Wash in chloride of lime and then rinse hands in a spoonful of alcohol. +The operation should be done quickly, as the lime, of course, eats into +the flesh. The alcohol renders the hands smooth again, and takes away the +disagreeable odor. + + +TO PREVENT WINDOW STEAMING. + +A remedy against window steaming is composed of methylated spirit at about +63 per cent over-proof, glycerine and any of the essential oils, and in +some cases amber dissolved in spirit, according to the state of the +atmosphere. + +About eight ounces of glycerine to about one gallon of spirit, the +quantity of essential oil depending upon the nature of the same; but it +will be understood that these proportions may be varied. Instead of +methylated spirit, spirit of wine may be employed, but methylated spirit +is preferable as being the cheaper. In combining the above-named +ingredients, the essential is destroyed by being mixed with the methylated +spirit or with the spirit of wine, and the liquid is then incorporated +with the glycerine. The combination is affected at the ordinary +temperature, the employment of heat being unnecessary. This liquid +composition is applied to the internal surface of the pane of glass or the +lens, either by rubbing it on with felt or with cotton-waste, or by +spreading it thereon with a camel's hair brush, or with other suitable +appliances, and thus the dull and dimmed appearance of glass usually +produced by condensation--known as steaming or sweating--is avoided. + + +TO RENDER PAPER SOFT AND FLEXIBLE. + +To render paper soft and flexible, heat it with a solution of acetate of +soda, or of potash dissolved in four to ten times its weight of water. For +permanent paper, to twenty parts of this solution one part of starch or +dextrine is added. If the paper has to be made transparent, a little of a +solution containing one part soluble glass in four to eight parts water is +added. To render the paper fit for copying without being made wet, to the +acetate solution chromic acid or ferro-cyanide of potassium is added. + + +TO REMOVE INK SPOTS. + +First moisten the blots with a strong solution of oxalic acid, then with a +clear saturated aqueous solution of fresh chloride of lime--bleaching +powder. Absorb excess of the liquids from the paper as quickly as possible +with a clean piece of blotting paper. Repeat the treatment if necessary, +and dry thoroughly between blotting pads under pressure. + + +ELECTRO GILDING IN COLORS. + +Electro-gilding in various colors may be readily effected by adding to the +gold bath small quantities of copper or silver solution until the desired +tint is obtained. A little silver solution added to the gilding bath +causes the deposit to assume a pale yellow tint. By increasing the dose of +silver solution a pale greenish tint is obtained. Copper solution added to +the gold bath yields a warm, red gold tint. It is best to use a current of +rather high tension, such as that of the Bunsen battery, for depositing +the alloy of gold and copper. + + +TO REMOVE OIL MARKS FROM PAPER. + +Oil marks on wall paper, where careless persons have rested their heads, +may be removed by making a paste of cold water and pipe clay or fuller's +earth, and laying it on the stains without rubbing it in; leave it on all +night, and in the morning it can be brushed off, and the spot, unless it +be a very old one, will have disappeared. If old, renew the application. + + +TO REMOVE INK STAINS FROM MAHOGANY. + +To remove ink stains from mahogany apply carefully with a feather a +mixture of a teaspoonful of water and a few drops of nitre, and rub +quickly with a damp cloth. + + +SOLID POCKET GLUE. + +Is made from 600 grams of glue and 250 grams of sugar. The glue is at +first completely dissolved by boiling with water; the sugar is then +introduced into the hot solution, and the mixture evaporated until it +becomes solid on cooling. The hard mass dissolves very rapidly in lukewarm +water, and then gives a paste which is especially adapted for paper. + + +TO TEST GLUE. + +An article of glue which will stand damp atmosphere is a desideratum among +mechanics. Few know how to judge of quality except by the price they pay +for it. But price is no criterion; neither is color, upon which so many +depend. Its adhesive and lasting properties depend more upon the material +from which it is made, and the method of securing purity in the raw +material, for if that is inferior and not well cleansed, the product will +have to be unduly charged with alum or some other antiseptic, to make it +keep during the drying process. Weathered glue is that which has +experienced unfavorable weather while drying, at which time it is rather a +delicate substance. To resist damp atmosphere well, it should contain as +little saline matter as possible. When buying the article, venture to +apply your tongue to it, and if it tastes salt or acid, reject it for +anything but the commonest purpose. The same operation will also bring out +any bad smell the glue may have. These are simple and ready tests and are +the ones usually adopted by dealers and large consumers. Another good +test is to soak a weighed portion of dry glue in cold water for +twenty-four hours, then dry again and weigh. The nearer it approaches to +its original weight the better glue it is, thereby showing its degree of +insolubility. + + +BOOK-BINDERS' GLUE. + +To prevent book-binders glue from turning sour, add enough of the raw +salicylic acid in boiling water to keep it soluble. It is also commended +never to keep glue in open pots, but in cylindrical shaped vessels that +admit of tight corking. + + +HOW TO MAKE A CEMENT FOR GLASS THAT WILL RESIST ACIDS. + +To make a cement for glass that will resist acids, the following has been +recommended:--Take 10-1/2 pounds of pulverized stone and glass, and mix +with it 4-3/4 pounds of sulphur. Subject the mixture to such a moderate +degree of heat that the sulphur melts. Stir until the whole becomes +homogeneous, and then run it into molds. When required for use it is to be +heated to 248 deg., degrees, at which temperature it melts, and may be +employed in the usual manner. This, it is said, resists the action of +acids, never changes in the air, and is not affected in boiling water. At +230 deg. it is said to be as hard as stone. + + +CEMENT FOR LABELS. + +1. Macerate 5 parts of glue in 18 parts of water. Boil and add 9 parts +rock candy and 5 parts gum arabic. 2. Mix dextrine with water and add a +drop or two of glycerine. 3. A mixture of one part of dry chloride of +calcium, or 2 parts of the same salt in the crystallized form, and 36 +parts of gum arabic, dissolved in water to a proper consistency, forms a +mucilage which holds well, does not crack by drying, and yet does not +attract sufficient moisture from the air to become wet in damp weather. 4. +For attaching labels to tin and other bright metallic surfaces, first rub +the surface with a mixture of muriatic acid and alcohol, then apply the +label with a very thin coating of the paste, and it will adhere almost as +well as on glass. 5. To make cement for attaching labels to metals, take +10 parts tragacanth mucilage, 10 parts of honey, and 1 part flour. The +flour appears to hasten the drying, and renders it less susceptible to +damp. + + +A COLORLESS CEMENT FOR JOINING SHEETS OF MICA. + +A colorless cement for joining sheets of mica is prepared as +follows:--Clear gelatine softened by soaking it in a little cold water, +and the excess of water pressed out by gently squeezing it in a cloth. It +is then heated over a water bath until it begins to melt, and just enough +hot proof spirit (not in excess) stirred in to make it fluid. To each pint +of this solution is gradually added, while stirring, one-fourth ounce of +sal-ammoniac and one and one-third ounces of gum mastic, previously +dissolved in four ounces of rectified spirits. It must be warmed to +liquefy it for use, and kept in stoppered bottles when not required. This +cement, when properly prepared, resists cold water. + + +A CEMENT THAT WILL RESIST THE DAMP. + +A cement that will resist the damp, but will not adhere if the surface is +greasy, is made by boiling together 2 parts shellac, 1 part borax, and 16 +parts water. + + +TO MAKE GLUE WATERPROOF. + +The best substance is bichromate of potash. Add about one part of it, +first dissolved in water, to every thirty or forty parts of glue; but you +must keep the mixture in the dark, as light makes it insoluble. When you +have glued your substances together, expose the joint to the light, and +every part of the glue thus exposed will become insoluble, and therefore +waterproof. If the substances glued together are translucent like paper, +all will become waterproof; if opaque like wood, only the exposed edges +will become so, but they also protect the interior--not exposed +parts--against the penetration of moisture. + + +TWO GLUE RECIPES. + +A glue ready for use is made by adding to any quantity of glue, common +whisky, instead of water. Put both together in a bottle, cork it tight and +set it for three or four days, when it will be fit for use without the +application of heat. Glue thus prepared will keep for years, and is at all +times fit for use, except in very cold weather, when it should be set in +warm water before using. To obviate the difficulty of the stopper getting +tight by the glue drying in the mouth of the vessel, use a tin vessel with +the cover fitting tight on the outside to prevent the escape of the spirit +by evaporization. A strong solution of isinglass made in the same manner +is an excellent cement for leather. + +A valuable glue is made by an admixture with common glue of one part of +acid chromate of lime in solution to five parts of gelatine. The glue made +in this manner, after exposure, is insoluble in water, and can be used for +mending glass objects likely to be exposed to hot water. It can also be +made available for waterproofing articles such as sails or awnings, but +for flexible fabrics it is not suitable. A few immersions will be found +sufficient to render the article impervious to wet. It is necessary that +fractured articles should be exposed to the light after being mended, and +then warm water will have no effect on them, the chromate of lime being +better than the more generally used bichromate of potash. + + +POSTAGE STAMP MUCILAGE. + +Postage stamp mucilage can be made by dissolving an ounce of dextrine in +five ounces of hot water, and adding one ounce of acetic acid and one +ounce of alcohol. The dextrine should be dissolved in water in a glue pot, +or some similar