Chapter III: Part 3

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. Sawtelle Ford