Bromoil printing and bromoil transfer

by Emil Mayer

When, with papers of rough surface, the grain of the paper remains white in the shadows, in spite of hopping, such places should be treated by going over them with the inked brush with light pressure with a rotary motion.

Practice teaches that there is always a definite consistency of ink which corresponds to a definite degree of swelling and with this the print may be executed from start to finish. If the operator has learnt by experience what ink consistency corresponds to the existing swelling of the film, he will prepare his ink of the suitable consistency, and is then in a position to carry out the work uninterruptedly without any new mixing of the ink.

It is a little difficult for the tyro to answer the question as to when the application of the ink should be stopped, that is to say, when the print may be looked upon as finished. There is frequently a temptation to consider the print finished when it is very delicate yet completely visible in all its details. The beginner often lacks the courage to apply more ink at this stage; he usually believes also that the print will take no more ink, because, as has been mentioned above, the part of the palette from which he has hitherto taken the ink, gives up no more. Such prints, which recall sketchy pencil drawings, deceive one during the work, but only satisfy later if this particular technique is suited to the character of the picture, which is certainly not always the case. One must therefore carefully consider during the work whether one should actually stop.

The second danger lies in the opposite direction, and is due to the fact that, led on by the constantly increasing vigor of the image, one cannot rightly decide when to stop. The danger here is that one is tempted by the vigor of some part of the picture to make the other parts also as strong in color, until by such continued action the print is immersed in the deepest gloom, which becomes still more gloomy after defatting the finished print. Such excess must be avoided as a rule. Experience and taste soon teach one to hit the happy mean.

The first, delicate and general application of ink, which may be considered as a guide print, is in many cases somewhat wearisome, especially when the picture has large areas of rich, deep shadows. With correct preliminary treatment of the print there are no real difficulties in the preparation of such a guide print. Yet the work, especially with large sizes, is really time-consuming and also offers, when considered from the artistic standpoint, but little interest, since the actual creative work of the operator only begins after the guide print is finished; only then is he in a position to actually give expression to his artistic feelings by suitable inking of the different parts.

Since, therefore, the work in the preparation of the guide print is actually quite mechanical, it is natural to make use of any means which enables one to facilitate and hasten this work.

For this there may be used, but only by the expert worker, a method based on the following considerations:

If an ink of suitable consistency is dissolved in a suitable solvent, such as benzol, carbon tetrachloride, trichlorethylene, etc., the pigment is very evenly disseminated in this solvent. If the latter again evaporates, the ink deposits in an even coating, unchanged in its nature.

It is therefore, possible, in the first application of the ink, to use such a solvent on the print and by its aid the wearisome mechanical work of the first inking may be rapidly and easily carried out.