vessel, which will prevent burning. The quantities in this +recipe may be varied by taking any required weights in the proportions +mentioned. Dr. Phin says that dextrine mixed with water makes a good label +mucilage if a drop or two of glycerine be added to it. Too much glycerine +will prevent the mucilage drying; with too little it will be likely to +crack. + + +HOW TO KEEP MUCILAGE FRESH. + +To keep mucilage fresh, and prevent the formation of mould, drop into the +bottle a few crystals of thymol, which is a strong and harmless +antiseptic. + + +MUCILAGE IN A SOLID FORM WHICH WILL DISSOLVE IN WATER. + +Mucilage in a convenient solid form, and which will readily dissolve in +water, for fastening paper, prints, etc., may be made as follows:--Boil +one pound of the best white glue, and strain very clear; boil also four +ounces of isinglass, and mix the two together; place them in a water +bath--a glue pot will do--with one-half pound of white sugar, and +evaporate till the liquid is quite thick, when it is to be poured into +molds, dried, and cut into pieces of convenient size. + + +MUCILAGE FOR PASTEBOARD. + +Persons are often at a loss for a very strong mucilage having sufficient +power of tenacity to fasten sheets of pasteboard together. The following +cement is recommended by a scientific authority. It has the additional +advantage of being waterproof. Melt together equal parts of pitch and +gutta-percha. To nine parts of this add three parts of boiled oil, and +one-fifth part of litharge. Continue the heat with stirring until a +thorough union of the ingredients is effected. Apply the mixture hot or +somewhat cooled, and thinned with a small quantity of benzole or +turpentine oil. + + +A PORTABLE INK. + +The aniline colors, which possess great tinctorial powers, can be +conveniently used in the preparation of a portable ink. Saturate white +tissue paper with an aniline violet, or with aniline black, by dipping the +sheets into a saturated alcoholic solution of these colors; then dry and +pack them in suitable parcels, and you will have a portable ink, either +violet or black. + + +INDELIBLE INDIA INK. + +Draughtsmen are aware that lines drawn on paper with good India ink well +prepared cannot be washed out by mere sponging or washing. Now, however, +it is proposed to take advantage of the fact that glue or gelatine, when +mixed with bichromate of potassa, and exposed to the light, becomes +insoluble, and thus renders India ink, which always contains a little +gelatine, indelible. Reisenbichler, the discoverer, calls this kind of ink +"Harttusche," or "hard India ink." It is made by adding to the common +India ink of commerce about one per cent, in a very fine powder, of +bichromate of potash. This must be mixed with the ink in a dry state; +otherwise, it is said, the ink could not be easily ground in water. Those +who cannot provide themselves with ink prepared as above in a cake, can +use a dilute solution of bichromate of potash in rubbing up the ink. It +answers the same purpose, though the ink should be used thick, so that the +yellow salt will not spread. + + +TO MAKE COPYING INKS. + +Dissolve in a pint and a half of writing ink (violet or any other color) +an ounce of lump sugar or sugar candy. A copying ink, so slow drying that +writing in it can be copied by the use of no greater pressure than the +hand can produce when passed over a sheet of paper, may be made by boiling +away nearly half of some ordinary writing fluid and then adding as much +glycerine. + + +A GOOD PASTER. + +Let a little starch lie in vinegar over night. Pour in boiling water, +stirring briskly till it thickens. It will keep better if a few drops of +carbolic acid are added. A very little corrosive sublimate will keep out +insects. A little glue dissolved in the vinegar will make it stronger. It +leaves the pasted scrap-page flexible, adheres firmly, dries quickly, and +does not give a varnishy look to even the thinnest print paper. + + +A PASTE WHICH WILL NOT SPOIL. + +A paste that will not spoil is made by dissolving a piece of alum the size +of a walnut in one pint of water. Add to this two tablespoonfuls flour +made smooth with a little cold water, and a few drops of oil of cloves, +putting the whole to a boil. Put up in a glass canning-jar. + + +ELECTRIC PAPER. + +Electric paper may be made thus:--Tissue paper or filtering paper is +soaked in a mixture consisting of equal quantities of saltpetre and +sulphuric acid. It is afterwards exposed to dry, when a pyroxyline (a +substance resembling gun-cotton) forms. This is in the highest degree +electrical. + + +A SILVER SOLDER. + +To make silver solder melt together 34 parts, by weight, silver coin, and +five parts copper; after cooling a little, drop into the mixture 4 parts +zinc, then heat again. + + +AN ALLOY FOR GLASS OR METAL. + +The following alloy, it is said, will attach itself firmly to glass, +porcelain or metal.--Twenty to thirty parts of finely pulverulent copper, +prepared by precipitation or reduction with the battery, are made into a +paste with oil of vitriol. To this seventy parts of mercury are added, and +well triturated. The acid is then washed out with boiling water and the +compound allowed to cool. In ten or twelve hours it becomes sufficiently +hard to receive a brilliant polish, and to scratch the surface of tin or +gold. When heated it is plastic, but does not contract on cooling. + + +AN IMPROVED PROCESS OF PHOTO-ENGRAVING. + +The metal plate, of copper or zinc, is coated with a very thin layer of +bitumen of Judaea, and when this coat has become perfectly dry, a film of +bichromatized albumen is flowed over the plate. It is next exposed in the +camera, and afterwards washed with water, in order to dissolve all the +albumen which has not been rendered insoluble by the luminous action; it +is then treated with spirit of turpentine, which dissolves all those parts +of the layer of bitumen that have become exposed. The plate can now be +attacked directly by water acidulated with from four to six per cent of +nitric acid. The great advantage of this method consists in the high +sensitiveness of the bichromatized albumen, at the same time preserving +the solid reserve produced by the bitumen of Judaea on a metallic surface. + + +TO MAKE NEW A CORRODED PEN. + +When a pen has become so corroded as to be useless, it can be made good as +new by holding it in the flame of a gas jet for half a minute; then drop +in cold water, take out, wipe clean, and it will be ready for use again. + + +ENAMEL FOR FINE CARDS. + +For the brilliant enamel now often generally applied to fine cards and +other purposes, the following formula is given:--For white and for all +pale and delicate shades, take twenty-four parts, by weight, of paraffine; +add thereto 100 parts of pure kaolin (China clay), very dry and reduced to +a fine powder. Before mixing with the kaolin, the paraffine must be heated +to fusing point. Let the mixture cool, and it will form a homogeneous +mass, which is to be reduced to powder, and worked into paste in a +paint-mill, with warm water. This is the enamel ready for application. It +can be tinted according to fancy. + + +ELECTROTYPING HANDWRITING. + +To produce electrotypes or stereotypes of letters, signatures, ordinary +written matter, drawings or sketches, coat a smooth surface of glass or +metal with a smooth, thin layer of gelatine, and let it dry. Then write or +draw upon it with an ink containing chrome alum, allow it to dry exposed +to light, and immerse the plate in water. Those parts of the surface which +have not been written upon will swell up and form a relief plate, while +those parts which have been written upon with the chrome ink have become +insoluble in water, after exposure to light. The relief may be transferred +to plaster of Paris, and from this may be made a plate in type metal. + + +BLACK PAINT FOR BLACKBOARDS. + +Take shellac varnish, one-half gallon; lampblack, five ounces; powdered +iron ore or emery in fine powder, three ounces. If too thick, thin down +with alcohol. Give the wood three coats of the composition, allowing each +to dry before putting on the next. The first coat may be of shellac and +lampblack alone. + + +TO CLEAN STEEL PENS. + +Potato is used to clean steel pens, and generally act as a pen-wiper. It +removes all ink crust, and gives a peculiarly smooth flow to the ink. Pass +new pens two or three times through a gas flame, and then the ink will +flow freely. + + +STATIONERS' WINDOWS. + +It is important that strangers should get a good impression with a tasty +window, or a polite reception when entering the store. Remember that first +impressions go a great way, and when once formed, good or bad, are very +hard to get rid of. Make it a special point to clean the window once a +week, put in different stock every time, and do not be afraid to display +goods because the dust will spoil them. If the article in question is +delicate and easily ruined, leave it in the window only a few days; +display samples of the latest goods, and, if necessary, buy some article +that is showy, and which you think will attract people, especially for the +window, even though the amount expended is "sunk." It will certainly pay +in the end. If your stock of a certain article or class of goods is large, +devote the whole window to it for a week. + +It is impossible to give rules for the arrangement, which, of course, +depends on the goods to be shown and the taste of the person dressing the +window. Stamped papers and visiting cards can be shown effectively in the +following manner:--Have a number of wooden blocks made the size of a +quarter of a ream of paper and a package of visiting cards; wrap these +neatly with a sample sheet of paper or cards on the outside, tied with +ribbon. Another way to show printed visiting cards is to make a small +pyramid of them by taking three small square boxes of different sizes, +which, when placed one on top of the other, will form a small pyramid. +Cover these entirely with samples of visiting cards, and place in the +center of the window. + + +PHOTO-LITHOGRAPHIC TRANSFER PAPER. + +Photo-lithographic transfer paper and ink are prepared in the following +manner:--The paper is treated with a solution of a hundred parts of +gelatine and one part of chrome alum in 2,400 parts of water. After +drying, it is treated with the white of egg. It is made sensitive with a +bath consisting of one part of chrome alum, 14 parts of water and 4 parts +of alcohol. The latter ingredient prevents the white of egg from +dissolving. On the dark places the white of egg, together with the ink +with which the exposed paper has been coated, separates in water. The +transfer ink consists of 20 parts of printing ink, 50 parts of wax, 40 +parts of tallow, 35 parts of colophony, 210 parts of oil of turpentine, 30 +parts of Berlin blue. It is found that a varnish formed of Canadian +balsam, dissolved in turpentine, supplies a most valuable means of making +paper transparent. The mode by which this is most satisfactorily +accomplished is by applying a thin coating of this varnish to the paper, +so as to permeate it thoroughly, after which it is to be coated on both +sides with a much thicker mixture. The paper is kept warm by performing +the operation before a hot fire, and a third and even a fourth coating may +be applied until the texture of the paper is seen to merge into +homogeneous translucency. Paper prepared according to this process is +said to come nearer than any other to the highest standard of perfection +in transparent paper. Care must be used in making, as the materials are +highly inflammable. + + +DIFFERENT KINDS OF ENGRAVING. + +"Line" engraving is of the highest order. All engravings are done in +"line"--simply straight lines. Next comes "line" and "stiple." "Stiple" +means dots--small dots like this:--....