Process for the Decoration of China, Earthenware, Glass, Papier- mache, Iron, Tin, Leather, Wood, Japanned, and other Goods.
Year: 1897

page_text: Date of Application, 16th Jan., 1897
Complete Specification Left, 29th Sept., 1897-Accepted, 20th Nov.,
1897
Process for the Decoration of China, Earthenware, Glass, Papier-
mache, Iron, Tin, Leather, Wood, Japanned, and other Goods.
I, PAUL RATAUD, of Woodside Villa, Longton, in the County of Stafford,
Manager, do hereby declare the nature of this invention to be as follows:-
In carrying my invention into practice, I firstly obtain chromo-typo blocks or
plates of wood, copper, zinc or other substance by means of either photo-chromy,
heliochromy, phototri-chromatypy, electrotypy, lithography, or grained paper
transfers, according to the style of the pattern or design required, and the kind of
ware or substance on which it is to be reproduced.
The number of blocks or plates varies according to the number of colours to
be reproduced, each block or plate representing one colour, except when phototri-
chromatic blocks or plates are used.
In this latter case only three blocks or plates are used. When speaking of
phototrichromatic blocks or plates, I mean the same kind of blocks or plates as are
used in what is known in the printing trade as the three-colour process.
The grain or lines on the blocks or plates vary in coarseness, according to the
colour to be used on the block or plate in question, and according to the design or
subject to be reproduced.
I proceed to the printing, which is effected on paper by means of the aforesaid
blocks or plates, with inks or colours compounded with varnish made of boiled
linseed oil, boiled beef suet, ceramic enamel colours, and flux in suitable propor-
tions. The paper used must be in preference a good tissue paper or else what is
known in the pottery trade as duplex transfer paper; that is a tissue paper backed
with a stronger paper. This tissue paper is firstly coated with flour or starch paste
or the like and when dry it must be rolled several times between sheets of zinc or
other metal under a calendering machine. After this, another coat of dextrine
or best gum arabic or the like is applied and when dry it must be again calendered
several times between sheets of zinc or other metal.
The paper after having been prepared or surfaced as above described is printed
upon, with the above described ink or colour, in the way usually adopted in print-
ing chromotypographs, but darkest colours first.
As each colour is printed, the print can be dusted, all over, with the same ceramic
colour in powder, that has just been used in the printing ink, if required, in order
to strengthen the coat of colour, which may be otherwise insufficient.
The printing can also be done with pure linseed oil, boiled into a varnish and
the sheets must, in that case, be dusted with ceramic or other colours, as the case
may be.
In all cases a whole day must clapse, between the printing of each colour, for
the purpose of drying.
When the printing of the picture or pattern is finished, I have a block or plate
with the silhouette of the pattern on it, and I print that silhouette over the
pattern, with a varnish which may be composed of boiled linseed oil and Venetian

