wwMmmiHamm 8b 116 P3 1883 PAPE REPRINTING PRECIPES* FaperiFriiiiiiig RECIPES A Handy Volume of Practical Reci- pes, Concerning th.e Every-Day Business of Stationers, Print- ers, Binders, and the Kindred Trades. PUiiLlSH'KD b'/ J. sa-Wtelle; fokd, OFFICE OF "THE STATlDSEIi ASD PRISTER." CHICAGO. Entered according to the Act of Congress, in the year 1883, by J. S^WTELX^E EORU. In the Office of the Librarian at Washington. rxIJMPSl: OF CONTEXTS. This Volume has nearly Two Hun- dred valuable Kecipes 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 v/orkmen of the United- States and Europe. INDEX TO RECIPES. WKITIXU INKS. Removing Writing Iiilc fvoin Paper 1 White Ink g I'll iple Hektograph Ink 3 A Uaik Red Injt'lible Ink. . . 4 Makintr rarmine 4 \ inlet Ink 5 Indelible Ink 5 To make Black Ink 6 An Ink which cannot be Erased fi CopvinK' Ink to be used with. .ut Pressor Water.. 3 ACanliniU Ink 7 A I'Mitublc Ink 28 Iml.-lil.l.- India Ink 28 Co|>viM|j- Inks 29 Invisihlo Writing 68 PRlNTINft INKS. To Prevent Colored Inks from becoming Hard 81 To keep Colored Inks from Skinning 81 To Preserve Colored Ink Improved Dryer for Print- ing Ink 66 To take Printer's Ink out of Silk 17 Red Printing' Ink 68 How to Brighten Common iBIaok Printing Ink. Qualities of Colored Inks.83|Colors tor Printing Ink 7l A Good Dryer 79 Princip;il Colors of Gold for A Quick Dryer 6II Grinding 4r> MAKKI>'G IXKi*. ETC. Ink for Rubber Stamps .. . "iStencillnk 2 Marking Ink U) Blue Marking Ink for White Black Ink for Stencils 6 Goods 10 KKMOVAL 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 T'l Remove Grease Spots from Paper 13 How toliemoveColored Inks8 1 Paper for taking out Ink Stains 14 To Pemove Ruling Ink .Stains from Fingers 17 To Remove Ink Snots 19 To Remove Oil Marks from Paper 20 To Remove Ink Stains from Mahoijiinj- 20 CARE OF IJOOKS. fare of Books 78; How to Prevent Mildew on To nestroy Book Worms .771 Books 78 GLUES, PASTES, MUCILACE, ETC. Solid Pocket Glue 20|Postage Stamp Mucilage. . . .26 To Test Glue 2 1 To keep Mucilage Fresh 2R Book-Binder's Glue 22 Mucilage 27 Cement for Glass J2 1 Mucilage for Pasteboard 27 INDEX TO RKcirrs. Cement for Labels 23 A Colorlesis Cement 23 A Cement that will Resist the Damp 24 To make Glue Waterproof 24 Two Olue Receipts 2j Ar;ood^a^lel■ 29 A l-'astewhieli will not !>poil2M A SilverSdlder 30 An Article for Labelini? Bottles « For Making Dextrine 7(i PRINTERS' VARNISHES. A Varnish for Color Prints. 82 A Transparent Paper Var- I'rintei-s* Varnish H3, nish »3 A Varnish for Paper 13{ CULOR ANO ENGRAVING. Care of Wood Cuts 75 To Transf. r Kngraving to To Produce Engraving or Mother of Pearl 39 Tvpes for Printing bv 'An Improved Process of Pilot ograi)hv I .')i Photo-Engraving 31 DiflTcrent kincfs of Engrav- To Prevent Warping in ing 3o! Blocksand Wood 61 Care of Wood Type 3K Stereotyping Wood Cuts.... 46 To Restore the Original i Wood Engravings, etc — 42 AVhitcness of Copper plate , | ,• • ■ 1»APER. Waterproof Paper 56 To make Paper Fine and How to Size poor Drawing ' Waterproof 52 Paper 5ti To Bleach Sheepskin Parch- Paper Soft and Flexible ...19l meiit White 50 Incombustible Writing and Carlioii Paper 54 Printing Paper 17 Luminous Paper 54 Blue-BlaA Writing Paper.. lU Sizes ami Weights of Draw- Electric Paper 30: ing I'apir 55 Tinning Paper and Cloth.. .. 77 Bronzed Paper 55 Gummed Paper from Cock- Transpai ent DrawingPaper5K ling 57 Paper for Lables 14 Qualities of Good Paper. ... 1 4 , To Split a Sheet of Paper. ... 1 5 Impermeable Paper 53 Photo-Lithographic Trans- Aniline Ink Paper 1«l fer Paper 32 .MISCELLANEOrs. Au Ink Restorer 2 To KestoretheLustre of Mo- To Obtain a Bright and rocco Leather. ■,••*• Lasting Ked Edge To Mount Chromes 53 Sealing Wax 69 Photo Prints on Glass 46 Enamel for Fine Cards 35 TO Bend a Rule 67 TO Make a Corroded Pen ... 3 1 Non-era.vible Pencil Marks.. 4] Copy Drawing in Color . . ..57 Black Paint for Black-_ boards 3:{ To Preserve PencilSket'-hes 3? Treatment of India Ink , Drawings 9 INDEX TO RECIPES. To Clean l iilt Frames 07 Cleaning: New Ma<'hiner.v ()7 Washing Kdi-mis 59 A Hardening Gloss for Iuk?^.S4 A MiHleliii^ Marerial m4 Leaf Copy iiiK .84 V'sual fSizes and Weights of Book papers 8G Usual Sizes and Weights Colored Print or Poster ..H(\ Painting on KbonizedWood43 To Clean Hleel Pens 3a To Clean a Clianiois Skin .12 Dryerfor Killing Inks 8;> U.sual Sizes and Weights of News Printing Paper 86 Usual Sizes of Flat and Led ger I'aiK-rs 87 Size of Newspaper Sheets :'.nd Ninnher of Columns 8S STATiONKU*-' \VI\3>OWS. Stationers' Windows SsITo Prevent Window Steam- Hints on Dressing the Store ing 1 Windows 12 UILI»IjV«. ForCheaplv (iildingBronze, iGilding with Gold Leaf 46 etc ." 11 Gilding on Wood 47 Electro-Gilding in Colors . . I it Gilding in Oil 48 How Gilding is Done 1 :i I MKTAI>. Coloring Metals 11 1 An Alloy for Glass or Metal 30 Coppei-lMating on Zinc 38 Writings or Metals 45 Laying Type 76 Metal for Stereotyping 40 F,ffect (if Petroleum Oil on WoddTviH" 79 Kemedy f'orT.vpe that Sticks _ in Distributing 76 Careof Wood Type 38 ToAscertain theQuautity of Pbiin Type Required for Newspapers 75 Repiiinng Battered Wood Type 82 PRINTERS' ROLLERS. Keeping Rollers when not Treatment of Old Rollers. .61 in Use 62lA Recipe for Printer's Kol- Preservative of Rollers lers 64 when not in Use 62 When to Wash Rollers 66 Pollers in Summer Time... 63 Oils for LubrieatinBT Roller To Keep Green Mould from Moulds 62 Rollers 63 1 PRIXTIN« METIIOIM Gloss Printing 49|On "Casting Up" 74 Color i for Printing 51 To Prevent Sett-off 61 Off-Setting 83 Temperature of the Preii- Priming Knvelopes 6(il room 9i A Strong I.yo.. LVK. 79 [.\ Cheap I,y« 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 oxaUc 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 in- delible 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 ex- tract 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. 2 PAPER AND PFvINTING RECIPES. 