Bromoil printing and bromoil transfer

by Emil Mayer

Resoaking of the Print During the Working-up.—Resoaking the print during the inking up, without regard to the existent film of ink, is one of the most important aids in the bromoil process.

This procedure is based on the following considerations: It has already been pointed out that the prepared gelatine film possesses the property of again assuming after drying the same degree of relief which was imparted to it by the warm water bath. When a swollen print is taken out of the water and placed on the pad for working up, evaporation immediately begins at the surface of the film; the gelatine, therefore, continuously gives up water to the surrounding air during the work, and more quickly in proportion as the air is drier and warmer. As has already been mentioned, the damp pad does not alter this, since the supply of water from the pad through the paper is not sufficient to restore the water content of the film. Therefore, while one inks up one part of the print, all other parts gradually lose their water; and since it is this water which renders the gelatine, after its tanning, capable of repelling or taking the greasy ink, the work gradually becomes more and more difficult. The gelatine film, which feels smooth when the film is removed from the water, especially in the high lights and any exposed margins, becomes gradually leathery. It may still take ink, but the distribution of this, and especially the development of the drawing and the details, become more and more difficult.

If, however, the print, which is partly or entirely inked up, is again placed in water and this time in cold water, the gelatine film very rapidly absorbs this and again attains the same degree of relief that it had at first. Sometimes it appears as though a marked clearing up of the image takes place in the water; the high lights become cleaner, and many details appear in the shadows which were not visible during the working-up. On the other hand, with some inks the picture appears to become weaker under the water. This, however, is only an illusion and is of no importance, as in drying, or in again going over the picture with the brush, the image again attains the previous depth and color and still greater clearness.

Here also, one must take care that the print is completely immersed and that no air bells adhere to the film, since those places to which the water does not have access do not reswell, and on further work may give rise to spots. In removing the print from the water the inked-up surface should not be touched with the fingers, or finger prints will remain in the ink. The print should therefore be taken hold of by the edges.

While the print is soaking in the water, the bringing out of the details, especially in the shadows, may be facilitated by stroking those parts with the tip of the finger or a swab of absorbent cotton. In the same way dirt which has collected on the surface during the work may be removed. In the latter case one may also use more vigorous friction, even though the ink film is thus removed, since the removal of the troublesome particles is more important than saving the thin film of ink, which can be easily renewed.

The print is then removed from the water, placed on the pad, and dried as previously by spreading over and pressing down a lintless cloth, although because of the film of ink any wiping action should be avoided. Then when the brush work is resumed, it can be completed in an extraordinarily easy manner.

It should be specially noted that the print must be worked up after this second soaking with the same brush as before, which need not be recharged with ink. Only after the print has been hopped in this way, should fresh ink be applied.

During the work, the bromoil print, as a rule, will scarcely retain the necessary degree of dampness longer than a quarter of an hour, and not this long in dry and warm weather.

The resoaking of the print should be undertaken without hesitation as often as any difficulty in the distribution of the ink is met with; for this saves a great part of the brush work, and almost automatically brings out contrasts and details. Especially while learning the process and later with more difficult prints, the work is most conveniently divided as follows: first application of the ink and distribution by hopping, as long as it is easy; resoaking the print; drying off and hopping anew with the brush not freshly charged with ink; second application of the ink and hopping of the ink now applied; another soaking, and so on. The operation may be repeated as often as desired without the film taking any harm.

Because of the possibility of always bringing the print to the correct degree of relief during the brush work by means of resoaking, there is absolutely no limit to the size of the bromoil print. One can simply finish a part of a print of any desired size and then, after another soaking, go on to the next part and so on until the whole print is inked.