--.... These small dots are used to +lighten up the high parts of the face or drapery. It is very hard to +engrave a face in lines, simply, and only master engravers have ever +undertaken it. The masters understand and practice both in "line" and +"stiple." Claude Mellan engraved, in 1700, a full head of Christ, with one +unbroken line. This line commenced at the apex of the nose, and wound out +and out like a watch spring. Mezzotint engravings are produced thus:--The +steel or copper is made rough like fine sand paper. To produce soft +effects, this rough surface is scraped off. If you want a high place or +"high light" in your engraving, scrape the surface smooth, then the ink +will not touch it. If you want faint color, scrape off a little. Such +engravings look like lithographs. Etching is adapted to homely and +familiar-sketches. Etching is done thus:--The copper or steel plate is +heated and covered with black varnish. The engraver scratches off this +varnish with sharp needles, working on the surface as he would on paper +with a pencil. Nitric acid is then passed over the plate, and it eats away +at the steel and copper wherever the needle has scraped off the varnish. +When the varnish is removed with spirits of turpentine, the engraving is +seen in sunken lines on the plate. + + +HOW TO PRESERVE PENCIL SKETCHES. + +The pencil drawings of mechanical draughtsmen and engineers may be +rendered ineffaceable by the following process:--Slightly warm a sheet of +ordinary drawing paper, then place it carefully on the surface of a +solution of white resin in alcohol, leaving it there long enough to become +thoroughly moistened. Afterward dry it in a current of warm air. Paper +prepared in this way has a very smooth surface. In order to fix the +drawing, the paper is to be warmed for a few moments. This process may +prove useful for the preservation of plans or designs when the want of +time or any other cause will not allow the draughtsman reproducing them in +ink. A simpler method than the above, however, is to brush over the back +of the paper containing the charcoal or pencil sketch with a weak solution +of white shellac in alcohol. + + +CARE OF WOOD TYPE. + +Wood type should always be kept in a cool and dry place--not, as is often +the case, a few feet from a large stove, or directly over the lye and wash +tub. The drawer or shelves--drawers or cases are preferable to +shelves--where they are kept, should not, as very often happens, be made +of unseasoned wood, for this reason: type wood is usually perfectly +seasoned, and when allowed to remain for any length of time on a damp +surface, the moisture is absorbed, the bottom expands, and a warped type, +ready to be broken at the first impression, is the result. + +Wood type should only be washed with oil. A moistened cloth is sufficient, +is more economical, and is certainly much cleaner than using their weight +in oil. All wood type have a smooth and polished face, and if properly +cleaned when put away will last for years. In fact, proper use only +improves the working qualities. Wood type forms should not be left +standing near hot stoves, or left locked up over night on a damp press or +stone to warp, swell, and perhaps ruin a costly chase. + + +COPPER-PLATING ON ZINC. + +Take an organic salt of copper--for instance, a tartrate. Dissolve 126 +grammes sulphate of copper (blue vitriol) in two litres of water; also +227 grammes tartrate of potash and 286 grammes crystallized carbonate of +soda in 2 litres of water. On mixing the two solutions, a light +bluish-green precipitate of tartrate of copper is formed. It is thrown on +a linen filter and afterwards dissolved in half a litre of caustic soda +solution of 16 deg. B. when it is ready for use. + +The coating obtained from this solution is very pliable, smooth and +coherent, with a fine surface; acquires any desired thickness if left long +enough in the bath. + +Other metals can also be employed for plating, in the form of tartrates. +Instead of tartrates, phosphates, oxalates, citrates, acetates and borates +of metals can be used; so that it seems possible to entirely dispense with +the use of cyanide baths. + + +TO TRANSFER ENGRAVINGS TO MOTHER-OF-PEARL. + +To transfer engravings to mother-of-pearl, coat the shell with thin white +copal varnish. As soon as the varnish becomes sticky, place the engraving +face down on it, and press it well into the varnish. After the varnish +becomes thoroughly dry, moisten the back of the engraving and remove the +paper very carefully by rubbing. When the paper is all removed and the +surface becomes dry, varnish lightly with copal. + + +METAL FOR STEREOTYPING. + +For every six pounds of lead add one pound of antimony. The antimony +should be broken into very small pieces, and thrown on the top of the lead +when it is at red heat. It is a white metal, and so brittle that it may be +reduced to powder; it melts when heated to redness; at a higher heat it +evaporates. + +The cheapest and most simple mode of making a stereotype metal is to melt +old type, and to every fourteen pounds add about six pounds of grocer's +tea-chest lead. To prevent any smoke arising from the melting of tea-chest +lead it is necessary to melt it over an ordinary fire-place, for the +purpose of cleansing it, which can be done by throwing in a small piece of +tallow about the size of a nut, and stir it briskly with the ladle, when +the impurities will rise to the surface, and can be skimmed off. + +In the mixing of lead and type-metal see that there are no pieces of zinc +among it, the least portion of which will spoil the whole of the other +metal that is mixed with it. Zinc is of a bluish white color; its hue is +intermediate between that of lead and tin. It takes about eighty degrees +more heat than lead to bring it into fusion; therefore, should any metal +float on the top of the lead, do not try to mix it, but immediately take +it off with the ladle. + + +HOW TO FIX PENCIL MARKS SO THEY WILL NOT RUB. + +To fix pencil marks so they will not rub, take well skimmed milk and +dilute with an equal bulk of water. Wash the pencil marks (whether writing +or drawing) with this liquid, using a soft camel-hair brush, and avoid all +rubbing. Place upon a flat board to dry. + + +HOW TO OBTAIN A BRIGHT AND LASTING RED EDGE. + +A bright and lasting red edge may be obtained by the following +process:--Take the best vermillion and add a pinch of carmine; mix this +with glaire, slightly diluted. Take the book and bend over the edge so as +to allow the color to slightly permeate it; then apply the color with a +bit of fine Turkey sponge, bend over the edge in the opposite direction, +and color again. When the three edges have been done in this manner, allow +them to dry. Next screw the book tightly up in the cutting press, and +after wiping the edge with a waxed rag, burnish well with a flat agate +burnisher. + + +TO RESTORE THE LUSTRE OF MOROCCO LEATHER. + +The lustre of morocco leather is restored by varnishing with white of +egg. + + +TO RESTORE THE ORIGINAL WHITENESS OF COPPER-PLATE, WOOD ENGRAVING, ETC. + +The following process will restore the original whiteness of copper-plate, +wood-engraving or printed matter:--Place a piece of phosphorus in a large +glass vessel; pour in water of 30 deg. centigrade (that is 86 deg. Fahrenheit) +temperature until the phosphorus is half covered. Cork up, but not +tightly, the glass vessel, and lay it in a moderately warm place for +fourteen hours. Damp the paper that is to be bleached, with distilled +water; fasten it to a piece of platinum wire and hang it up inside the +glass vessel. The faded paper after a short time will regain its original +white color. It should then be taken out and washed in water; next drawn +through a weak solution of soda, and finally dipped in pure water and laid +on a glass table, and thus made dry and smooth. + + +FOR ELECTROTYPING ON CHINA. + +For electrotyping on China and similar non-conducting materials:--Sulphur +is dissolved in oil of spike lavender to a syrupy consistence; then +chloride of gold or chloride of platinum is dissolved in ether, and the +two solutions mixed under a gentle heat. The compound is next evaporated +until the thickness of ordinary paint, in which condition it is applied +with a brush to such portions of the china, glass or other fabric as it +is desired to cover, according to the design or pattern, with the +electrometallic deposit. The objects are baked in the usual way before +they are immersed in the bath. + + +PAINTING ON EBONIZED WOOD. + +The great difficulty to be overcome in painting on ebonized wood, is the +non-absorbent character of the surface, which will not allow the paint to +sink in. Washing the panel over with onion juice enables the paint to +adhere more easily. The paint, whether oil or water color, must be laid on +thickly. In order that the painting, whether of flowers or figures, shall +prove a decoration, the black space between the painted figures must be +graceful in shape. Water color paintings on such panels require to be +varnished. Oil color does not need the varnish. + + +HOW GILDING IS DONE. + +Letters written on vellum or paper are gilded in three ways. In the first +a little size is mixed with the ink, and the letters are written as usual; +when they are dry a slight degree of stickiness is