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 crys- tal 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 Kestorer. The j)rocess consists in moisteniLg 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 dex- trine, and enough water to bring the whole to a satisfactory consistence. PAPER AND PRINTING RECIPES. 3 Copying Ink to be Used Without Press OR Water. Well mix three joints of jet-black writing ink and one pint of glycerine. This, if used on glazed pajjer, 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 hea\'y. To present "set- ting oflf," the leaves after copying should be removed by blotting-paper. The copies and the originals are neater than where water is iised. 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 liqtiids, however, may be prepared with various substances not solu- ble in the liquids available for writing flu- ids. A "wliite ink" may be made by rub- bing 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. PAPER AND PRINTING RECIPES, •Gently warm the whole for about an hour, then allow to cool ami add I4 part alcohol. It is said, on good authority, that the alco- hol may be advantageously omitted, and that the following proijortions will give even better results than the above, viz: Methyl- violet, 1 part; water, 7 parts; gly- cerine, 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 8 drs. Acacia 3 " Water 12 " With this moisten the spot to be marked, and dry and smooth >vith 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. in. Stannous chloride 1 dr. Water, distilled i " To Make a Carmine. Take 9 ozs. carbonate of soda and dia- Bolve in 27 quarts of rain-water, to which add 8 ozs. of citric acid. When boiling. PAPEK AND PRINTINCr RECIPES. acid li.j fbs. of best cochineal, ground fine, iuul boil for one :uid a quarter hours. Fil- ter and set the liquor aside until cool. Then boil the clear liquor for ten minutes witli 9I2 ozs. of alum. Draw oflf, 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 sedimen'-.. Violet Ink. To make violet ink :— Put 8 ozs. logvvood 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 supple- rae}ited by 1^2 ozs. gum, and 2I2 ozs. alum. Ciil(' per cent ovor-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 si^irit, the quantity of essen- tial oil depending upon the nature of the same; but it will be understood that these proportions may be varied. Instead of methylated siDirit, spirit of wine may be employed, but methylated spirit is prefera- ble as being the cheaper. In combining the above-named ingredients, the essential is destroytd by being niixod with the meth- ylated 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 sur- face 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 a[)pliances, and thus the dull and dimmed appearance of glass usually produced by condensation — known as steaming or sweat- ing --is avoided. PAPEll AM) IM'.INTINii liKCiPKM. 10 To Eendee Paper Soft and Flexible. To render puix^r soft aud Hexihle, heat it with a solution of acetate of soda, or of 2>ota.sh dissolved in four to ten times its weight of water. For permanent iiai)er, to twenty part.s of this solution one part of starch or dextrine is added. If the paper has to be made transjiarent, a little of a solution containing one i)art soluble glass in four to eight parts water is added. To render the paper fit for co^jying \vithout being made wet, to the acetate solution chromic acid or feiTO-cyanide of potassium is added. To Remove Ink Spots. First moisten the blots with a strong so- lution of oxalic acid, then with a clear sat- urated aqueous solution of fresh chloride of lime — bleaching i^owder. Absorb excess of the liquids from the paper a.s quickly as possible with a clean piece of blotting pa- per. Repeat the treatment if necessary, and dry thoroughly between blotting pads under pressure. Electro Gildnq in Colors. Electro-gilding in various colors may be readily effected by adding to the gold batJi small quantities of copper or silver solution until the desired tint is obtained. A little silver solution udded to the gilding batli 20 PAPFJl AND PRINTING RECIPES. causes the deposit to assume a pale yellow tiat. By increasing the dose of silver solu- tion a pale greenish tint is obtained. Cop- per solution added to t!ue 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 Prom Paper. Oil marlis on wall p:iper, where careless persons have rested their heads, may be re- moved by making a paste of cold water and pipe clay or fuller's earth, and laying it on the stains wdthout rubbing it in ; leave it on all night, and in tiie morning it can be brushed off, and the spot, unless it be a very old one, Avill have disappeared. If old, renew the application. To Eemove Ink Stains From Mahogany. To remove ink stains from mahogany ap- ply carefully with a feather a mixture of a teaspoonful of water and a few drops of nitre, and rub quickly witli ii damp ctoth. Solid Pocket G-lue. Is made from 600 grams <>f glue and 250 grams of sugar. The glue is at first com- pletely dissolved by boiling with water ; the sugar is then introduced into the hot solu- tion, and the mixture evaporated until it PAPKK AND 1' HINTING UECIPES. 