rendering Paper Transparent.
Year: 1885

page_text: rendering Paper Transparent.
I, WILLIAM TRENEMEN of 2 Highgate Hill London in the County of Middlesex
Artist do hereby declare the nature of my invention for IMPROVEMENTS IN PRO-
DUCING & COLORING PHOTOGRAPHS IN PERMANENT PIGMENTS & OTHER OPAQUE
SUBSTANCES & IN RENDERING PAPER TRANSPARENT to be as follows :—
The unmounted paper Photograph should be made perfectly flat & one or any
number are to be immersed in the transparent medium herein described one at a
time care being taken that each is covered before another is introduced into the
solution. The solution should be contained in a vessel capable of being heated up
to about 200° Fabr & if heated by water should be enclosed so that the moisture
arising from heating the water is unable to attack or deposit itself upon the
transparent medium. The medium containing the prints should be kept at a
temperature of about 160° Fahr or upwards to 180° Fahr for 6 to 12 hours
according to the thickness of the paper it may then be allowed to cool & medium
& prints remain together until wanted for further use in the process.
When required they may be withdrawn from the solution either together or
seperately, allowed to drain over the vessel containing the solution & then laid
together upon some flat unabsorbent substance such as glass & with a rubber
squeegee or similar appliance, the remaining portion of the medium should be
pressed out of the print or prints & returned to the vessel containing the medium
for future use. The prints should be then taken one at a time laid on clean paper
& rubbed back & front with a clean cloth to remove the remaining unabsorbed
medium.
They are then ready for coloring with oil colors prepared as hereafter described
such pigments to be applied to the back of the print or prints.
Should there be any part of the priut not capable of being produced by paint in
the natural or original color of the object which it represents or should the object
represented be better depicted by the use of gold silver or other leaf, mother of
pearl or other opaque substance such can be applied to the back of the print by
means of the transparent adhesive herein described. When the print is fully
colored (& it should be completely covered in color or otherwise) as soon as it is
quite dry it should receive a coat of varnish on the front & the back should either
ID

page_text: have another coat of paint all over, or should have tin foil or some similar
substance attached to the back of the print so far as possible to exclude the air.
It is then ready for mounting in the ordinary way.
Photographic or other prints mounted face to glass should be placed in the
transparent medium either each in a seperate vessel or in a vessel containing
grooves or some similar contrivance to keep the glasses seperate & allow the
solution to act freely on the back of each print.
The transparent medium referred to in the foregoing is composed of a non drying
oil or slowly drying oil, Spermaceti Wax & Canada Balsam, Sperm Olive Colza-
Slow Drying Linseed-Almond Ragoon Poppy Rape &c Oils. The selected oil has
the Spermaceti Wax first dissolved in it & then the Canada Balsam is mixed with
it by agitation & heat combined.
The dry oil colors are to be ground with a preperation of oil & Canada Balsam
& left of such a consistancy as will allow them to be used with the usual flexible
tubes, they can then be mixed with the ordinary mediums to promote quick drying
or with Oak Varnish & Turpentine.
The transparent adhesive is composed of Canada Balsam mixed with about or
part of oil or turpentine, just sufficent to allow it to flow from a Camels Hair
Brush.

