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Carbon tissue was a stock item in Europe and the US well into the 20th century, [1] but by the 1950s carbon printing was very rare and supplies for it became an exotic specialty item. Some companies produced small quantities of carbon tissue and transfer papers for monochrome and three-color work until around 1990.
Carbon tissue is a gelatin-based emulsion used as a photoresist in the chemical etching (photoengraving) of gravure cylinders [1] for printing. This was introduced by British physicist and chemist Joseph Swan [2] [3] in 1864. [4] It has been used in photographic reproduction since the early days of photography. [5]
Currently, the standard analog photographic printing process for black-and-white photographs is the gelatin silver process. [1] 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.
Carbon inks were commonly made from lampblack or soot and a binding agent such as gum arabic or animal glue. The binding agent keeps carbon particles in suspension and adhered to paper. Carbon particles do not fade over time even when bleached or when in sunlight. One benefit is that carbon ink does not harm paper.
Muhle et al. (1991) reported that the responses to chronically inhaled copying toner, a plastic dust pigmented with carbon black, titanium dioxide and silica, were also similar qualitatively to titanium dioxide and diesel exhaust. [10] Carbon black, one of the components of toner, is classified as "possibly carcinogenic" by the IARC.
Multipart stationery is paper that is blank, or preprinted as a form to be completed, comprising a stack of several copies, either on carbonless paper or plain paper, interleaved with carbon paper. The stationery may be bound into books with tear-out sheets to be filled in manually, continuous stationery (fanfold sheet or roll) for use in ...
Essentially, a Woodburytype is a mold produced copy of an original photographic negative with a tonal range similar to a carbon print. The process was introduced by the English photographer Walter B. Woodbury and was in use during the final third of the 19th century, most commonly for illustrating fine books with photographic portraits.
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