21 becomes solid on cooling. The hard mass dissolves very rapidly in lukewarm water, and then gives a j^aste which is (specially adapted for paper. To Test Glue. An article of glue which will stand damp atmosphere is a desideratum among me- chanics. Few know how to judge of qual- ity except by the jjrice they i)ay for it. But price is no criterion ; neither is color, upon which so many dejoend. Its adhesive and lasting properties depend more upon the material from which it is made, and the method of securing purity in tlic raw mate- rial, for if that is inferior and not well cleansed, the product will have to be un- duly charged with alum or some other anti- septic, 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 mat- ter as possible. When buying th*^ 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 operatioh will also bring out any bad smell the glue may have. These are simjjle and ready tests and are the ones usually adopted by dealers and large consumers. Another PAPEK AND PRINTING HECIPES. good test is to soak a weighed portion of di-y glue in cold water for twenty- four liours, then dry again and weigh. The nearer it approaches to its original weight the better glue it is, thereby showing its decree of insolubility. Book-Binders' Glue. To prevent book-binders glue from turn- ing 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 Eesist Acids. To make a cement for glass that will re- sist acids, the following has been recom- mended: — Take 10 12 pounds of pulverized stone and glass, and mix with it 434 jjounds of sulphur. Subject the mixtiire to such a moderate degree of heat that the sulphur melts. Stir until the whole becomes homo- geneous, and then run it into molds. When required for use it is to be heated to 248°, degrees, at wliich t(Mni)erature it melts, and may be employed in the usiial manner. This, it is said, resists the action of acids, never changes in the air, and is not affected in boiling water. At 280° it is said to be as hard as ^itone. PAPKU AN'l) I'HiNTINti ItKCl I'F.S. Oement foe Labels. 1. Macerat(> "> paxts of glue iu 1« jnuts of wator. Boil and add It jjarts rock (Mndv and 5 parts gixm arable. 2. Mix dextrine with water and add a drojj or two of glycer- ine. 8. A mixture of one jjart of dry chloride of calcium, or 2 parts of the same salt in the crystallized form, and 36 parts of gum arable, dissolved in water to a prop- er 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 .siirfaee with a mixture of muriatic acid and alcohol, then apply the label with a very thin coating of the paste, and it Avill adhere almost as well as on glass. 5. To make cement for at- taching labels to metals, take 10 parts trag- acanth mucilage, 10 parts of honey, and 1 part flour. The flour appears to hasten the drying, and renders it less susceptibl>' to damp. A OoLORLESs Cement for Joining Sheets OF Mica. A colorless cement for joining sheets of mica is prepared as follows : — Clear gela- tine 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 2-4 PAPER AND PRINTING RECIPES. then heated over a water bath until it be- gins to melt, and just euough hot proof spirit (not in excess) stirred in to make it fluid. To each piut of this sohitiou is gradually added, while stirring, one-fourth ounce of sal-ammoniac and one and one- third ounces of gum mastic, previously dis- solved in four ounces of rectified spirits. It must be warmed to liquefy it for use, and kept in stoppered bottles when not re- quired. This cement, when pi'operly pre- pared, resists cold water. A Oement 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 pot- ash. Add about one part of it, first dis- solved in water, to every thirty or forty parts of glue ; but you must keep the mix- ture in the dark, as light makes it insolu- ble. When you have glued your substanc- es together, expose the joint to the light, and every part of the glue thus exposed will become insoluble, and therefore water- proof. If the substances glued together are translucent like paper, all ^vill become waterproof; if opaque like wood, only the PAPER AND PKINTINO RECIPES. 25 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 u.se is made by adding to any quantity of glue, cfD lM{I.\TI.V(t HKOIPES. 35 Photo-Lithographic Transfer Paper- Photo-Iitlioyntphic transfer pa})er and ink are pi-eparfd in the following manner : — The paper is treated with a solution of a hundred parts of gelatine and one part of chrome alum in 2,4' lO parts of water. After drying, it is treat«^d with the white of egg. It is made sensitive with a bath consisting of one part of chrome aliim, l-t parts of wa- ter and 4 parts of alcohol. The latter in- gredient prevents the white of egg from dis- soh-ing. On the dark places the white ot egg, together »vith 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 t>f tallow, :}5 parts of coloi^hony, 210 parts of oil of tm-pentine, 80 parts of Ber- lin 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 jiermeate 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 tire, and a third and even a fourth coating may be applied until the texture of the i)aper is seen to merge into homoegoneouH translncency. Paper pre- 36 PAPER AND PRINTING RECIPES. pared 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 mater- ials are highly inflammable. Different Kinds of Engraving- "Line" engraviu},' 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 en- gravers have ever undertaken it. The mas- ters understand and practice both in "line" and "stiple." Claude Mellan engraved, in 1700, a full head of Christ, with one unbrok- en line. This line commenced at the apex of the nose, and wound out and out like a watch spring. Mezzotint engraving.s are produced thus: — The steel or copper is made rough like fine sand paper. To pro- duce 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 ht- tle. Such engravings look like lithographs. Etching is adapted to homely and famiUar- eketches. Etching is done thus : — The cop PAPER AND PKINTING RECIPES. 37 per or steel plate is heated aud 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 oflf 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 ren- dered ineffaceahlo by the following process : — Slightly warm a sheet of oriliuary draw- ing paper, then place it carefully on the surface of a solution of white resin in alco- hol, leaving it there long enough to become thoroughly moistened. Afterward dry it in a current of warm air. Pai^er 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 dratughts- man reproducing them in ink. A simpler method than the above, however, is to brush over the back of the pajier contain- ing the charcoal or pencil sketch with a weak solution of white shellac in alcohol. 