produced by breathing +on them, upon which the gold leaf is immediately applied, and by a little +pressure may be made to adhere with sufficient firmness. In the second +method some white lead or chalk is ground up with strong size, and the +letters are made with this by means of a brush; when the mixture is almost +dry, the gold leaf may be laid on and afterward burnished. The best method +is to mix up some gold powder with size, and make the letters of this by +means of a brush. + +The edges of the leaves of books are gilded while in the binders' press, +by first applying a composition formed of four parts of Armenian bole and +one of sugar candy, ground together to a proper consistence; it is laid on +by a brush with white of egg; this coating, when nearly dry, is smoothed +by the burnisher; it is then slightly moistened with clear water, the gold +leaf applied, and afterwards burnished. + +In order to impress the gilt figures on the leather covers of books, the +leather is first dusted over with very fine powdered resin or mastic; then +the iron tool by which the figure is made is moderately heated and pressed +down upon a piece of leaf gold which slightly adheres to it, being then +immediately applied to the surface of the leather with a certain force; +the tool at the same time makes an impression, and melts the mastic which +lies between the heated iron and the leather; in consequence of this, the +gold with which the face of the tool is covered is made to adhere to the +leather, so that on removing the tool a gilded impression of it remains +behind. + + +PRINCIPAL COLORS OF GOLD FOR GRINDING. + +The principal colors of gold for grinding are red, green, yellow. These +should be kept in different amalgams. The part which is to remain of the +first color is to be stopped off with a composition of chalk and glue; the +variety required is produced by gilding the unstopped parts with the +proper amalgam, according to the usual mode of gilding. Sometimes the +amalgam is applied to the surface to be gilt, without any quicking, by +spreading it with aquafortis; but this depends on the same principle as a +previous quicking. + + +WRITING ON METALS. + +To write on metals, take half a pound of nitric acid and one ounce +muriatic acid. Mix and shake well together, and then it is ready for use. +Cover the plate you wish to mark with melted beeswax; when cold, write +your inscription plainly in the wax clear to the metal with a sharp +instrument. Then apply the mixed acids with a feather, carefully filling +each letter. Let it remain from one to ten hours, according to the +appearance desired, throw on water, which stops the process, and remove +the wax. + + +HOW TO TRANSFER A PHOTOGRAPHIC PRINT TO GLASS. + +To transfer a photographic print to glass for painting or for other +purposes, separate the paper print from the background by steaming it; dry +thoroughly, and having given the warmed glass an even coating of clean +balsam or negative varnish, place the face of the print on the surface +thus prepared, smooth it out and let it stand in a cool place until the +varnish has hardened. Then apply water, and with a soft piece of +gum-rubber rub off the paper so as to leave the photographic image on the +varnished glass. + + +STEREOTYPING WOODCUTS. + +In stereotyping woodcuts, care should be taken that they are thoroughly +dry before being sent to the foundry, as the intense heat to which they +are subjected frequently causes them to warp and split, especially if +pierced. + + +TO GILD WITH GOLD LEAF. + +Bookbinders use gold leaf in two ways--to gild on the edge, and to place +gold letters on the binding. To gild on the edge, the edge is smoothly +cut, put in a strong press, scraped so as to make it solid, and the +well-beaten white of an egg, or albumen, put on thinly; the gold leaf is +then put on before the albumen is dry; it is pressed down with cotton, +and when dry polished with an agate polisher. To put on the lettering, the +place where the letters are to appear is coated with albumen, and after it +is dry, the type to be used is heated to about the boiling point of water, +the gold leaf is put on, either on the book or on the type, and then +placed on the spot where the lettering is desired, when the gold leaf will +adhere by the heat of the type, while the excess of gold leaf loosely +around is rubbed off with a tuft of cotton. + + +GILDING ON WOOD. + +To gild in oil, the wood, after being properly smoothed, is covered with a +coat of gold size, made of drying linseed oil mixed with yellow ochre. +When this has become so dry as to adhere to the fingers without soiling +them, the gold leaf is laid on with great care and dexterity, and pressed +down with cotton wool. Places that have been missed are covered with small +pieces of gold leaf, and when the whole is dry the ragged bits are rubbed +off with cotton. This is by far the easiest mode of gilding. Any other +metallic leaves may be applied in a similar manner. Pale leaf gold has a +greenish-yellow color, and is an alloy of gold with silver. Dutch gold +leaf is only copper colored with the fumes of zinc. Being much cheaper +than gold leaf, it is very useful when large quantities of gilding are +required in places where it can be defended from the weather, as it +changes color if exposed to moisture; and it should be covered with +varnish. Silver leaf is prepared like gold leaf, but when applied should +be kept well covered with varnish, as otherwise it will tarnish. A +transparent yellow varnish will give it the appearance of gold. + + +GILDING IN OIL. + +In order to make good work in oil gilding there are several indispensable +conditions which must be observed. First, a smooth ground. Second, gold +size free from grit or skins. Third, in putting oil gold size on the work +it must be dross black, ground in turpentine, and mixed with boiled +linseed oil and a small piece of dryers; well sand-paper again, when this +coat is dry. And now for the finishing coat of color, which should be +flat, _i. e._, mixed with turpentine and a few drops of japanner's +gold-size, but no oil. The dross black should be first ground in +turpentine and the gold-size added after. When this has dried, varnish +with hard drying oak varnish, leave for a day or two, and then rub down +with pumice-stone powder, sifted through muslin; use a piece of cloth or +felt wrapped on a small block of wood, and first wet the surface to be +rubbed with water; dry with a wash-leather, and re-varnish. The ornaments +are usually done with stencil patterns, and the lines are done with +straight edges and lining fitches. Stencil patterns can be cut out of card +paper. Before using, give a coat or two of patent knotting. For gilding +panels, give a coat of buff first, then a coat of gold-size, in oil. When +this has dried just sticky, press the gold leaf upon it with a ball of +wadding, and leave for five or six hours, then rub over with a piece of +soft wadding, and wash well with a sponge and cold water. The gold will +not need any preparation before painting on, but if varnished afterward +use pale varnish. Screens should be painted in colors to match the rooms +they are intended to be used in. Birds, flowers and animals are the +subjects generally introduced for this purpose. Birds should be painted +toward the top of the screen, animals, flowers, etc., in the centre or at +the bottom. + + +GLOSS PRINTING. + +Gloss printing is done in two ways; one by using the gloss inks specially +prepared for the purpose, the other by printing the gloss preparation on +over the finished job, or over that portion of it required to be glossed. +To the inexperienced this is a difficult operation, attended by many +failures. It is accomplished as follows:--Prepare a tint block the exact +size and shape to cover the printing to be glossed. The block should be of +boxwood or hard metal--soft metal will not do. Fix it on the press and +make it ready as for ordinary work, with a good, even impression. Wash up +the ink table, the rollers and the block itself thoroughly, removing the +least trace of ink. Replace the rollers and distributors. Now, with a +clean palette knife put a little of the gloss preparation on the ink +cylinder or table, let it distribute for about a minute, and then pull an +impression; if it comes up perfectly clean, the work may proceed, but if +there are any signs of dirt, it is best to wash up again at once. While +working the gloss, keep the machine in motion, and should the gloss become +too sticky (which it is apt to do) sprinkle a very little turpentine on +the rollers. It is best to have a separate hand to put on the gloss, so as +not to delay the feeder, and the sheets should be taken away at once and +laid out singly to dry. The two most important points are to have the +machine clean and keep it in motion. After printing, wash up the gloss +quickly with benzine. + + +TO BLEACH SHEEPSKIN PARCHMENT WHITE. + +To bleach sheepskin parchment white, expose the pieces to strong sunlight +under glass, in a moist atmosphere. + + +COLORS FOR PRINTING. + +For a black color for printing, 25 parts paraffine oil and 45 parts resin +are mixed, either by melting at 80 deg.C., or by mechanical means at the +ordinary temperature. To this mass 15 parts of black are added. For +printing machines, the mixture is composed of 40 parts of resin only, +instead of 45. Resin can, in some cases, be replaced by dammar. Other +colors are mixed by substituting the equivalent of the color to the black. +When cheapness has to be considered, paraffine oil can be substituted by +resinous oil, and resin by Burgundy resin, etc. + + +HOW TO DYE PARCHMENT BLUE OR RED. + +Parchment can be dyed green, blue or red. To dye it blue, use the +following process:--Dissolve verdigris in vinegar; heat the solution, and +apply it by means of a brush on the parchment, till it takes a nice green +color. The blue color is then obtained by applying on the parchment thus +prepared a solution of carbonate of potash. Use two ounces for one gallon +of water. Another method is to cover it by means of a brush with +aquafortis, in which copper dust has been dissolved. The potash solution +is then applied as before, till the required shade is obtained. Another +method is by using the following solution:--Indigo, 5 ozs.; white wood, +10 ozs.; alum, 1 oz.; water, 50 ozs. Red:--The parchment is dyed red by +applying with a brush a cold logwood solution, and then using a 3 per cent +potash solution. + + +TO MAKE PAPER FIRE AND WATER-PROOF. + +To make paper fire and water-proof, mix two-thirds ordinary paper-pulp +with one-third asbestos. Steep in a solution of common salt and alum, and +after being made into paper coat with an alcoholic solution of shellac. By +plunging a sheet of paper into an ammoniacal solution of copper for an +instant, then passing it between the cylinders and drying it, it is +rendered entirely impermeable to water, and may even be boiled without +disintegrating. Two, three, or any number of sheets rolled together become +permanently adherent, and form a material having the strength of wood. By +the interposition of cloth or any kind of fiber between the layers, the +strength is greatly increased. + + +A NEW BLOTTING PAPER. + +A blotting paper that will not only dry the blot, but bleach the remainder +of it can be made by passing ordinary blotting paper or card through a +concentrated solution of oxalic acid. Care must be taken that no crystals +appear, which would injure the porosity of the paper. + + +IMPERMEABLE PAPER. + +To make impermeable paper, prepare the two following baths: (1) alum, 25 +ozs.; white soap, 12-1/2 ozs.; water, 100 ozs. (2) gum arabic, 6 ozs.; +Colle de Flandre, 18 ozs.; water, 100 ozs. Place the sheet of paper in the +first bath to be well impregnated. In this bath the paper is left only for +a short time. It is then dried and dipped in the second bath, the same +precautions being used as for the first bath. When dry, the paper is +hot-pressed in order to render it uniform. + + +TO MOUNT CHROMOS FOR FRAMING. + +To mount chromos for framing, first soak for fifteen minutes in a shallow +dish, or lay between two newspapers that have been thoroughly saturated +with water; then paste to the panel of the wood or canvas which has been +prepared to receive them. Care must be taken that there are no lumps in +the paste. + + +A VARNISH FOR MAKING PAPER TRANSPARENT. + +A varnish formed of Canada balsam, dissolved in turpentine, supplies a +most valuable means of making paper transparent. The mode by which this is +most satisfactorily accomplished is by applying a pretty thin coating of +this varnish to the paper, so as to permeate it thoroughly, after which it +is to be coated on both sides with a much thicker sample. The paper is +kept warm by performing the operation before a hot fire, and a third, or +even a fourth, coating may be applied, until the texture of the paper is +seen to merge into a homogeneous translucency. Paper prepared according to +this process is said to come nearer than any other to the highest standard +of perfection in transparent paper. Care must be used in making, as the +materials are highly inflammable. + + +CARBON PAPER. + +To make carbon paper:--Take of clear lard, five oz.; beeswax, one oz.; +Canada balsam, one-tenth oz.; lampblack, q. s. Melt by aid of heat, and +mix. Apply with a flannel dauber, removing as much as possible with clean +woolen rags. + + +LUMINOUS PAPER. + +To make paper which shall be luminous in the dark, it is sufficient to +mingle with the pulp the following ingredients in their +proportions:--Water, ten parts; pulp, forty parts; phosphorescent powder, +ten parts; gelatine, one part; bichromate of potash, one part. The paper +will also be waterproof. + + +SIZES AND WEIGHTS OF DRAWING PAPERS. + +The following are the sizes and weights of drawing papers: + + Inches. Lbs. + + Emperor, 72 x 48 620 + Antiquarian, 53 x 31 250 + Double Elephant, 40 x 26-3/4 136 + Atlas, 34 x 26 98 + Columbier, 34-1/2 x 23-1/2 102 + Imperial, 30 x 22 72 + Elephant, 28 x 23 72 + Super Royal, 27 x 19 54 + Royal, 24 x 19 44 + Medium, 22 x 17-1/2 34 + Demy, 20 x 15-1/2 25 + Large Post, 20-3/4 x 16-3/4 23 + Post, 19 x 15-1/4 20 + Foolscap, 17 x 13-1/2 15 + Pott, 15 x 12-1/2 10 + Copy, 20 x 16 20 + + +TO MAKE BRONZED PAPER. + +Dissolve gum lac in four parts by volume of pure alcohol, and then add +bronze or other metal powder in the proportion of one part to every three +of the solution. A smooth paper must be chosen, and the mixture applied +with a fine brush. The coating is not dull, and may be highly burnished. + +Another process consists in first applying a coat of copal or other +varnish, and when this has become of a tacky dryness, dusting bronze +powder over it. After remaining a few hours, this bronzed surface should +be burnished with an agate or steel burnisher. + + +TO MAKE DRAWING-PAPER TRANSPARENT. + +Drawing paper of any thickness may be made perfectly transparent by +damping it with benzine. India ink and water colors can be used on this +paper. The paper resumes its opacity as the benzine evaporates, so that +any place that has not been duly traced requires to be redamped with the +benzine for that purpose. A sponge should be used for the application. + + +TO MAKE PAPER WATER-PROOF. + +The following is a recipe for making paper water-proof:--Add a little +acetic acid to a weak solution of carpenters' glue. Dissolve also a small +quantity of bichromate of potash in distilled water, and mix both +solutions together. The sheets of paper are drawn separately through the +solution, and hung up to dry. + + +HOW TO SIZE POOR DRAWING PAPER. + +To size poor drawing paper, take one oz. of white glue, one oz. of white +soap, and one-half oz. of alum. Soak the glue and soap in water until they +appear like jelly, then simmer in one quart of water until the whole is +melted. Add the alum, simmer again and filter. To be applied hot. + + +TO PREVENT ALTERATIONS IN WRITING. + +The following process of preparing paper will prevent alterations in +writing:--Add to the sizing 5 per cent of cyanide of potassium and +sulphide of antimony, and run the sized paper through a thin solution of +sulphate of manganese or copper. Any writing on this paper with ink made +from nutgalls and sulphate of iron, can neither be removed with acids nor +erased mechanically. Any acid will change immediately the writing from +black to blue or red. Any alkali will change the paper to brown. Any +erasure will remove the layer of color, and the white ground of the paper +will be exposed, since the color of the paper is only fixed to the outside +of the paper without penetrating it. + + +TO PREVENT GUMMED PAPER FROM COCKLING. + +It is well known that paper, when gummed, often cockles. To remedy this a +little glycerine or sugar should be added to the gum. + + +COPYING DRAWING IN COLOR. + +The paper on which the copy is to appear is first dipped in a bath +consisting of thirty parts of white soap, thirty parts of alum, forty +parts of English glue, ten parts of albumen, two parts of glacial acetic +acid, ten parts of alcohol of 60 deg., and 500 parts of water. It is +afterwards put into a second bath, which contains fifty parts of burnt +umber ground in alcohol, twenty parts of lampblack, ten parts of English +glue, and ten parts of bichromate of potash in 500 parts of water. They +are now sensitive to light, and must, therefore, be preserved in the dark. +In preparing paper to make the positive print, another bath is made just +like the first one, except that lampblack is substituted for the burnt +umber. To obtain colored positives the black is replaced by some red, +blue, or other pigment. + +In making the copy, the drawing to be copied is put in a photographic +printing frame, and the negative paper laid on it, and then exposed in the +usual manner. In clear weather an illumination of two minutes will +suffice. After the exposure the negative is put in water to develop it, +and the drawing will appear in white on a dark ground; in other words, it +is a negative or reversed picture. The paper is then dried and a positive +made from it by placing it on the glass of a printing frame, and laying +the positive paper upon it, and exposing as before. After placing the +frame in the sun for two minutes, the positive is taken out and put in +water. The black dissolves off without the necessity of moving back and +forth. + + +WASHING FORMS. + +Forms sent down to machine ought not to be wet too much with lye or with +water, otherwise it becomes necessary to dry them before working, which +takes time and often much trouble. The wet works up little by little to +the face of the letter, and then the form becomes unworkable. It has often +to be taken off the coffin, the feet of the types have to be thoroughly +dried, then some sheets of unsized paper have to be placed under the form; +it has also to be unlocked, shaken, locked up again, the sheets removed +with the moisture they have imbibed, and then it is to be hoped the form +will be workable. If not there is nothing to be done but to lift it and +dry it by heat. + +Lye is generally used for washing forms which do not contain wood blocks; +turpentine where wood-cuts or wood-letters are to be found in them. The +bristles of the lye-brush should be longer than those of the +turpentine-brush, and, in order to preserve it, each brush should be +properly washed with water after using, and shaken and stood up to dry. If +this is not done the brush will last but a short time. + +There is no good in taking up with the brush a large quantity of lye or +turps, and to shed it at once. Yet this is too commonly done, regardless +of waste. In order to wash a form well the brush should be passed lightly +over all the pages, in order to wet them uniformly. Then they should be +rubbed round and round, and finally lengthwise and crosswise. Leaning on +the brush not only wears away the bristles, but sometimes injures the face +of the type, too. It is a bad practice. + +After washing, before printing, a sponge with pure water should be passed +lightly over the form, and then the form should be dried with a cloth. +Care should be taken not to use a woolen cloth, which is liable to leave +little pieces on the face of the types, and to see that there are no hard +substances in it. After printing it is always best to wash with +turpentine. Lye induces oxidation of the types, while turps leave an oily +film on them, which preserves them from the action of the atmosphere. + + +HOW TO PREVENT OFF-SETTING. + +A practical pressman says that a sheet of paper wet with glycerine and +used as a tympan-sheet will prevent off-setting. This will be found better +than using oiled sheets. + + +PRINTING ENVELOPES. + +To prevent the lumpy particles of mucilage on gummed envelopes from +"battering" the type, use a heavy piece of blotting paper as a tympan, and +when beaten down, touch the injured part with a drop of water, which will +bring up the impression again. + + +TO PREVENT SET-OFF ON WRITING PAPERS PRINTED ON ONE SIDE. + +To prevent set-off on writing papers printed on one side, do not lay the +sheets straight as they leave the press