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Mucilage mixed with water has been used as a glue, especially for bonding paper items such as labels, postage stamps, and envelope flaps. [7] Differing types and varying strengths of mucilage can also be used for other adhesive applications, including gluing labels to metal cans, wood to china, and leather to pasteboard. [ 8 ]
Hand-colouring with watercolours requires the use of a medium to prevent the colours from drying with a dull and lifeless finish. Before the paint can be applied, the surface of the print must be primed so that the colours are not repelled. This often includes prepping the print with a thin coating of shellac, then adding grit before colouring ...
The first involved printing a light photographic positive on salted paper using a toned or bleached negative to lower the contrast. The other, producing what is generally referred to as a “crayon enlargement”, [ 2 ] [ 3 ] was to use a magic lantern to project the photograph onto the rear of drawing paper or a canvas. [ 4 ]
Early collotype postcard; 1882 in Nuremberg, signed by J. B. Obernetter Postcard of the "Alte Oper" in Frankfurt, about 1900. Collotype is a gelatin-based photographic printing process invented by Alphonse Poitevin in 1855 to print images in a wide variety of tones without the need for halftone screens.
Ap-41 process (pre-1978 Agfa color slides; 1978-1983 was a transition period when Agfa slowly changed their color slide films from AP-41 to E6) Anthotype; Autochrome Lumière, 1903; Carbon print, 1862; Chromogenic positive E-3 process; E-4 process; E-6 process; Chromogenic negative C-41 process; RA-4 process; Dufaycolor; Dye destruction ...
The use of dye imbibition for making full-color prints from a set of black-and-white photographs taken through different color filters was first proposed and patented by Charles Cros in 1880. [1] It was commercialized by Edward Sanger-Shepherd, who in 1900 was marketing kits for making color prints on paper and slides for projection. [1]
This made calotype paper far more practical for use in a camera. Salted paper typically required at least an hour of exposure in the camera to yield a negative showing much more than objects silhouetted against the sky. Gold toning of the salted paper print was a popular technique to make it much more permanent. [1] [2] In the 21st century ...
Standard digital processes include the pigment print, and digital laser exposures on traditional color photographic paper. [citation needed] Alternative processes often overlap with historical, or non-silver processes. Most of these processes were invented over 100 years ago and were used by early photographers. [2] [3]