page_text: manent Pigments and other Opaque Substances, and in
rendering Paper Transparent.
I, WILLIAM TRENEMEN of 2 Highgate Hill, in the County of Middlesex Artist
do hereby declare the nature of this invention and in what manner the same
is to be performed, to be particularly described and ascertained in and by the
following statement:—
The process herein described is applicable to all kinds of prints produced on
paper whether by a Photographic or by any mecanical printing process the paper
used in either case should be as free as possible from size or other stiffening
material. Photographs treated by this process can also be previously enamelled
by the ordinary plain collodion method, care being taken when gelatine or a
similar substance is used as a vehicle for the adhesion of the print to the collodion
film that the back of the photograph is kept clear of any such mountant.
It is advisable when enamelled prints are used to finish the whole of the
following processes before detaching them from the glass used for enamelling.
Albumenized silver prints are very suitable for this process.
Each unmounted paper photograph or print which must be quite dry &
perfectly flat, is immersed in the transparent medium No 1 herein described care
being taken that each is covered before another is introduced into the solution.
The solution should be contained in a vessel capable of being heated up to
200° Fahr & if heated by water should be enclosed so that the moisture arising
from heating the water is unable to attack or deposit itself upon the transparent
medium. The medium containing the prints should be kept at a temperature of
not less than 100° Fahr & not more than 180° Fahr. until the prints immersed are
perfectly transparent, when the medium should be allowed to cool, with the prints
still immersed in it. The higher the temperature the quicker the prints become
transparent, when cool the prints should be removed, laid upon some flat surface
such as glass, & with a rubber squegee or similar contrivance, the superfluous
medium should be removed & returned to the vessel for future use.
The prints should then be immersed one at a time in transparent medium N° 2,
care being taken in the same manner as previously that each is covered before
another is put into the solution. This solution should the be heated to 120° Fahr
& the prints kept in the solution at this heat for 2 hours, when they must be
allowed to cool again, taken out of the solution squegeed as before, & the
superfluous solution returned to the vessel for future use. The prints must now be
be taken one at a time, laid on clean paper & rubbed back & front with a clean
dry cloth to remove the remaining unabsorbed medium. The prints are then ready
for coloring with oil colours prepared as hereafter described such pigments to be
applied to the back of the print or prints which should have a coat of mastic
varnish put on & rubbed in with a piece of wash leather. This gives a good
surface to receive the colours.
Should there be any part of the print not capable of being produced by paint in
the natural or original colour of the object which it represents, or should the object
represented be better depicted by the use of gold or silver leaf mother of pearl or
other opaque substances, such can be applied to the back of the print by means of

page_text: the transparent medium herein described. When the print is fully colored (& it
should be complety covered with colour or otherwise) as soon as it is quite dry, it
should have laid over the back of the coloured surface, a layer of tin foil or other
similar substance, which has previously had, a coat of white paint applied to it,
such paint being prepared according to the formula given for preparing the paints
used in this process, as soon as the paint on the tin foil is nearly dry, but just
sticky to the touch it should be pressed down on the back of the print & put under
pressure until quite dry. The print can then be mounted in the ordinary way.
Photographic or other prints mounted face to glass should be placed in the
transparent mediums, either, each in a seperate vessel or in a vessel containing
grooves or some similar contrivance to keep the glasses seperate, & allow the
I solution to act freely on the back of each print.
"
The transparent mediums referred to in the foregoing are made up as follows
N° 1. Spermaceti Wax one part. A slowly drying oil such as Sperm, Colza,
Olive, Linseed, Almond Ragoon, Poppy or Rape forty nine parts & Canada Balsaam
fifty parts. The selected oil (olive is recommended) first has the Wax dissolved in
it & then the Canada Balsaam is mixed with it by agitation & heat combined.
No 2 is to be composed of the same ingredients as N° 1 but in the following
proportions. Spermaceti Wax one part. The selected oil twenty nine parts
Canada Balsaam seventy parts mixed as above.
•
The finely powdered colours are ground with oil in the usual manner of grinding
Artists oil colours but with as little oil as is compatable with their being ground in
the finest manner, they must then be again reground with equal proportions of
Canada Balsaam & Gum Dammar Varnish, and the colours left of such a consistancy
as will allow of their flowing easily from the brush. If extra quick drying is
required, Mastic Varnish may be substituted for the Gum Dammar Varnish. It is
of the utmost importance that as far as possible each required tint should be ground
seperately with the Canada Balsaam & Gum Dammar Varnish instead of mixing
the primary colours together to form other shades & tints, as the grinding ensures
the most perfect admixture of the particles of colour with the vehicle used to
render them fluid. The various tints can be kept in the ordinary collapsable tubes.
The colours should be laid on the picture in two coats the first should be thin
as this allows the colour to permeate thro' the pores of the paper, the second coat
must be thick in order to render the coloring opaque. If the colors are left thin in
the collapsable tubes suitable for the first coat they will thicken by leaving the
colours exposed to the air for a short time before using them. The transparent
adhesive is composed of Canada Balsaam dissolved in just sufficient oil or Mastic
Varnish to admit of its use with a Camel's Hair Brush.
Having thus described the nature of my said Invention & the mode in which
I carry the same into effect I would have it understood that what I claim is
1st. A new mixture of substances for rendering paper transparent.
2nd. A new vehicle for grinding oil colours & holding them in suspension.
3rd. A new adhesive material whereby gold silver & other opaque substances
can be affixed at the back of the transparent print so that the object depicted can
be better represented than by ordinary artists colours.
4th. The use of tin foil or other similar substances for keeping the colours from
atmospheric & other chemical influences.
.
11
T
1000