Front Room Press

It's About Time

2010-12-15T20:51:00.004-05:00

My hiatus from printing and printmaking seems to be at end and I’ve recently entered an intaglio exchange in order to insure that I have a specific goal in mind to bring me fully back into the swing of things. I work full-time and, being single, must take care of the many household and other tasks myself. I found the need to focus my limited spare time on my health, specifically with regard to physical exercise. Not being interested in sports, I turned to bicycle riding knowing that this would eventually tie in with printmaking as I could ride where I could not walk or drive to get subjects for the copper plate. I now have a restored bicycle and have started regular riding. At this time of the year my riding has been greatly curtailed but the way has been paved and the journey begun so now it’s back to the stone and the press.

I have two small projects in process that will keep me focused for the foreseeable future. One of these is the result of a recent purchase, a very nice copper cut of a clock face. I need to mount it but if everything works out I may end up selling these in different colors and on different kinds of paper. The face is just the right size for popular-sized movements for all the clockmakers and horologically inclined out there. Hurry, time is short!

Two Blogs Are Better Than One

2010-04-14T22:06:00.005-04:00

My experimentation and consequent interest in etching and printmaking has continued to grow and is currently occupying much of my spare time. I'm still moving forward with my letterpress work but until I attain greater knowledge and skill as an etcher there will be a natural imbalance in the direction of my posts even though I do have several letterpress projects in the works.

The two mediums that occupy my interests have their own distinctive elements and for the most part their own adherents. I do appreciate my Followers here as well as others who find some things of interest in my posts. Because I want to share with others my experiences, trials and tribulations with both mediums I've decided to start a second blog for my etching and printmaking. This blog will continue to focus on the letterpress aspect of my work and the other on etching and printmaking. Hopefully my posts there will also prove to be of interest and value.

My new blog is called The Bitten Line and can be found here:

http://thebittenline.blogspot.com

Please feel free to visit both!

The Haunting

2010-03-30T21:04:00.008-04:00

_________________________

Blood of bat and bone of cat,

Tongue of frog and tooth of rat,

Hog’s hair, claw of bear,

Three times three, now follow me…

Ghosts sometimes appear when least expected and at the most inopportune times. This can present problems for those of us who steadfastly deny their existence. But there are times, especially when practicing the ancient craft of printing, that we must at least partially confess the truth that there are more things in heaven and earth than are dreamt of in our philosophy.

I made my second etched plate last weekend, soft ground on a 3” x 4” copper plate. This was done the same as with the pine branch, laying some twine on the grounded plate and running it through the press. As it turned out, I made a mistake when doing this that I’ll detail below. I let it bite for about 25 minutes, a time that was based mostly on my experience with the pine branch and also on the line etching I did as my first experiment. I think I judged it better this time, though I’m happy with the pine branch as well.

To pull the proof I again used Graphic Chemical's Bone Black ink. And except for the final, and I think the best proof, their 150 lb. cotton rag house paper. For that proof I used my trusty unknown 20 lb. laid paper.

The first two proofs are shown above. Note that the one on the left was final wiped with newspaper and the one on the right was hand-wiped. After the first proof I noticed the ghost image circled above and thought it was something I had done during the wipe. But it appeared again on the second proof so I moved the plate slightly on the bed and got the result on the third proof seen above on the right: the same ghost in a different place. Those pesky spirits! I thought about this for a while and before organizing a séance I examined my felts carefully and found a matching depression in the catcher and cushion and then also in the woven pusher on the cylinder. This ghost hadn’t appeared in any other proofs I had pulled previously and it pretty much matches the size of the coil in the noose. And I did in fact run the plate through the press at right angles to the direction I pulled the proofs, which explains the orientation. So my conclusion is that I should have used more padding and less pressure when running the grounded plate through the press. Another lesson learned.

Here is the last proof I pulled which also received a final hand wipe. I’m rather pleased with it and call it Too Much Rope.

P.S. My thanks to Barbee Oliver Carleton for the poem from her children’s story The Wonderful Cat of Cobbie Bean that I first read as a boy in the book, The Arrow Book Of Ghost Stories, that I bought for 15 cents through the Scholastic Book Services at school in the 1960’s. Do they even still have books in school?

Well Grounded

2010-03-11T19:48:00.009-05:00

Intaglio fun continues. Last weekend I experimented with soft ground. This is like hard ground except it has a greasy substance added such as tallow, Vaseline, or even grease. While it does dry, it stays soft and a bit sticky. Hard ground is usually removed with an etching needle and creates well defined and clean lines. If on the other hand you press something into the soft ground (paper, leaf, fabric, etc.) by running it through the press the soft ground will stick to it. When the article is removed it will have pressed through the soft ground to the plate in varying degrees depending on the texture of the article and that texture will expose parts of the plate in its likeness.

Soft ground was perhaps most common in the latter half of the 18th century and first half of the 19th. Traditionally it was used with paper and pencil. A piece of paper is laid over the soft-grounded plate and the drawing made directly onto the paper. The lines produced after etching are soft-edged, like charcoal or crayon. I was really intrigued by the idea of making a plate of an object such as a leaf or feather. I've seen work like this and it reminds me of fossils. It's somewhat haunting, somewhat surreal, impressionistic and moody. I like it.

