2549. Lithographic Ink

2549.    Lithographic Ink. M. Lasteyrie states that, after having tried a great many combinations, he gives the preference to the following:- Dry tallow soap, mastich in tears, and common soda in fine powder, of each 30 parts; shellac, 150 parts; lampblack, 12 parts; mix as last. Used for writing on lithographic stones.

2550. To Test the Quality of Lithographic Ink

2550.     To Test the Quality of Lithographic Ink. Lithographic ink of good quality ought to be susceptible of forming an emulsion so attenuated that it may appear to be dissolved when rubbed upon a hard body in distilled or river water. It should be flowing in the pen, not spreading on the stone; capable of forming delicate traces, and very black, to show its delineations. The most essential quality of the ink is to sink well into the stone, so as to reproduce the most delicate outlines of the drawing, and to afford a great many impressions. It must, therefore, be able to resist the acid with which the stone is moistened in the preparation, without letting any of its greasy matter escape.

2551. Durable Autographic Ink

2551. Durable Autographic Ink. "White wax, 8 ounces; and white soap, 2 to 3 ounces; melt; when well combined add lampblack, 1 ounce; mix well, and heat it strongly; then add shellac, 2 ounces; again heat it strongly; stir well together, cool a little, and pour it out. With this ink lines may be drawn of the finest to the fullest class without danger of its spreading, and the copy may be kept for years before being transferred. This ink is employed for writing on lithographic paper, and is prepared for use by rubbing down with a little water in a saucer, in the same way as common water-color cakes or Indian ink. In winter this should be done near a fire, or the saucer should be placed over a basin containing a little warm water. It may then be used with either a steel pen or a camel's-hair pencil.