38 I'APEU AND PIUNTING RECIPES. Oare of Wood Type. Wood type should always be kept in a cool and dry place — not, as is often the caee, a few feet from a large stove, or di- rectly over the lye and wash tub. The drawer or shelves — drawers or cases are preferable to shelves — where they are kept, should not, as veiy 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 ab- sorbed, the bottom expands, and a warped type, ready to be broken at the first im- pression, 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 jjut away will last for years. In fact, proper use only im- proves the working qualities. Wood type forms should not l)e 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. Oopper-Plating on Zino. Take an organic salt of copper — for in- stance, a tartrate. Dissolve 126 grammes STilpbate of copper (l)lne vitriol) in two li- PAPEK AND I'KINTING KKC1PE8. 39 tres of water; also 227 grammes tartrate of potash and 286 grammes crystallized car- bonate of soda iu 2 litres of water. On mixing the two solutions, a light bluish- green precii^itate of tartrate of copper is formed. It is thrown on a linen filter and afterwards dissolved in half a litre of caus- tic soda solution of 16° B.. when it is ready for use. The coating obtained from this solution is very pliable, smooth and coherent, witli a fine surface; acquires any desired thick- ness 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 posssblc to entirely dis- pense 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 wliite 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 thorouglily dry, moist- en the back of the engraving and remove the paper very carefully by rnbbing. When the paper is all removed and the surface becomes dry, varnish lightly with copal. 40 PAPER AND PRINTING RECIPES. Metal for Stereotyping- For every six pcmnds of lead add one pound of antimony. The antimony should be broken into very small pieces, and thrown on the top Oi 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 cheajsest 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 oft". 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 in- termediate 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. PAPEU ANU PRINTINU RECIPES. 41 How TO Fix Penoil Maeks so They Will Not Kub. To fix pencil marks so tliey 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 Lastiuq Red Edge A bright and lasting red edge may be ob- tained by the following process : — Take the best vermilUou 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 Eestore the Lustre of Morocco Leather. The lustre of morocco leather is restored by varnishing with white of egg. 42 PAPER AND PKlKTlNCr KECIPES. To Eestore 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 SO'' centigrade (that is 86° Fah- renheit) temperature until the phosphorus is half covered. Cork up, but not tightly, the glass vessel, and lay it in a modei-ately •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 watpear, which would injure the porosity cf tlie paper. PAPKK AND I'lUNTlNG RECIPES. 53 Impermeable Paper. To make impermeable paper, prepare the two following baths: (1) alum, 25 ozs. ; white soai>, 12 '^ oz-. ; water, 100 ozs. (2) gimi ariihic, (j ozs. ; Colle dv Flandre, 18 ozs. ; water, 100 ozfi. Place the sheet ot paper in the first bath to be well impregnated. In this bath the jjaper is left only for a short time. It is then dried and dip^jed in the second bath, tlie same precautions being used as for the first bath. When dry. the paper is hot-pressed in order to render it uniform. To Mount Ohromos for Framiwj. To mount chromos for framing, first .soak for fifteen minutes in a shallow dish, or lay between two newsjjapers that have been thoroughly saturated with water; then paste to the panel of the wood or canvas Aviiich has been prepared to leceive them. Care must be taken that there are no lumps in .the paste. A Varnish for Making Paper Trans- parent. A varnish formed of Canada balsam, dis- solved in turpentine, supplies a most valu- able means of making i^aper transparent. The mode by wliich this is most satisfac- torily accomplished is by applying a pretty 54 PAPER AND PRIXTlXCi RECIPES. thin coating of this varnish to the paper, so as to permeate it thoroughly, after whiclL 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 i^aper is seen to merge into a homo- geneous translucency. Pajjer prepared ac- cording to this process is said to come nearer than any other to the highest stand- ard of perfection in transpai'ent paper. Care must be used in making, as the mate- rials are highly inflammable. Carbon Paper. To make carbon pajjer : — 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 possi- ble 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 ; phosiahorescent powder, ten parts ; gelatine, one part ; bichromate of potash, one part. The paper will also be water- proof. PAPER ANDP RlNTINCi IIECIPES. 55 Sizes and Weights of Drawing Papers. The following are the sizes aud weights of drawing papers : Inches. Lbs. Emperor. 72 X 48 620 Antiquarian, 53 X 31 250 Double Elephant, 40 X 26% 13b Atlas, 34 X 26 98 Columbicr, 34 1.3 X 23^2 102 Imperiol, 30 X 22 72 Elephant, 28 X 23 72 Super Koyal, 27 X 19 54 Eoyal, 24 X 19 44 Medium, 22 X 17 1^ 34 Demv, 20 X I5I2 25 Large Post, 20-\ X I634 23 Post. 19 X 15 14 20 Foolscap, 17 X 131^ IS Pott, 15 X . 12i.i 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 mix- ture applied with a fine brush. The coat- ing is not dull, and may be highh V>ur- nished. Another process consists in first apply- ing a coat of copal or other varnish, and when this has become of a tacky dryness, dusting bronze powder over it. ^ After re- maining a few hours, this bronzea surface 56 PAPER AND PRINTING RECIPES. should be burnished with an agate or steel burnisher. To Make Drawing-Paper Transparent. Drawing jjaper of any thickness may be mode perfectly transparent by damping it with benzine. India ink and water colors can be used on this paper. The paper re- STimes its opacity as the benzine evaxjorates, 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 apj)lication. To Make Paper Water-Proof. The following is a receipe for making paper water-proof: — Add a little acetic acid to a weak solution of carjienters' glue. Dissolve also a small quantity of bichrom- ate of potash in distilled water, and mix both solutions together. The sheets of pa- per are drawn separately through the solu- tion, 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, sim- mer again and filter. To be applied hot. PAPER AND PRINTINO RECIPES. 