or machine; this will enable the +air to get between them, and wonderfully expedite the drying of the ink. +Do not allow the heap to become too heavy. + + +A QUICK DRYER. + +A quick dryer:--Japanese gold size, 2 parts; copal varnish, 1 part; elber +powder (radix carlinae, carline thistle), 2 parts. Incorporate well +together with a small spatula, and use in quantities to suit the +consistency of the ink employed and the rapidity with which it is desired +to dry. The usual proportion is a small teaspoonful of the dryer to about +one ounce of average good ink. + + +TO PREVENT WARPING IN BLOCKS AND WOOD. + +To prevent warping in blocks and wood-letter used in large bills, a French +printer advises that they should be placed in a zinc basin, provided with +an air-tight lid; they should then be thoroughly saturated with paraffine +oil, and left thus for about four days, when they should be wiped with a +clean dry rag. Prepared in this way when new, wood-letter resists the +effects of lye, petroleum, turpentine, and atmospheric changes. + + +HOW TO KEEP ROLLERS WHEN OUT OF USE. + +It is a good plan, when rollers are to be kept out of use for any +particular time, to put them away with the ink on them. It protects their +surface from the hardening effects of the atmosphere, and causes them to +retain those properties which give them the much desired "tackiness." But +about half an hour before using them, remove the ink and see that they are +really in condition again. + + +PRESERVATIVE OF ROLLERS WHEN NOT IN USE. + +The following preservative of rollers when not in use is often +applied:--Corrosive sublimate, 1 drachm; fine table salt, 2 ozs.; put +together in 1/2 gallon of soft water. It is allowed to stand 24 hours, and +is to be well shaken before using. Sponge the rollers with the mixture +after washing. + + +OILS FOR LUBRICATING ROLLER MOLDS. + +Sperm and lard oils are the best for lubricating roller molds. If they are +properly used, no trouble will be experienced in drawing the rollers. + + +CARE OF ROLLERS IN THE SUMMER TIME. + +In hot, sultry weather rollers will not need sponging, as some of the +materials used in their manufacture, having an affinity for moisture, will +absorb enough humidity from the atmosphere to keep the surface soft. +Indeed, too much moisture is absorbed in close and sultry weather. Cover +the rollers while not in use with tallow (in damp weather); this will +prevent the absorbtion of moisture and keep the roller dry. When starting +up put a little tallow on the distributor. This will prevent the rollers +from sticking, and keep them cool. + +The safest thing for the pressman is to have on hand, as a reserve, a set +of old, hard rollers. + +Remember, it is not dry, hot weather that causes trouble so much as it is +hot moist weather. When the weather is dry, soft rollers can be used, but +when dampness comes on, take out the soft and put in the old hard rollers +that have become rejuvenated by the absorption of moisture. + + +TO KEEP GREEN MOULD FROM ROLLERS. + +Nothing destroys the surface of a roller so much as green mould. It takes +all the life out of them. Green mould results from a damp place and a +careless pressman, and is always a disgrace to all concerned. + + +TREATMENT OF OLD ROLLERS. + +When rollers have been lying for weeks with a coating of ink dried on to +the surface--a circumstance that often occurs, more especially when +colored inks have been used--get an ordinary red paving brick (an old one +with the edges worn away will be the best), place the roller on a board, +then dip the brick in a trough of cold water, and work it gently to and +fro on the surface from end to end, taking care to apply plenty of water, +dipping the brick in repeatedly; and in a short time the ink will +disappear. Nor is this all; for if a little care and patience is +exercised, it will put a new face to the roller, making it almost equal to +new; the coating of ink having, by keeping the air from the surface, +tended to preserve the roller from perishing. Sponge off clean. + + +A RECIPE FOR PRINTERS' ROLLERS. + +Best white glue, one pound; concentrated glycerine, one pound. Soak the +glue over night in just enough cold soft water to cover it. Put the +softened glue in a fine cloth bag, gently press out excess of water, and +melt the glue by heating it over a salt water bath. Then gradually stir in +the glycerine and continue the heating, with occasional stirring, for +several hours, or until as much of the water is expelled as possible. +Cast in oiled brass molds, and give the composition plenty of time to cool +and harden properly before removing from the mold and inking. See that the +ink is well spread before bringing the roller in contact with type. + + +TEMPERATURE OF THE PRESS ROOM. + +The temperature of the press or machine room ought to be as near as +possible the same as that at which the ink is manufactured--_viz._, 16 deg. of +Reamur (68 deg. Fahrenheit). If the temperature of the room, and consequently, +of the iron receptacles the ink is kept in, be considerably less, the +varnish of the ink will stiffen, the paper will adhere to the type and +peel off, or, if this does not occur, there will at least be too little +varnish in the ink remaining on the type, and too much carbon, which, of +course, will not sufficiently adhere to the paper, and may be wiped off +even when the paint is perfectly dry. But if the temperature of the +work-room be too high, the varnish becomes too thin, the ink loses its +power of covering well all parts of the types, which then look as if they +had been printed with lamp-oil. Colors of different hues require generally +a somewhat higher temperature than black, say 70 deg. to 75 deg. Fahrenheit, but +any printer who wants to see a clear and sharp impression of his types on +the paper should not neglect to look sometimes to the thermometer, too low +or too high a temperature being much oftener the cause of unsatisfactory +printing than the ink we use. + + +WHEN TO WASH ROLLERS. + +The press or machine man must be guided by the condition of the face of +the roller, and the eyes and fingers will be the best guides. Where +machine rollers are required for a weekly newspaper, they should be washed +ready for the first set of forms, and when the number is long, a second +set should be got ready and inked to work the second side, as the paper +throws off a quantity of cotton waste, and powder, and neutralizes the +tack so necessary to the face of a good roller and a clear impression. +Should a roller require cleaning for a hurried work, the old ink may be +removed with turpentine, but must be done quickly, and immediately +distributed on the ink table, or the face will harden. + + +IMPROVED DRYER FOR PRINTING INK. + +A small quantity of perfectly dry acetate of lead or borate of manganese +in impalpable powder will hasten the drying of the ink. It is essential +that it be thoroughly incorporated with the ink by trituration in a +mortar. + + +HOW TO BEND A RULE. + +To bend a rule, get it thoroughly hot and let it cool slowly; this will +take the spring out, and it will stay in the shape it is bent to. + + +TO CLEAN GILT FRAMES. + +Use a soft sponge moderately moistened with spirits of wine; allow to dry +by evaporation. Do not use a cloth, and avoid friction. Another way is to +use a very soft shaving brush, and to gently rub backward and forward a +lather of curd soap. Rinse with water at about blood heat. This applied +morning after morning to old and dirt-covered oil paintings will greatly +restore them. In adopting this plan with regard to gilt frames around +water colors or prints, be sure that not enough moisture is used to run +off the frame, or the paper will be stained. The cleaning applies to gold +frames only. Dutch metal will bear no cleaning, but a new material, not +absolutely gold, but very like it, will stand any amount of soap and +water. + + +CLEANING NEW MACHINERY. + +As presses and machinery have their bright work covered with a compound to +keep it from rusting while shipping, parties who receive the machinery +will find benzine or kerosene oil the best articles to clean off the +compound with. + + +TO MAKE INVISIBLE WRITING. + +To make secret or invisible writing, procure some very thin starch, with +which write with a quill pen (which should be a soft one) anything that +fancy may dictate. Suffer it to dry perfectly; examine the paper upon +which you have written, and not one letter can be distinguished by the +naked eye. Procure a little iodine, which is an elementary body, dissolve +it in water, and with a camel's hair pencil, a quill, or any other +convenient article, dipped in the solution, slightly rub the paper on the +side which has been written upon; the writing will instantly appear as +distinctly visible as if written with the finest ink ever invented. + + +RED PRINTING INK. + +Red printing ink may be made in this way:--Boil linseed oil until smoke is +given off. Set the oil then on fire, and allow it to burn until it can be +drawn out into strings half an inch long. Add one pound of resin for each +quart of oil, and one-half pound of dry, brown soap cut into slices. The +soap must be put in cautiously, as the water in the soap causes a violent +commotion. Lastly, the oil is ground with a sufficient pigment on a stone +by means of a muller. Vermilion, red lead, carmine, Indian red, Venetian +red, and the lakes are all suitable for printing inks. + + +TO PREVENT ELECTROTYPE BLOCKS FROM WARPING. + +To prevent electrotype blocks from warping, shrinking or swelling, place +them in a shallow pan or dish, cover with kerosene oil and let them soak +as long as possible, say three or four days. Then wipe dry and place in +the form. After the first two or three washings they may swell a little; +if so, have them carefully dressed down, and after that you will have +little or no trouble with them, and can leave them in the form just as you +would were they solid. + + +BLACK PRINTING INK. + +To make a good, permanent black printing ink, take + + Balsam copaiva 9 oz. + Best lampblack 3 oz. + Prussian blue 1-1/2 oz. + Indian red 0-3/4 oz. + Turpentine soap, dried 3 oz. + +Grind on a stone until extreme fineness has been obtained. This ink will +work clear and sharp, and can easily be removed from the type. + + +SEALING WAX. + +Following are formulas for making sealing wax:--Fine red sealing wax--Pale +shellac, 4 oz.; Venice turpentine, 10 drachms; English vermilion, 2 oz. +Ordinary red sealing wax--Shellac, 2 oz.; resin, 4 oz.; Venice +turpentine, 12 drachms; chrome red, 12 drachms. Cheap red