page_text: turpentine or Canada balsam in suitable proportions, thus covering the pattern
only. I then allow the prints to dry, before using them. This last coat of varnish
makes the prints adhere to the ware or other substance, in the operation of trans-
ferring, and does not leave any trace of its presence after firing. This refers to
china earthenware and glass only.
To transfer the prints on the ware etc., I proceed as follows:-I either warm the
pieces of ware etc., as hot as the hands can bear to handle them, or else I size them
with a varnish which may be composed of boiled linseed oil, virgin resin, Venetian
turpentine and rectified oil of turpentine, in suitable proportions. If the ware is
sized, the size must be allowed to dry until it becomes sticky, or tacky before
applying the prints to the ware.
Gelatine and other similar substances may also be used in some instances as
a size.
I now separate the paper if it is a duplex paper, and put the prints on to the
ware, printed surface against the ware, in the position I wish to have it. I press
the back of the print evenly all over with a soft sponge that has been dipped in
tepid water and squeezed. "I then wet freely and remove the paper leaving the
coloured pattern only, on the ware, or other substance to be decorated, as is well
understood. I then again squeeze the sponge and press the picture firmly with
it (not rubbing it) and wash the surface of the picture by running some water over
it, or by total immersion in water, in order to remove the gummy substance, left
by the paper.
I then boss the picture all over with a piece of soft old linen and allow it to
dry thoroughly, before firing it in a kiln.
The same method of printing can be applied also to under-glaze decoration
of china and earthenware by using ceramic under glaze colours instead of ceramic
enamel colours, and by using stronger varnish, for the printing of the silhouette,
or if necessary, by applying an extra coat of this varnish, with a brush on the
prints before transferring them on to the biscuit ware, which must be afterwards
treated in the usual way, that is to say, fired in a hardening-on kiln then glazed and
fired in the glost oven.
As for the decoration of papier-mache, iron tin, wood, leather, japanned and
other goods, and all kinds of ware or substances that do not need to be fired, after
having had the decoration transferred on to them, best litho or typo coloured
inks should be used for the printing, instead of ceramic colours.
The objects to be decorated are generally coated with suitable varnish, and when
this is dried, the decoration is transferred in the above mentioned way, and when
again dried, cither naturally or by heat, one or several coats of suitable transparent
varnish or lacquer, are applied all over. In some cases the printing of the
silhouette is not necessary.
I would here remark that in carrying my invention into effect.
may apply
and
chromotypographic, phototrichromatic, heliochromatic, photochromatic,
electrotypic blocks or plates, and also blocks or plates obtained by means of
lithographic or grained-paper transfers or any other means to the printing of
chromo transfers to be used for the decoration of china_earthenware, glass, papier
mache, iron, tin, wood, leather japanned and other goods.
In practical hands, this method of printing chromo transfers, for the aforesaid
purposes, is very much more advantageous than the one at present in use, for the
following reasons:-
1. There is no expansion or contraction of the paper.
2. It is much more speedy.
:
3. A pattern or design on a block or plate will wear much longer than on a
litho stone.

page_text: Process for the Decoration of China, Earthenware, Glass, Papier-
mache, Iron, Tin, Leather, Wood, Japanned and other Goods.
I, PAUL RATAUD, of Woodside Villa, Longton, in the County of Stafford,
Manager, 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:
In carrying my invention into practice I, firstly, obtain chromo-typo blocks or
plates of wood, copper, zinc or other substance by means of either photo-chromý,
heliochromy, phototri-chromatypy, electrotypy, lithography, or grained paper
transfers, according to the style of the pattern or design required and the kind of
ware or substance on which it is to be reproduced.
The number of blocks or plates varies according to the number of colors to
be reproduced, each block or plate representing one color, except when phototri-
chromatic blocks or plates are used.
In this latter case only three blocks or plates are used. When speaking of
phototrichromatic blocks or plates I mean the same kind of blocks or plates as are
used in what is known in the printing trade as the three-color process.
The grain or lines on the blocks or plates vary in coarseness according to the
color to be used on the block or plate in question and according to the design or
subject to be reproduced.
I proceed to the printing, which is effected on paper by means of the aforesaid
blocks or plates with inks or colors compounded with varnish made of boiled
linseed oil, boiled beef suet, ceramic enamel colors, and flux in suitable propor-
tions. The paper used must be in preference a good tissue paper or else what is
known in the pottery trade as duplex transfer paper; that is a tissue paper backed
with a stronger paper. This tissue paper is firstly coated with flour or starch paste
or the like and when dry it must be rolled several times between sheets of zinc or
other metal under a calendering machine. After this another coat of dextrine
or best gum arabic or the like is applied and when dry it must be again calendered
several times between sheets of zinc or other metal.
The paper after having been prepared or surfaced as above described is printed
upon with the above described ink or color in the way usually adopted in print-
ing chromotypographs, but darkest colors first. As each color is printed the print
can be dusted all over with the same ceramic color in powder that has just been
used in the printing ink if required, in order to strengthen the coat of color, which
may be otherwise insufficient.
The printing can also be done with pure linseed oil boiled into a varnish and
the sheets must in that case be dusted with ceramic or other colors as the case
may be.
In all cases a whole day must elapse between the printing of each color for
the purpose of drying.
When the printing of the picture or pattern is finished, I have a block or plate
with the silhouette of the pattern on it, and I print. that silhouette over the
pattern with a varnish which may be composed of boiled linseed oil and Venetian
turpentine or Canada balsam in suitable proportions, thus covering the pattern
only.
I then allow the prints to dry before using them. This last coat of varnish
makes the prints adhere to the ware or other substance in the operation of trans-
ferring and does not leave any trace of its presence after firing. This refers to
china, earthenware and glass only.

