In making the set-ups for catalogue work, one should familiarize oneself with the positions generally used, for they are absolutely standard and any Fig. 51 variance from them is rarely tolerated. It is for this reason that a vertical camera is really a necessity, as it is quite impossible to get the standard positions in any other way.
Illustration No. 51 is a set-up of etched glass which was prepared as follows : Chrome yellow oil paint was carefully rubbed into the etched design, being careful to get it in even and not too heavy. Then, to eliminate the design on the opposite side showing through, it was sprayed with a mixture of condensed milk and water, with just sufficient solution of dextrine to make it hold. When dry this has a light sheen. Some operators use rouge mixed with vaseline to bring out the design, but I have found the yellow oil paint gives the better result. This set-up was made on a vertical camera, while that shown in Illustration No. 52 was photographed on shelves.
Illustration No. 53 is a photograph of an atomizer, in which the customer
wanted to preserve the transparent effect as much as possible and at the same time show the design up well. This was accomplished by rubbing the oil paint into the design, as before mentioned, and cutting down the reflections on the glass and toning down the design on the opposite side by the use of a mixture of tripoli powder (a fine polishing powder) and lard oil of about the consistency of thick cream. This was applied with a piece of cotton and smoothed down with a camel's hair brush and the result was most satisfactory.
It is not necessary to use a color sensitive plate for all forms of cut glass, although it should be of the double-coated non-halation variety. A commercial or commercial ortho film is also a good selection.
When properly equipped and for a nice run of work, cut glass is easy, but when you are not so equipped, I do not know of anything that is any harder and requires more time and patience.