57 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 potas- sium and sulphide of antimony, and run the sized paper through a tliin solution of sulphate of manganese or copper. Any writing on this jjaper with ink made from nutgalls and sulphate of iron, can neither be removed with acids nor erased mechan- ically. 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 i^aper is on- ly 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 glycer'"e or sugar should be added to the gum. Copying Drawing in Color. The paper on which the copy is to ap- pear 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,- 58 PAPER AND PRINTING RECIPES. and 500 parts of w;iU r. It is afterwards put into a st^cond bath, which coutaius fifty parts of burnt umber ground in alcohol, twenty parts of lampblack, ten jjarts of English glue, and ten parts of bichromate of potash in 500 j)arts 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 min- utes will sufiice. After the exiDOSure 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 i)rinting 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. PAPER AND I'KINTTXf; JiK(Il'j;s 59 Washing Porms. Forms seut down to mucliine onglit uot 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 Ijus often to be taken oflf 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 re- moved with the moisture they haveimbibed, 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 wasliing forms which do not contain Avood blocks; turpen- tine 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 common- ly done, regardless of waste. In order to wash a form well the brush should l)e bO PAPER AND PlUNTrNG EKCTPES. 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 tlie l)rush 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 oxida- tion of tlie types, while turps leave an oily film on thoin, 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 t\ rapan-sheet will prevent off-setting. This will be found better than using oiled sheets. Printing Envelopes. To prevent the lumpy particles of miici- lago 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. PAPEU AND PKINTINtr RECIPES. 61 To Prevent Set-off on Writing Papers Printed on One Side. To prevent set-ofi' on writing papers printed on one side, do not lay the sheets straight as they leave the press or machine ; tliis will enable the air to get between them, and wonderfully expedite the drj-ing 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 carlinse, carline thistle), 2 parts. In- corporate well together with a small spatula, and use in quantities to suit the consist- ency 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 kik. To Prevent Warping in Blocks and Wood. To prevent warping in blocks and wood- letter used in lai-ge bills, a French printer advises that tLey 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 62 PAPER AND PlUNTIXCi RECIPES. 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 condi- tion again. Preservative of Rollers When not in Use. The following preservative of rollers when not in use is often applied : — Corros- ive sublimate, 1 drachm ; fine table salt, 2 ozs. ; put together in ^2 gallon of soft water. It is allowed to stand 24 hours, and is to be well shaken before using. Sponge the rol- lers with the mixture after washing. Oils for Lubricating Roller Molds. Sperm and lard oils are the best for lubri- cating roller molds. If they are properly used, no trouble will be experienced in drawing the rollers. PAPKH AND PKINTING RECIPES. 6'6 Care of Rollers in the Summer Time. in hot, sultry weutlifi- rollers will uot ueed spouging, us some of the materiala used in their mauufacture, having au afliu- ity for moisture, will absorb enough humid- ity from the atmosphere to k(H^p the surface soft. Indeed, too much moisture is ab- sorbed in close iind sultry weatlier. Cover the rollers while not iu use with tallow (in damp weather) ; this will jji-event tlie ab- sorbtion of moisture and keep the roller dry. When starting up jjut a little tallow on the distriliutor. This will jneveut 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,..- is not dry, hot weather that causes trouble so much as it is hot moist weath<'r. When the weather is dry, soft rollers ean be used, but when dampness comes on, take out the soft and put in the old hard rollers that have become rejuve- nated 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. 64 PAPER AND PKINTINCJ KECIPES. Treatment of Old Rollers. When rollers have been lying for weeks with a coating of ink dried on to the sur- face — 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 wa- ter, and work it gently to and fro on the surface from end ti) end, taking care to ap- ply plenty of water, dipping the brick in rejjeatedly; 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 al- most equal to new ; the coating of ink hav- ing, by keeping the air from the surface, tended to preserve the roller from perish- ing. Sponge ofl" clean. A Eeoipe for Printers' Rollers. Best white glue, one pound ; concentrat- ed 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 i)ress out excess of water, and melt the glue by heating it over a salt wa- ter bath. Then gradually stir in the glycer- ine and continue the heating, with occasion- al stirring, for several hours, or until as much < )f the water is expelled as possible. lAl'KK AND l'iaNTIN(i