IMPROVEMENTS IN TRANSFERRING BY THE MEANS OF TYPOGRAPHY COLOURS AND METALS ON SURFACES IN GENERAL
Year: 1863

page_text: PROVISIONAL SPECIFICATION left by Jean Baptiste Marie Amédée
Bourreiff of the Office of the Commissioners of Patents, with his Petition,
on the 13th March 1863.
I, JEAN BAPTISTE MARIE AMÉDÉE BOURREIFF, of Paris, Rue des Petites
Ecuries, No. 12, in the French Empire, Manufacturer, do hereby declare
the nature of the said Invention for "IMPROVEMENTS IN TRANSFERRING BY THE
MEANS OF TYPOGRAPHY COLOURS AND METALS ON SURFACES IN GENERAL," to be as
follows:-
I take paper sized, unsized, or half sized, and pay it over with one or more coats
of such a preparation as that next hereafter described, or its equivalent, gum
arabic dissolved in water, tapioca, sago, starch, or other fecula mixed in hot water
or boiled in water, and the whole well mixed and stirred. The preparation may be
varied so long as similar sticking, adhering, and agglutinant properties are pre-
served. After the coating it is better to satin the paper. The satining aids the
transfer of the typographic impression to be made on the coating, the coating
completely separates the design from the paper as hereafter stated. The typo-
graphic impression is taken in the ordinary manner, but in lieu of ordinary
printing ink I use a mordant or strong varnish, in which it is better with the
view of obtaining more intense color where color enters into the design to incor-
porate or mix a quantity of the desired color with the mordant or varnish. The
form or block is covered or "inked" by a roller with the mordant or varnish,
and a print on the coated paper is taken directly after the printing or before

page_text: the ink becomes dry; I powder it over with the same colour as that in the
mordant by means of a puff, soft brush, hare's foot, or other like article.
This operation should be performed at every change of colour. When all the
colouring matter on the print is dry I clean it by a feather, brush, or other
like soft article drawn over it. When the paper has received all the colours
and the gold entering into the design, it is as well though not absolutely neces-
sary to pass the paper through rolls to give a glaze and to impart homogeneity to
the colors and the gold. To transfer the impression to the surface for receiving
it I apply an hour or more before using the impression, both to it and to the
surface to which it is to be transferred, a liquid composed of essence of turpen-
tine, venetian turpentine, and colophany, in the proportion of 5 parts of
turpentine, 1 part of venetian turpentine, and one half part of colophany;
then apply the print to the surface, and use a roller or rub with the palm of
the hand or otherwise to ensure contact of every part of the impression. I
afterwards wet or moisten the paper and separate or draw off the paper from
the impression, when the design alone will adhere to the surface to which it has
been transferred. For articles subjected to firing after the transfer of the
design to them, the colors used must be mineral and not vegetable, and should
be such as are employed by painters on porcelain, china, and glass. Instead of
paper for carrying the design I sometimes use a textile fabric.
I