GRAPHOTYPY.
This process consists in converting a cliché in half tones into one in lines, which can be directly printed on paper, or impressed, by means of an ink transfer made as explained before, on a stone, or on a zinc or copper plate for etching in relief, or in intaglio, according as the cliché is negative or positive.
A cliché on gelatine, but preferably on a collodion film, is varnished with a solution of yellow wax and bitumen in benzole and turpentine-oil:
| Bitumen of Judaea | 8 parts |
| Yellow wax | 2 parts |
| Benzole | 40 parts |
| Turpentine oil | 60 parts (filter) |
then etched as done to engrave in the aquafortis manner, the corrections being made by applying with a brush some of the above varnish on the defective parts, which are worked over when the varnish is dry.
The tools are simply needles of various thickness ground in sharp square and round points of different sizes.
When the etching is finished, the parts which should form the ground, or white parts of the design, being covered with the bitumen varnish is non-actinic, or, in other words, does not admit the light acting on the sensitive plate preparation employed to reproduce the design, except by an exposure a good deal longer than that necessary to reduce the metallic salts.
The engraver will see at once that, although it greatly simplifies the copying work and, consequently, saves much time, this process does not, however, bind him to any rules and leaves him perfectly free to follow its inspirations and make such alterations as he thinks proper to produce artistic effects; in a word, the reproduction will no more be a picture taken [pg 63] by a mechanical process, so to say, but an original drawing reflecting his talent and characteristic manner.
A similar process much employed by photo engravers, and presenting the same advantages, is to convert an ordinary photograph on paper—or a blue print, as devised by the writer—into a design in lines by drawing with India ink, or the special ink of Higgins, and, this done, to wash off the photographic image, the design being afterwards reproduced by the ordinary processes as a negative or a positive cliché.
When the photograph is a silver print especially made for the purpose in question and, consequently not toned, but simply fixed in a new thiosulphate (hyposulphite) bath, and well washed—it is bleached by flowing over a solution of—
| Bichloride of mercury | 5 parts |
| Alcohol | 40 parts[13] |
| Water | 100 parts |
If the photograph has been toned, i.e., colored by a deposit of gold, or if it was fixed in a thiosulphate bath in which toned prints have been fixed, then the image is dissolved by treatment in a solution of potassium cyanide in alcoholized water.
When a blue photograph is reduced, it is advisable before drawing upon it to first reduce its intensity by a prolonged immersion into water. Pale blue is a very actinic color which is not reproduced in photography, except by the ortho-chromatic process, or if it does, the impression being very weak, is not objectionable. When the image has not been sufficiently or not at all bleached, the blue is dissolved by an alcoholized solution of the blue solving.