HKCIPKS. »>;> 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 rou- taet with type. Temperature of the Press Room. The temperature of thcijvess or machine room ought to be as near as possible the same as that at which the ink is manufac- tured— yi^., 16^ of Reamur (0S° Fahrei;- heit). If the temperature of the room, and consequently, of the iron i-eceptacles the ink is kept in, be considerably less, the varnish of the ink will stiflftni, the paper will adhere to the type and i)eel off, or, if this does not occur, then^ will at least be too little varnish in the ink remaining on the tyjje, and too much carbon, which, of course, will not sufficiently adhere to the pajier, and may be wiped off even when the paint is perfectly dry. But if the tern perature of the work-room be too high, the varnish becomes too thin, the ink loses its- pt)wer of covering well all parts of the types, wliich 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 06 r.VPEK AMu) I'lilNTING RECIPES. 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 Kollers. 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 sec- ond set should be got ready and inked to work the second side, as the pai^er throws ofi" a quantity of cotton waste, and powder, and neutralizes the tack so necessary to the face of a good roller and a clear im- pi'ession. Should a roller require cleaning for a hurried work, the old ink may be re- moved 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 impalim- ble powder will hasten the drying of the ink. It is essential that it be thoroughly incorporated with the ink by trituration in H mortar. lAPKlt AXD I'UINTINtt ItECIl'KS. (57 How TO Bend a Kule. To bend 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 Oleaw Gilt Frames. Use a soft sponge moderately moistened ■with spirits of wine ; allow to dry by evap- oration. 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 ap- ]jlied morning after morning to old and dirt-covei-ed oil paintings will greatly re- store them. In adopting this plan with re- gard to gilt frames around water colors or prints, be sure that not enough moistixre is used U) run o& 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 absolute- ly gold, Imt 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 be.st articles to clean oflf the compound with. 68 PAPER AND PRINTING RECIPES. To Make Invisible Writing- To make secret or invisible writing, pro- cure some very thin starch, with which write with a qiiill pen (which should be a soft one) anything that fancy may dictate. Suffer it to dry perfectly ; examine the pa- per U130U 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, shghtly rub the paper on the side which has been written upon ; the writing will instantly appear as distinctly visible as if written \vith the finest ink ever invented. Eed Printing Ink. Bed 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 commo- tion. Lastly, the oil is gi-ound with a suf- ficient pigment on a stone by means of a muller. Vermilion, red lead, carmine, In- dian red, Venetian red, and the lakes are aU suitable for printing inks. PAPEB AND PRINTING RKCIPES. 60 To Prevent Eleotrotype Blocks from Warping. To jjrevent electrotyijc blocks from warp- iug, shrinking or swelling, j^lace them in a shallow pan or disli, 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 oi- three washings they may swell a little; if 8o, have them ca^refully dressed down, and after that you will have little or no trouble with them, and can leave them in the form just as yon would wnm they solid. Black Printing Ink. To make a good, permanent black print- ing ink, take Balsam copaiva 9 oz. Best lampblack 3 oz. Prussian blue li^ oz. Indian red 684 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 seal - ing wax : — Fine red sealing wax — Pale shel- lac, 4 oz. ; Venice turpentine, 10 drachms; English vermilion, 2 oz. Ordinary red 70 PAPER AND PUINTINCt RECiPKS. sealing wax--'-'hellac, 2 oz. ; resin, 4 oz. ; Venice turpentine, 12 drachms; chrome red, 12 drachms. Cheajj red bottle wax — Resin, 10 oz. ; turpentine, 1 oz. ; beeswax, 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, iireviously warmed, is to be added, and lastly the col- oring material. The first (quality is only used iu 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 l)ecome brittle. Even with this precaution, it is necessary to add a lit- tle turpentine, from time to time, to re- place 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 u water-bath, and heated until a small sam- ple tested with iodine solution does not pro- duce tliC reaction of starch. Wluu this is found to be the case the vessel is imme- PAPER ANU PRINTING RECIPES. 71 diately removed from the wator-bath, and the liquid neutralized with pure carbonate of lime. After having l)een left standing for two days, tlie liquor is filtered, and the clear filtrate evaporated iii)on a water- bath until tlie mas.s has become quite a j^aste, which is removed by a spatula, and having been made into thin cakes is placed upon paper and further dried in a warm situa- tion ; 220 parts of pure dextrine are thus obtained. When needed for making mu- cilage, the solution has only to be evapor- ated to the proi)er thickness. OoLOES roR Printing Inks. The different colors, and the inks which may be made from them, are as follows : For Red. — Orange lead, vermihon, burnt sienna, Venetian red, Indian red, lake ver- milion, 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 ultra- marine, 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. PAPER AND PRINTING RECIPES. Pale Brown. — Burnt sienna ; a ricli 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 car- mine. Pink. — Carmine or crimson lake. Shades and Tints. — A bright red is best got from pale vermilion, with a little car- mine added ; dark vermilion, when mixed with the varnish, produces a dull color. Orange lead and vermilion ground togeth- er also produce a very bright tint, and