I went outside and picked a few end branches off the Evergreen tree next to the house. I then had to experiment for quite a while to get the combination of pressure, wax and blotting paper, and blankets to work. I also had to trim the needles off to get a basically two-dimensional flat object that would lay flat and not overwhelm the image by being too dense. This required certain artistic decisions as to how much was too much and where exactly to remove and where to leave alone. Even so, the first several trials on brass key tags produced squashed pine needles, torn waxed paper, pine-juice scented blotting paper, and no need for air freshener. But finally I got it and ran a prepared 16 gauge 2" x 4" copper plate through the press. This was another piece of the old letterpress half-tone I was given. I had to fleck off a few errant pieces of pine needles but it looked pretty good.

I laid the plate in the mordant and a new guessing game ensued: how long to leave it in. This was even more difficult to judge than the line drawing I did on the hard grounded plate the week before. In that case at least all the lines were going to be etched to the same depth. Here they would vary because of the nature of the texture to be reproduced. In the end I left it there for about 20 minutes, checking twice during that time. For the most part I think I got it right. At least I was personally happy with it for my first time.

It was then on to pulling a few proofs and as you can see from the photos I tried it with two kinds of paper. The first type of paper was my old standby unknown brand, approx. 20 lb. laid paper. Since it's the only etching ink I have I used Graphic Chemical Bone Black. I did the final wipe with my hand. I apologize for the poor scans which show strange horizontal lines and make it look like the plate mark is smashed, etc. Once I get a decent digital camera I'll take nice photos instead.

The second proof was done on Graphic Chemical's 150 lb. cotton rag house paper, a few sheets of which I purchased to try out. Again, I used the Bone Black ink. I did the final wipe with old newspaper to get a cleaner background. That rotten scan again! There are no horizontal lines on the actual proof.

I'm not sure whether I like the hand wipe or the paper wipe better; each has its merits I suppose. I'm certain to do a lot of experimenting and of course I'm hoping my technique will improve which will have its own affect. I admit to being very pleased with the way the plate turned out, also somewhat astonished. At some point I will print an "edition" but for now I'm still learning and experimenting.

Etch-A-Sketch Redux

2010-02-28T22:04:00.010-05:00

Hibernation continues as does my experimentation with intaglio printing. There are several intaglio processes, one of which is etching. I got some etching supplies last week and made my first etched plate today. The image is of an actual grave stone in a very secluded, wooded area in Rockland County, NY. I did grave stone rubbings a number of years ago when I was living in that area and found this grave in a graveyard in the middle of nowhere.

The plate is 1/16" x 3" x 4" cut from an old letterpress half-tone plate. The former front of that plate is now the back, of course. I'll be buying proper plates in the future but a friend of mine generously gave me some of these that his father had kept for years as scrap metal. They were long since useless for their intended purpose but work great for practice here. They do have some issues and I cleaned and flattened what is now the face but without going to Herculean efforts. For the moment they're more than satisfactory.

I brushed shellac on the back since I wanted to save money and not buy asphaltum or use the hard ground that is used on the front of the plate for this purpose and because I had plenty of shellac. I then brushed hard ground on the face and let it dry overnight.

I drew the image on paper with a No. 2 pencil and I laid this upside down on the plate, wrapped it around the back and taped it. I then put it through the Kelton press and removed the paper. Even though the ground was quite dark the graphite adhered and the image showed up very clear and sharp. Using a medium-sized needle I made, I needled the image on the plate.

I laid the plate face down at an angle in a glass baking dish. I was using ferric chloride instead of acid so while I didn't need a feather to brush away the bubbles I had to allow for the dissolving copper to drop off the plate and not hinder the etching process by filling the etched lines. I had read different things about how much time to allow for the etching. After 15 minutes I pulled the plate out and checked it but couldn't really tell what was happening. I placed it back in the dish and found the old enlarger lens that I often use for a loop. I pulled it out again and then could see that it was working. I put it back in and after a total of about a half hour took it out and rinsed it off in water. I was surprised how nice, at least to my eyes, it looked.

I couldn't wait to print a couple proofs with it and the results are below.

The first proof was on the unknown, approx. 20 lb. cotton laid paper I've been using up until now since I have a bunch of it I got for free. Note the dark vertical lines where the ferric chloride bit slightly through the hard ground. Next time I will have to pay more careful attention. The brushing left light and dark streaks, thicker and thinner, even though the coverage was complete.

For this next I wiped the plate cleaner and the vertical lines did not show up as much. Unfortunately I've found that scanning these prints instead of photographing them shows unsightly things that are not visible when looking at them directly. Not to mention that my scanner leaves strange horizontal lines in the image. But until I can get a decent camera this will have to do.

This last was with another more cleanly wiped plate but this time I used a heavier paper, 150 lb cotton rag. This is Graphic Chemical's "house paper" and aside from the fact that it is pretty inexpensive, seems to do a pretty nice job. Of course, I have little experience with which to really evaluate it against other papers. I didn't allow it to soak long enough and it did not press into the plate as well as it should have. Next time I'll remember...that and many other things I didn't take into account. Like the blobs of ink I missed on the edge of the plate on the last proof!

I'm teaching myself how to do all this and so far I'm rather pleased with the result.

Step Aside, