Autographic drawing papers differ for the different purposes, and for writing and simple line drawings smooth hard post paper is used, and lined transfer paper for fine pen or chalk drawings. The latter are prepared commercially by Angerer and Göschl. Very beautiful grained drawings can also be made for transfer on pyramidal grain paper. The proof for such drawings is usually done with lead pencil or red chalk, or it may also be made on a gelatine proof.

In order to obtain fully and completely the character and correct reproduction of the drawing, without special expense of artistic help, it is advisable to use a photographic print as proof. It should be noted that for pen drawing on smooth paper with greasy tusch or ink, for chalk drawings on a prepared grained paper done as previously mentioned, with greasy lithographic chalk, the drawing should be transferred direct to zinc or stone in order to save having to make subsequently a photographic print.

If a pencil, red crayon, or other proof is used for an autographic drawing on paper with the idea of transferring it direct to stone or zinc, a suitable photographic print may also be used on suitable paper without any disadvantages.

For the prints all photographic papers without glaze, such as ordinary plain salted paper, Eastman’s positive bromide paper, and others, may generally be used. Glossy or albumenized papers are not suitable for this, as the ink runs, and does not form solid clean lines. {85}

The best of all, however, is cyanotype paper, as even with very deep printing it keeps the details in the shadows open, and on account of its blue tones is more suitable for the subsequent drawing with black tusch. When, however, prussiate paper is not handy, and subjects with fewer shadows and less details are to be treated, any of the other papers above-mentioned may be used.

If ferro-prussiate paper is to be used, the same may be prepared as recommended on p. 23.

The so-called salted or plain paper is prepared as follows:—A sheet of well-sized post paper is first bathed in a solution of—

and then sensitized in a solution of silver nitrate 1 : 12. It is printed till the print has assumed a fairly full brown tone, and all the details in the shadows are well printed out. It should then be toned in the following toning bath:—

till the print has assumed a deep dark brown tone. It should then be fixed in a solution of sodium hyposulphite, 1 : 15. It should be printed rather deep, as in toning and fixing the image loses in depth. It is moreover unnecessary in this case to make a beautiful print; the chief thing is only that all details of the image should be clearly seen. The print is then well washed in frequent changes of water and then dried.

The print on Eastman’s bromide paper is prepared as follows:—

Red light must be used. It should be printed by an ordinary gas flame at a distance of about 50–80 cm. (= 24 to 36 ins.) for 1 to 20 seconds, according to the density of the negative. Here again a technically perfect print need not be arrived at, but one which contains all the details very clear. Under a good transparent negative a useful image for the artist will be obtained with about two seconds’ exposure.

The developer is composed of two solutions:—

Three parts of solution A and one part of solution B should be {86} mixed together. As soon as the shadows have attained the desired tone, the prints should be placed in several fresh baths of

and then washed and fixed in a bath of

for about ten minutes. Then well washed and dried.

For pen drawings all not gelatinized or albumenized printing papers may be used as already mentioned. The chief thing is that the paper should be well-sized and of good firm texture. If prepared grain paper is used, which is provided with a film of chalk, kaolin, or any other white colouring matter combined with gelatine, and on which film the grain is impressed, only prussiate prints can be used. The paper is sensitized as previously described, only it is advisable not to leave it too long in the solutions, or else the film may become softened. The film will also dissolve in hot water at about 80° C.

The prints as soon as dry can be used for drawing on. On the grain papers the outline may be drawn with the pen and be shaded with chalk, or it may be drawn with chalk only. With unprepared papers it is advisable to coat them with a thin solution of boiled starch, as then the transfer to zinc or stone is most exact. The drawing may also be left a long time without spoiling. The coating is performed with a pad dipped into the liquid, which consists of one part of fine bookbinder’s starch and four or five parts of water, and passed several times over the print.

The drawings ought only to be done with greasy lithographic tusch or chalk or autographic ink, which consists principally of greasy materials and lampblack. For pen drawings hard pens should be used, and care must be taken to make thick strokes. Only a little tusch or ink ought to be taken into the pen, so that it does not run out, and thus clean, sharp lines be obtained. If this be observed very close shadings and cross lines can be produced clean and neat.

When the drawing is finished and the tusch or ink has become dry the same should be laid between damp blotting-paper, and meanwhile a clean ground, and dry pumiced stone worked in the press and the pressure correctly adjusted. As soon as the drawing has become moderately damp right through, and the paper feels soft without being wet, it should be laid with the image downwards on the stone and transferred to the same with strong pressure. After repeated working the paper will adhere firmly to the stone. In order to loosen it the stone should be covered with hot water of about 80° C., when the film will dissolve and the paper become quite free. Any exertion of force must in this {87} operation be quite avoided, and the paper must not be pulled off with violence. All, even the finest lines, will have been transferred to the stone. The stone is now gummed, if possible allowed to stand for some hours, and then etched with a gum etching solution of two degrees’ acid strength, or later etched in relief, and is ready for printing. If the transfer is made to zinc, for printing from this the plate is treated as suggested on p. 6. If, however, a relief etching for the typographic press is to be prepared of the subject, the transfer is made on to a smooth polished zinc plate.