one that is more permanent than an entire ver- milion color. The pigments are dear; when a cheap job is in baud, orange miner- al, ro3e 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. Biue. — Indigo is excessively dark, and re- quires a good deal of trouble to lighten it. It makes a fine, showy color where bright- ness is not required. Prussian blue is use- fvd, but it must be thoroughly ground. It dries very quickly, hence the roller must be frequently cleaned. Antwerp bhie is very light and easily worked. Chinese PAl'EK AND PRINTING llECIl'KS. TM blue is also available. As already said, the shade may be varied ^itli flake white. There is this objection to Prussian, Ant- werp, and Chinese blues, that they are hard to grind, and likely to turn greenish with varnish when used thin. A ])right blue is also to be got from cobalt, or French or (lerman ultramarine. This is cheap, easily ground, and works freely. Lime blue may also bo used. Green. — Any of the yellows and blues may be mixed. Gamboge, a transparent color, is very useful in mixture with Prus- sian blue; orchromate of lead and Prussian blue may be used. The varnisJi, having a yellow tinge, has an effect upon the mix- ture, and should h^ taken into account. With a slight quantity of Antwerp blue, varnish in itself will jjroduce a decidedly greenish tint. Verdigris and gxeen venli- ter also give greens. If Chinese blue be added to pale chrome, it gives a good green, and any shade can bo obtained by increas- ing or diminishing either color. Emerald green is got by mixing jiale chrome with a little Chinese blue, and then adding the emerald until the tint is satisfactory. Brown.— Sejiia 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. 74 PAPER AND PUINTING RECIPES. In using painters' colors, it is advisable to avoid, as much as possible, the heavy ones. Tints of iiny desired depth may be luiule by using a finely-ground white ink as a basis, and toning it with the color desirtnl. 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 smootlily and dry quickly. In mixing tints to print with, the muUer should be used to rub in the colors thor- oughly, 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 woi-k 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 mucli is taken at once. Hints on "Oastinq Up." The most simple and ettcctive contrivance for casting-up work is, for every printer to set up, in vertical parallel lines, the m's of each font in his ofhcci, with figures in sue cession beside them, and work them upon good hard paper, but little wet or pressed, which ought to be dried very gradually. If he cast-up work j^rinted with the same type PAPER AND PRINTING RECIPES. as these mrasiires very little variation will be found; for if the measure and the meas- ured page do vary from the measvu-ement, the one is compensated by the other. But even this method can scarcely be trusted in setting the price \\ath 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 Eequired for. Newspaper. To ascertain the (piantitY 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 Y>eT cent to small, to allow for dead letter. This, of course, is only ajjproximate, but will be found sufficiently' close for all practical pur. poses. Oaee 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, especiiilly if pierced. 7() PAPKK A.\D PKINTINO UECIPE8. llEMEDY FOR TYPE THAT STICKS IN DIS- TRIBUTING. Great difficulty ia 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 fol- lowing may be tried with advantage : — Pour l)oiling 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 unwraj^ped, 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 ml) the face against the .side of the box. Proceed then with suc- cessive 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 tluMu down to crowd in more. This should n(!ver be allowed, as shaking does more injury to type thou press wear. Th*^ PAl'KR AND PRINTING RECIPES. 77 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 ben- zine within it for some few weeks. Worms, larvee, egg.s — 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 mix- ture 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 solu- tion of tin. Metallic tin is reduced, and sets in a very thin layer. The tissues of paper are then washed, dried and hot pressed. 78 PAPKR AND PRINTING RECIPES. Oare of Books. Books should be shelved in the (H)olest part of the room, and wlierethe air is never likely to be overheated, which is near the floor, where we ourselves live and move. In the private libraries of our lesidences a mistake is often made iu carrying the shelv- ing of our book-cases so high that they en- ter the ujiper 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 lieat 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 Oheap Lye. Boil six gallons of water and add while boiling one pound of unslacked lime and tour 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 tlien fit for immediate ap- l)lication. Cost, about two cents per gal- lon. I'APEH AM> HKINTINCi KJX'IPKS. 79 A Good Dryer. A good di'yer tor priiitfrs'use is made by taking a small (luantity of pei-fectly dry acv.- tate of lead or borate of manganese in im- palpable ijowder will hasten the drying of the ink. It is I'ssential that it should be thoroughly incorporated with the ink by trituration in a inoi'tar. A Strong Lye. A very strong printers" lye may be made a8 follows: — Take of table salt, 2 oz. ; uu- slacked 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 u-ill be ready for use. This is a powerful mixture, and will wash otf almost any color. Effect of Petroleum Oil on Wood Type. Although petroleum oil is a highly use- ful fluid for cleansing wood letter or wood- cuts, the printer should be cautioned that it is highly detrimental to type and stereo- plate. While it has no effect in opening the pores of the wood, but on the contrary^ hardens the surface, rendering the face pe- culiarly smooth, it corrodes or rots the met- al, and leaves a white powder on the face, which, although it may be removed -with a brush, shows that the type has been in- 80 PAPER AND PRINTING RECIPKS. jured. Besides this, petroleum is highly dangerous on account of its inflammability. It cannot be extinguished liy water. A Beonze or Changeable Hue. A bronze or changeable hue may be giv- en to inks with the following mixture : — Gum shellac, 1 ^ lb., dissolved in one gal- lon of 95 per cent alcohol or Cologne spir- its for 24 hours. Then add fourteen ounc- es 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 ap- portioned. 