page_text: To transfer the prints on the ware etc., I proceed as follows:-I either warm the
pieces of ware etc. as hot as the hands can bear to handle them, or else I size them
with a varnish which may be composed of boiled linseed oil, virgin resin, Venetian
turpentine and rectified oil of turpentine, in suitable proportions. If the ware is
sized, the size must be allowed to dry until it becomes sticky or tacky before
applying the prints to the ware. Resin and gelatine, and other similar substances
may also be used in some instances as a size.
I now separate the paper, if it is a duplex paper, and put the prints on to the
ware, printed surface against the ware, in the position I wish to have it. I press
the back of the print evenly all over with a soft sponge that has been dipped in
tepid water and squeezed. I then wet freely and remove the paper leaving the
colored pattern only on the ware or other substance to be decorated, as is well
understood. I then again squeeze the sponge and press the picture firmly with
it (not rubbing it) and wash the surface of the picture by running some water over
it or by total immersion in water, in order to remove the gummy substance left
by the paper.
I then boss the picture all over with a piece of soft old linen and allow it to
dry thoroughly, before firing it. in a kiln.
The same method of printing can be applied also to under-glaze decoration
of china and earthenware by using ceramic under-glaze colors instead of ceramic
enamel colors, and by using stronger varnish for the printing of the silhouette
or if necessary by applying an extra coat of this varnish with a brush on the
prints before transferring them on to the biscuit ware, which must be afterwards
treated in the usual way, that is to say, fired in a hardening-on kiln, then glazed and
fired in the glost oven.
As for the decoration of papier-mache, iron, tin, wood, leather, japanned and
other goods, and all kinds of ware or substances that do not need to be fired after
having had the decoration transferred on to them, best litho or typo colored
inks should be used for the printing, instead of ceramic colors.
The objects to be decorated are generally coated with suitable varnish, and when
this is dried, the decoration is transferred in the above mentioned way, and when
again dried, either naturally or by heat, one or several coats of suitable transparent
varnish or lacquer are applied all over. In some cases the printing of the silhouette
is not necessary.
I would here remark that in carrying my invention into effect. I may apply
chromotypographic, phototrichromatic, heliochromatic, photochromatic and
electrotypic blocks or plates and also blocks or plates obtained by means of
lithographic or grained-paper transfers or any other means to the printing of
chromo transfers to be used for the decoration of china, carthenware, glass, papier-
mache, iron, tin, wood, leather, japanned and other goods.
In practical hands this method of printing chromo-transfers for the aforesaid
purposes is very much more advantageous than the one at present in use for the
following reasons:
'
(1) There is no expansion or contraction of the paper.
(2) It is much more speedy
(3) A pattern or design on a block or plate will wear much longer than on a
litho stone.
Having now particularly described and ascertained the nature of my said inven-
tion and in what manner the same is to be performed I declare that what I
claim is:
1. The improved process for the decoration of china, earthenware, glass,
papier-mache iron, tin, leather, wood, japanned and other goods substantially
as herein set forth.
2. In the process for the decoration of china, earthenware, glass, papier-mache,
iron, tin, leather, wood, japanned and other goods, the use of chromo-typo blocks
or plates of wood, copper, zinc, or other substance obtained by means of either

page_text: photo-chromy, helio-chromy, phototrichromatypy, electrotypy, lithography, or
grained paper transfers, in the printing of chromo transfers to be employed in
the decoration of the aforesaid materials, substantially as herein set forth.
Dated September 29th 1897.
HARRIS & MILLS,
23 Southampton Buildings, London, W.C., Agents.