Yeah the wax was used to polish out the plate or in my case the glass. I had a few trusted panes of glass in the wet side for only that purpose and I got in the habit of waxing and polishing the glass after the prints popped and then the next time I used them would just get a polish, so no wax residue. I think I used a type of hard smooth renaissance wax or straight paraffin in very small amounts and well buffed with a clean cotton cloth. I liked the glass since I could confirm I had a good solid seal and no air bubbles. And like I mentioned above I did have an exceptional space that If I timed it well during the correct day would have the drying heat and humidity to make it work well. The details make the difference in the drying process no matter which one you choose and I think most of the guys who used to do ferrotyping would agree that its the most touchy and has the greatest potential for a print killing failure. In my own capacity for art level print making I only did it if specifically requested or to match and it would be an additional charge; I'd for sure make several extra prints just to insure that any failures at the end would not compromise the delivery timing.
Of course the fun that I'd be having when I chose the 'wrong' day and humidity would hit 100 percent.
Of course the fun that I'd be having when I chose the 'wrong' day and humidity would hit 100 percent.