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 in- crease 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 im- provement. Ink should be made of chrome yellow, mixed with Venice turpentine, vir- gin wax and varnish. Cut the gold leaf in- to 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 I'Al^KK AND I'KINTINti ItECIPES. 81 ■ ( no great harm. Some colors will not keep at all, and others deposit at the bottom of the can almost all their solid iugrcdients. 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. Heu auci some other ct)lored inks arc •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 parafdne oil mixed well up with the old ink. Many prefer parafiine oil rather than boiled oil or turps for thin- ning 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 chfuiical jjrepara- tion 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 shoxdd be kept out of doors if possible. 82 PAPER AND PRINTINU RECIPES. A Varnish for Color Prints. To makf a varnisii for colored prints, etc., take of Ciiuada l)alsam, 1 ounce ; spir- its 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 <'iUii('rs hair brash. Repairing Battered Wood Type. Wood type when battered may be re- paired by removing the damaged part with u sharp pointed knife, and fill in with bees- wax or gutta-percha. Inking Surfaces for Color Work. The best inking surfaces or slabs for col- or work at press or machine are porcelain, litho stone, marble or slab. Metals are in- jurious to colored inks — even polished iron .lurfaees 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 :'.]] poured off afterwards, its presence can do PAPER AND PRINTINO RECIPES. 83 a piece of cotton wool ; when dry, it may be washed in the same way as bronze. Roll- ing afterward will improve it vn-y much. How TO Brighten Common Qualities OF Colored Inks. Common (lualities of colored inks may be brightened by ii.sing 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 lengtheud period. Printers' Varnish. For tine work, a little Canada balsam of the consistency of honev makes a good var- nish of great purity. The coarser but sim- ilar Venice turpentine may also be used with effect where time is precious and pur- ity of tint not indispensable. A little soft soap may be added to the Venice turpen- tine. If the work be coarse and varnish not at hand, aUttle oak varnish and softsoapform a good .sub.stitute. To Prevent Off-setting. Setting oflfmay be ijrevented 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 an- swer for several thovisands without requii-- ing to bo replaced. 84 PAPEB AKD 1'RINTINCt RECIPE6. A Hardening Gloss for Inks. A hardening gloss for inks may be made liy 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 con- sumed. A Modeling Material. Some pretty effects can be produced by the use of a composition made by thor- oughly mixing rice flour with cold water, Kud allowing it to gently simmer over the fire until a delicate and durable cement re- sults. 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 pohsh, lieing 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 i3 evenly covered witli a thin coating. A lit- tle oil can be used to dilute or moisten the PAPER AND PRINTING RECIPES. 85 color if necessary. Then put your leaf down on the paper and dab some color evenly over both sides. Place it then be- tween the pages of a folded sheet of paper (unglazed is bestj, and rub the paper above it well all over Avith 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. Deyer foe Ruling Inks Ruling iiik.s 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 evapor- ates; it also makes the lines firm. Size of Newspaper Sheets and Number OF Columns. Width of C.'lumn Paper. Column Rules. 13 Ems Pica. 5 Column Folio 20 X 26 17 84 in. .6 " " 22X31 1934 " t;ColFo(widemargin)22x82 I934 " 7 Column Folio 24 X 35 21 :^4 " 7ColFo(widemargin)24x36 21^4 " 8 Column Folio 26x40 23^4 " 9 « " 28X44 26 " 4 " Quarto 22x31 13^4 " 4ColQu(widemargin)22x32 13 ^4 " 5 " " 26X40 1734 " 6 " " 30X44 19:^4 " 7 " " 35X48 2134 " 86 PAPEK AND PUlNTlNa BECIPEti. Usual Sizes and Weights of News Printing Paper, Size. Weight per Bundle. 22 X 30 44 lbs. 22X32 45 and 50 " 24X36 50,56, 60 and 70 " 26X38 60 and 70 " 26 X 40 65, 70. 75, 80 and 90 " 28X40 80 " 28X42 70, 80, 90 and 100 " 28X44 85, 90 and 105 " 29X48 100 " 29X58 110 " 30 X 44 90, 95 and 100 " 31 X44 90, 95 and 100 " 31X45 96 " 22X44 90, 95, 100 and 120 " 32X46 100 " 34I2X47I2 i'^0 " 35x48 120 " Usual Sizes and Weights of Book Pa- pers. Size. Weight per Ream. 22 X 32 30, 35 and 40 lbs. 24X36 ,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 " 32X44 60, 70, 80, 100 and 120 " iTsuAL Sizes and Weights Colored Print OR Poster. Size. Welglit per Ream. 24X36 25 IbH. 25X38 27 " 28 X 42 85, 40, 45 and 50 " PXrEU AND PRINTING HECIPKS. HT Usual Sizes'of Plat and Ledger Papers. Flat Letter lOxK; Flat Foolscap 13x16 Packet Post 12X19 Cap 14X17 Crown 15X10 Double Flat Letter 16 X 20 Demy 1GX21 Folio Post 17 X 22 Check Folio 17x24 Medium 18x23 Double Flat Foolscap 16 x 20 Bank Folio 19 X 24 Royal 19X24 Double Cap 17 X 28 Super Royal 20x28 Double Demy 21 X 32 Double Demy 16 x 42 Imperial 23 X 31 Double Mediiim 23 X 36 Double Medium IBx 46 Elephant 23 x 28 Colombier 23x 34 Atlas 26X33 Double Royal 24x38 Double Elephant 27x40 Antiquarian 31 X 53 GETTY CENTER LIBRARY 3 3125 00140 3357