bottle +wax--Resin, 10 oz.; turpentine, 1 oz.; beeswax, 1-1/2 oz.; tallow, 1 oz.; +red lead or red ochre, 3 oz. The manipulation is about the same for the +three kinds. First, the resins are melted with as low a heat as will +suffice, then the turpentine, previously warmed, is to be added, and +lastly the coloring material. The first quality is only used in sticks, +and the third, when melted, for dipping bottles in. The second can be +employed for either purpose. When the wax is used for dipping it should be +kept at a temperature just sufficient to render it liquid, as too much +heat causes it to foam and to rapidly become brittle. Even with this +precaution, it is necessary to add a little turpentine, from time to time, +to replace the essential oil lost by evaporation. + + +FOR MAKING DEXTRINE. + +Five hundred parts of potato starch are mixed with 1,500 parts of cold +distilled water and eight parts of pure oxalic acid. This mixture is +placed in a suitable vessel on a water-bath, and heated until a small +sample tested with iodine solution does not produce the reaction of +starch. When this is found to be the case the vessel is immediately +removed from the water-bath, and the liquid neutralized with pure +carbonate of lime. After having been left standing for two days, the +liquor is filtered, and the clear filtrate evaporated upon a water-bath +until the mass has become quite a paste, which is removed by a spatula, +and having been made into thin cakes is placed upon paper and further +dried in a warm situation; 220 parts of pure dextrine are thus obtained. +When needed for making mucilage, the solution has only to be evaporated to +the proper thickness. + + +COLORS FOR PRINTING INKS. + +The different colors, and the inks which may be made from them, are as +follows: + +For Red.--Orange lead, vermilion, burnt sienna, Venetian red, Indian red, +lake vermilion, orange mineral, rose pink and red lead. + +Yellow.--Yellow ochre, gamboge, and chromate of lead. + +Blue.--Cobalt, Prussian blue, indigo, Antwerp blue, Chinese blue, French +ultramarine, and German ultramarine. + +Green.--Verdigris, green verditer, and mixtures of blue and yellow. + +Purple.--A mixture of those used for red and blue. + +Deep Brown.--Burnt umber, with a little scarlet lake. + +Pale Brown.--Burnt sienna; a rich shade is obtained by using a little +scarlet lake. + +Lilac.--Cobalt blue, with a little carmine added. + +Pale Lilac.--Carmine, with a little cobalt blue. + +Amber.--Pale chrome, with a little carmine. + +Pink.--Carmine or crimson lake. + +Shades and Tints.--A bright red is best got from pale vermilion, with a +little carmine added; dark vermilion, when mixed with the varnish, +produces a dull color. Orange lead and vermilion ground together also +produce a very bright tint, and one that is more permanent than an entire +vermilion color. The pigments are dear; when a cheap job is in hand, +orange mineral, rose pink and red lead may be used. + +Yellow.--Of the materials named, the chromate of lead makes the brightest +color. If a dull yellow be wanted, yellow ochre may be used; it grinds +easily and is very cheap. + +Blue.--Indigo is excessively dark, and requires a good deal of trouble to +lighten it. It makes a fine, showy color where brightness is not required. +Prussian blue is useful, but it must be thoroughly ground. It dries very +quickly, hence the roller must be frequently cleaned. Antwerp blue is very +light and easily worked. Chinese blue is also available. As already said, +the shade may be varied with flake white. There is this objection to +Prussian, Antwerp, and Chinese blues, that they are hard to grind, and +likely to turn greenish with varnish when used thin. A bright blue is also +to be got from cobalt, or French or German ultramarine. This is cheap, +easily ground, and works freely. Lime blue may also be used. + +Green.--Any of the yellows and blues may be mixed. Gamboge, a transparent +color, is very useful in mixture with Prussian blue; or chromate of lead +and Prussian blue may be used. The varnish, having a yellow tinge, has an +effect upon the mixture, and should be taken into account. With a slight +quantity of Antwerp blue, varnish in itself will produce a decidedly +greenish tint. Verdigris and green verditer also give greens. If Chinese +blue be added to pale chrome, it gives a good green, and any shade can be +obtained by increasing or diminishing either color. Emerald green is got +by mixing pale chrome with a little Chinese blue, and then adding the +emerald until the tint is satisfactory. + +Brown.--Sepia gives a nice tint, and burnt umber a very hot tint. Raw +umber gives a brighter brown, bistre a brighter still. + +Neutral tints are obtained by mixing Prussian blue, lake and gamboge. + +In using painters' colors, it is advisable to avoid, as much as possible, +the heavy ones. + +Tints of any desired depth may be made by using a finely-ground white ink +as a basis, and toning it with the color desired. + +Varnish tints are made by adding color to full-bodied, well-boiled +printers' varnish, using a little soap and drying preparation to make them +work smoothly and dry quickly. + +In mixing tints to print with, the muller should be used to rub in the +colors thoroughly, otherwise the work is liable to be streaky. It is +advisable to mix no more of a tint than is needed for the work in hand. +Most colored inks work best if applied to the rollers a little at a time, +until the depth of color desired is reached, as colored inks distribute +slower than black, and are more liable to thicken upon and clog the type +when too much is taken at once. + + +HINTS ON "CASTING UP." + +The most simple and effective contrivance for casting-up work is, for +every printer to set up, in vertical parallel lines, the m's of each font +in his office, with figures in succession beside them, and work them upon +good hard paper, but little wet or pressed, which ought to be dried very +gradually. If the cast-up work printed with the same type as these +measures very little variation will be found; for if the measure and the +measured page do vary from the measurement, the one is compensated by the +other. But even this method can scarcely be trusted in setting the price +with the compositor, since the difference between a thin and thick space +will carry an en quadrat, and thus may give the turn in the 500 letters, +so as to make 1,000 difference. + + +HOW TO ASCERTAIN THE QUANTITY OF PLAIN TYPE REQUIRED FOR NEWSPAPER. + +To ascertain the quantity of plain type required for a newspaper, +magazine, and other work, find the number of square inches and divide the +same by four; the quotient will be the approximate weight of the matter. +As it is impossible to set the cases entirely clear, it is necessary to +add 25 per cent to large fonts, and 33 per cent to small, to allow for +dead letter. This, of course, is only approximate, but will be found +sufficiently close for all practical purposes. + + +CARE OF WOOD-CUTS. + +Care should be taken that wood-cuts are thoroughly dry before being sent +to the foundry, as the intense heat to which they are subjected frequently +causes them to warp and split, especially if pierced. + + +REMEDY FOR TYPE THAT STICKS IN DISTRIBUTING. + +Great difficulty is sometimes experienced in distributing type which has +been allowed to remain in form for any length of time. Prevention, of +course, is better than cure; but where the remedy is required, the +following may be tried with advantage:--Pour boiling water over the type, +and allow it to stand for about half an hour. Repeat, if necessary, until +the desired effect has been obtained. + + +LAYING TYPE. + +The page as received from the founder, should be carefully unwrapped, and, +after having been placed on a galley, soaked thoroughly with thin soap +water, to prevent adhesion after the types have been used a short time; +then, with a firm rule or reglet, as many lines should be lifted as will +make about an inch in thickness, and, placing the rule close upon one side +of the bottom of the proper box, slide off the lines gently, taking care +not to rub the face against the side of the box. Proceed then with +successive lines till the box is filled. Careless compositors are prone to +huddle new type together, and grasping them by handfulls plunge them +pell-mell into the box, rudely shaking them down to crowd in more. This +should never be allowed, as shaking does more injury to type than press +wear. The type left over should be kept standing on galleys in regular +order till the cases need to be again filled or sorted. + + +TO FIX BRONZE COLORS ON GLASS. + +Bronze colors can be fixed upon glass or porcelain by painting the +articles with a concentrated solution of potash water glass of 30 deg. B., and +dusting them with the bronze powder. The latter adheres so firmly that it +will not be affected by water, and may be polished with steel or agate. + + +TO DESTROY BOOK WORMS. + +For the destruction of book worms, put the books into a case which closes +pretty well, and keep a saucer supplied with benzine within it for some +few weeks. Worms, larvae, eggs--all are said to be got rid of. + + +TINNING PAPER AND CLOTH. + +The following is a method of tinning paper and cloth:--Zinc powder is +ground with an albumen solution, the boiling mixture is then spread over +the tissue by means of a brush, when dry, the layer is fixed by dry steam, +which coagulates the albumen, and the tissue is then taken through a +solution of tin. Metallic tin is reduced, and sets in a very thin layer. +The tissues of paper are then washed, dried and hot pressed. + + +CARE OF BOOKS. + +Books should be shelved in the coolest part of the room, and where the air +is never likely to be overheated, which is near the floor, where we +ourselves live and move. In the private libraries of our residences a +mistake is often made in carrying the shelving of our book-cases so high +that they enter the upper and overheated stratum of air. If anyone be +skeptical on this point, let him test, by means of a step-ladder, the +condition of the air near the ceiling of his common sitting-room on a +Winter evening, when the gas is burning freely. The heat is simply +insufferable. + + +HOW TO PREVENT MILDEW ON BOOKS. + +To prevent mildew on books, lightly wash over the backs and covers with +spirits of wine, using as a brush the feather of a goose quill. + + +A CHEAP LYE. + +Boil six gallons of water and add while boiling one pound of unslacked +lime and four pounds of common soda. When cold, it should be carefully +dipped out, leaving the dregs