Year: 1887

page_text: Date of Application, 2nd Apr., 1887
Complete Left, 2nd Feb., 1888
Complete Accepted, 29th Mar., 1888
WILLIAM TRENEMEN of 10 Old Jewry Chambers in the City of London do hereby
declare the nature of this invention to be as follows:-
The process is founded upon the Carbon process & its various ramifications. A
photographic print is produced (from a négative taken in the usual way) in any of the
several manners recommended by Swan Lambert the Autotype Company & others who
practice printing with gelatine sensitized so that the action of light is shown upon it
by developement. Such print should be produced upon a collodionized glass or such
other surface as will admit of its ultimate transfer to paper glass china or other
permanent support. A coloured print may be made by the specification No. 797 1866
or as follows. A glass transparency is produced by any of the various wet or dry
plate processes & varnished with a hard Waterproof Varnish such as that made by
mixing Commercial White Hard Varnish and methelated Spirit of Wine in proper
proportions. Another & better method for the process, consists in printing a carbon
print from the original negative & developing this upon a temporary flexible support
& then transferring it to glass. This carbon transparency should also when dry be
varnished with a similar varnish as that previously recommended. After the varnish
is quite dry a piece of thin paper of strong even texture such as that known as
"Rice" is damped & stretched over the film side of the transparency. By transmitted
light the proper colours are washed evenly over the paper & may if thought proper
shaded to any extent so long as such shading coincides with the shadows & lights in
the photograph the outline for the colouring being supplied by the light passing
through the transparency.
Water Colours are best for the paper painting but in cases where some of the finer
lines are concerned or where in the final process the fitting would be difficult oil
colours should be used for painting these portions on the Carbon film itself which is to
be superimposed upon the coloured paper. A little experience will show when it is
better to use oil colours upon the Carbon film & where water colours are to be solely
relied upon with the paper. The oil colours should be mixed with as much mastic or
other similar varnish as possible in order to facilitate their drying & what is more
important their final adherence to the paper holding the remaining colours. When

page_text: the colouring upon the paper is completed & is quite dry, it is immersed or floated in
a warm solution of gelatine or other transparent mountant of a proper strength,
the carbon print also which is to form the face of the finished print should receive a
coating of gelatine or whatever mountant is used for the coloured paper print when
both are thus prepared the coloured paper is laid face upwards, & the Carbon film is
superimposed upon it, care being taken that the colours are in their proper places
under the carbon print. If the colours on the paper fit the carbon film, the two are
then squeezed together & left until dry, when the coloured photograph may be cut &
stripped off the glass & mounted in the usual way. The print is best placed in a
solution of Alum or other like preparation for a few minutes before mounting to
render the gelatine insoluble. Should the coloured paper & carbon print not fit
exactly the first time of trying them together they can easily be seperated, & if the
coloured paper is too short for the carbon print by leaving it longer or immersing it
in the hot gelatinous solution it will be found to lengthen, or if too long by allowing
the coloured paper to dry by itself & immersing or floating it in a solution of a lower
temperature or simply brushing it over with the gelatine or whatever mountant is
chosen it will be found to have contracted to the proper size. The squeezing will thus
complete the print.

page_text: COMPLETE SPECIFICATION.
Improvements in the Production of Photographs in Colours.
WILLIAM TRENEMEN of 10 Old Jewry Chambers in the City of London 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:
This process is founded upon the Carbon process & its various ramifications. A
photographic print is produced (from a negative taken in the usual way) in any of the
several manners recommended by Swan, Lambert, the Autotype Coy. & others who
practice printing with gelatino sensitized so that the action of light is shown upon
developement. Such print should be produced upon a collodionized glass or such other
surface as will admit of its ultimate transfer to paper glass china or other permanent
support. A coloured print may be made by the specification No. 797, 1866 or as
follows. A glass transparency is produced by any of the various wet or dry plate
processes & varnished with a bard Waterproof Varnish such as that made by mixing
Commercial White Hard Varnish & Methelated Spirit of Wine in proper proportions.
Another & better method for the process consists in printing a carbon print from the
original negative & developing this print upon a temporary flexible support & then
transferring it to glass which has been prepared in the usual way either by a substratum
of Albumen or Gelatine mixed with Chrome Alum or other similar substance which
renders the image (after developement) undetachable from the glass. This carbon
transparency should also when dry be Varnished with a similar varnish as that
previously recommended. After the Varnish is quite dry a piece of thin paper of
strong texture such as that known as "Rice" is damped & stretched over the film side
of the transparency. By transmitted light the proper colours are washed evenly over
the paper & may if thought proper be shaded to any extent so long as such shading
coincided with the lights & shadows in the photograph, the outline for the colouring
being supplied by the light passing through the transparency. Water Colours are
best for the paper painting but in cases where some of the fine lines are concerned or
where in the final process the fitting would be difficult oil colours should be used for
painting those portions on the carbon film itself, which is to be superimposed upon the
coloured paper.
A little experience will show where it is better to use oil colours
upon the carbon film & where water colours are to be solely relied upon with the paper
backing. As little oil work should be put upon the carbon film as possible, as the
paper backing will not adhere so firmly to the carbon film where oil colours are used;
the Carbon film having a great & uncontrollable tendency to split away from the paper
backing when oil colours are used on any large amount of surface. However when
used for small surfaces this tendency is annulled probably from the entire contact
ensured by the surrounding surfaces where water colours are employed. The oil
colours should be mixed with as much mastic, or other similar varnish as possible in
order to facilitate their drying & what is of more importance their final adherence to
the paper holding the remaining colours.

page_text: When the colouring upon the paper is completed & is quite dry it is immersed or
floated in a warm solution of gelatine or other transparent mountant of a proper
strength say 20% gelatine solution, the carbon print also which is to form the face
of the finished print should receive a coating of the gelatine or whatever mountant is
used for the coloured paper print when both are thus prepared the coloured paper
print is laid faco upwards & the carbon print is superimposed upon it care being taken
that the colours are in their proper places under the carbon print, if the colours on
the paper fit the carbon film the two are squeezed together & left until the gelatine is
set & then immersed in at 15% solution of alum for 5 minutes or the prints may be
left to dry upon the glass & after being cut round & stripped from the glass may be
immersed in the Alum solution for the same period before mounting. Should the
coloured paper & carbon print not fit exactly the first time of trying them together
they can easily be seperated & if the coloured paper is too short for the Carbon print
by having it longer or immersing it in the hot gelatine solution it will be found to
lengthen or if the colored paper print is too long by allowing it to dry slightly &
immersing it or floating on a solution of a lower temperature or simply brushing it
over (after drying) with the gelatine solution or whatever mountant is used it will be
found to have contracted to the proper size. The squeezing will then complete the
print.
After the carbon print which is to supply the outline for painting has been developed
upon the temporary support it can be transferred to paper instead of glass, but this
does not make the ultimate finished print fit so well on account of the expanding &
shrinking of the paper although this even is preferable to the silver-print used in the
Cellerier process. When using the expression about the colored paper print being
quite dry I do not mean the paper itself being dry but that the colours are sufficiently
set so that they do not run when immersed or floated on, the gelatine solution.
In making this specification I am fully aware of L. Farres No. 1569, Apl. 16th 1880,
Cellerier 5052 23/4/85 & 14,401 8/11/86 & Parkes 14,120 2/11/86, & what I
claim is
1st. The use of a transparency developed on a flexible support & transferred to
glass as described.
2nd. The use of oil colours to part of the film itself & the coloring the remainder
of a seperate paper with water colours.
3rd. The use of a gelatine bath for floating or immersing the paper holding
the water colours & gelatinizing the film of carbon either taken together or
seperately.