of the lime at the bottom of the vessel, and +it is then fit for immediate application. Cost, about two cents per +gallon. + + +A GOOD DRYER. + +A good dryer for printers' use is made by taking a small quantity of +perfectly dry acetate of lead or borate of manganese in impalpable powder +will hasten the drying of the ink. It is essential that it should be +thoroughly incorporated with the ink by trituration in a mortar. + + +A STRONG LYE. + +A very strong printers' lye may be made as follows:--Take of table salt, 2 +oz.; unslacked lime, 2 lb., and bruised Scotch washing soda, 2 lb. Mix +together in three gallons of water, stirring frequently until the +ingredients are dissolved, when the lye will be ready for use. This is a +powerful mixture, and will wash off almost any color. + + +EFFECT OF PETROLEUM OIL ON WOOD TYPE. + +Although petroleum oil is a highly useful fluid for cleansing wood letter +or wood-cuts, the printer should be cautioned that it is highly +detrimental to type and stereoplate. While it has no effect in opening the +pores of the wood, but on the contrary, hardens the surface, rendering the +face peculiarly smooth, it corrodes or rots the metal, and leaves a white +powder on the face, which, although it may be removed with a brush, shows +that the type has been injured. Besides this, petroleum is highly +dangerous on account of its inflammability. It cannot be extinguished by +water. + + +A BRONZE OR CHANGEABLE HUE. + +A bronze or changeable hue may be given to inks with the following +mixture:--Gum shellac, 1-1/2 lb., dissolved in one gallon of 95 per cent +alcohol or Cologne spirits for 24 hours. Then add fourteen ounces aniline +red. Let it stand for a few hours longer, when it will be ready for use. +When added to a good blue, black, or other dark inks, it gives them a rich +hue. The quantity used must be very carefully apportioned. + +In mixing the materials, add the dark color sparingly at first, for it is +easier to add more, if necessary, than to take away, as in making a dark +color lighter, you increase its bulk considerably. + + +GOLD LEAF PRINTING. + +Gold leaf printing requires much more care than bronze printing, but if +properly managed will be found to be a great improvement. Ink should be +made of chrome yellow, mixed with Venice turpentine, virgin wax and +varnish. Cut the gold leaf into slips a shade wider than the lines it is +to cover, ink the form in the usual way, and pull a sheet; then lay on the +gold leaf with no great harm. Some colors will not keep at all, and +others deposit at the bottom of the can almost all their solid +ingredients. It is not easy to alter this, but colza oil will at least +prevent the surface skinning over. + + +TO PREVENT COLORED INKS FROM BECOMING HARD. + +Red and some other colored inks are often found to become so hard in a few +weeks after the can has been opened that the knife can scarcely be got +into them, and they cannot be got to work at all. Oil, varnish and +turpentine are of no use in such a case; the remedy is paraffine oil mixed +well up with the old ink. Many prefer paraffine oil rather than boiled oil +or turps for thinning down both black and colored inks. + + +TO KEEP COLORED INKS FROM SKINNING. + +Colored inks can be kept from "skinning" by pouring a little oil or water +on the top and closing the can tightly. + + +HOW TO REMOVE COLORED INKS. + +Benzine is a powerful chemical preparation which may be used to remove +colored inks when lye and turpentine fail. It should, however, not be used +after dark, as it is very inflammable, and it should be kept out of doors +if possible. + + +A VARNISH FOR COLOR PRINTS. + +To make a varnish for colored prints, etc., take of Canada balsam, 1 +ounce; spirits of turpentine, 2 ounces, and mix well together. The print +or drawing should first be sized with a solution of isinglass in water, +and when this has dried the varnish above named should be applied with a +camel's hair brush. + + +REPAIRING BATTERED WOOD TYPE. + +Wood type when battered may be repaired by removing the damaged part with +a sharp pointed knife, and fill in with beeswax or gutta-percha. + + +INKING SURFACES FOR COLOR WORK. + +The best inking surfaces or slabs for color work at press or machine are +porcelain, litho stone, marble or slab. Metals are injurious to colored +inks--even polished iron surfaces give a dullness to bright colors. + + +HOW TO PRESERVE COLORED INKS. + +If it is necessary to keep colored inks, the best way of preserving them +so that they shall be workable after standing some time is to pour a +little colza oil on the top, and securely close the vessel containing +them. This oil will not generally rob the ink of any of its color, and +even if it is not all poured off afterwards, its presence can do a piece +of cotton wool; when dry, it may be washed in the same way as bronze. +Rolling afterward will improve it very much. + + +HOW TO BRIGHTEN COMMON QUALITIES OF COLORED INKS. + +Common qualities of colored inks may be brightened by using the whites of +fresh eggs, but they must be applied a little at a time, as they dry very +hard and are apt to take away the suction of rollers if used for any +lengthend period. + + +PRINTERS' VARNISH. + +For fine work, a little Canada balsam of the consistency of honey makes a +good varnish of great purity. The coarser but similar Venice turpentine +may also be used with effect where time is precious and purity of tint not +indispensable. A little soft soap may be added to the Venice turpentine. + +If the work be coarse and varnish not at hand, a little oak varnish and +soft soap form a good substitute. + + +TO PREVENT OFF-SETTING. + +Setting off may be prevented by slightly greasing or oiling a sheet which +may be placed on the tympan if in press work, or the cylinder if at a +machine. This will answer for several thousands without requiring to be +replaced. + + +A HARDENING GLOSS FOR INKS. + +A hardening gloss for inks may be made by dissolving gum arabic in alcohol +or a weak solution of oxalic acid. This mixture should be used in small +quantities, and mixed with the ink while it is being consumed. + + +A MODELING MATERIAL. + +Some pretty effects can be produced by the use of a composition made by +thoroughly mixing rice flour with cold water, and allowing it to gently +simmer over the fire until a delicate and durable cement results. When +made of the consistency of plastic clay, models, busts, etc., may be +formed, and the articles when dry resemble white marble, and will take a +high polish, being very durable. Any coloring matter may be used at +pleasure. + + +LEAF COPYING. + +Take a piece of thin muslin and wrap it tightly round a ball of cotton +wool as big as an orange. This forms a dabber, and should have something +to hold it by. Then squeeze on to the corner of a half-sheet of foolscap a +little color from a tube of oil paint. Take up a very little color on the +dabber, and work it about on the center of the paper for some time, till +the dabber is evenly covered with a thin coating. A little oil can be used +to dilute or moisten the color if necessary. Then put your leaf down on +the paper and dab some color evenly over both sides. Place it then between +the pages of a folded sheet of paper (unglazed is best), and rub the paper +above it well all over with the finger. Open the sheet, remove the leaf, +and you will have an impression of each side of the leaf. Any color may be +used. Burnt or raw sienna works the most satisfactorily. + + +DRYER FOR RULING INKS. + +Ruling inks are made to dry quickly by using half a gill of methylated +spirits to every pint of ink. The spirit is partly soaked into the paper +and partly evaporates; it also makes the lines firm. + + +SIZE OF NEWSPAPER SHEETS AND NUMBER OF COLUMNS. + + Width of Column Paper. Column Rules. + 13 Ems Pica. + + 5 Column Folio 20 x 26 17-3/4 in. + 6 " " 22 x 31 19-3/4 " + 6 Col Fo (wide margin) 22 x 32 19-3/4 " + 7 Column Folio 24 x 35 21-3/4 " + 7 Col Fo (wide margin) 24 x 36 21-3/4 " + 8 Column Folio 26 x 40 23-3/4 " + 9 " " 28 x 44 26 " + 4 " Quarto 22 x 31 13-3/4 " + 4 Col Qu (wide margin) 22 x 32 13-3/4 " + 5 " " 26 x 40 17-3/4 " + 6 " " 30 x 44 19-3/4 " + 7 " " 35 x 48 21-3/4 " + + +USUAL SIZES AND WEIGHTS OF NEWS PRINTING PAPER. + + Size. Weight per Bundle. + + 22 x 30 44 lbs. + 22 x 32 45 and 50 " + 24 x 36 50, 56, 60 and 70 " + 26 x 38 60 and 70 " + 26 x 40 65, 70, 75, 80 and 90 " + 28 x 40 80 " + 28 x 42 70, 80, 90 and 100 " + 28 x 44 85, 90 and 105 " + 29 x 48 100 " + 29 x 58 110 " + 30 x 44 90, 95 and 100 " + 31 x 44 90, 95 and 100 " + 31 x 45 96 " + 22 x 44 90, 95, 100 and 120 " + 32 x 46 100 " + 34-1/2 x 47-1/2 120 " + 35 x 48 120 " + + +USUAL SIZES AND WEIGHTS OF BOOK PAPERS. + + Size. Weight per Ream. + + 22 x 32 30, 35 and 40 lbs. + 24 x 36 30, 35, 40 and 50 " + 25 x 38 35, 40, 45, 50, 60, 70, 80 and 100 " + 28 x 42 40, 50, 60, 70, 80, 100 and 120 " + 32 x 44 60, 70, 80, 100 and 120 " + + +USUAL SIZES AND WEIGHTS COLORED PRINT OR POSTER. + + Size. Weight per Ream. + + 24 x 36 25 lbs. + 25 x 38 27 " + 28 x 42 35, 40, 45 and 50 " + + +USUAL SIZES OF FLAT AND LEDGER PAPERS. + + Flat Letter 10 x 16 + Flat Foolscap 13 x 16 + Packet Post 12 x 19 + Cap 14 x 17 + Crown 15 x 19 + Double Flat Letter 16 x 20 + Demy 16 x 21 + Folio Post 17 x 22 + Check Folio 17 x 24 + Medium 18 x 23 + Double Flat Foolscap 16 x 26 + Bank Folio 19 x 24 + Royal 19 x 24 + Double Cap 17 x 28 + Super Royal 20 x 28 + Double Demy 21 x 32 + Double Demy 16 x 42 + Imperial 23 x 31 + Double Medium 23 x 36 + Double Medium 18 x 46 + Elephant 23 x 28 + Colombier 23 x 34 + Atlas 26 x 33 + Double Royal 24 x 38 + Double Elephant 27 x 40 + Antiquarian 31 x 53 + + + + +Transcriber's Notes: + +Passages in italics are indicated by _underscore_. + +Passages in bold are indicated by =bold=. + +The following misprints have been corrected: + "Lables" corrected to "Labels" (Index to Recipes) + "Sett-off" corrected to "Set-off" (Index to Recipes) + "I" corrected to "1" (page 5) + missing word "is" added (page 13) + missing word "A" added (page 14) + "Gildng" corrected to "Gilding" (page 19) + missing word "be" added (page 29) + "homoegeneous" corrected to "homogeneous" (page 35) + "posssble" corrected to "possible" (page 39) + "condiitons" corrected to "conditions" (page 48) + "a a" corrected to "a" (page 50) + "receipe" corrected to "recipe" (page 56) + missing word "a" added (page 67) + "he" corrected to "the" (page 74) + "when" corrected to "When" (page 80) + + + + + + +End of Project Gutenberg's Paper and Printing Recipes, by J. 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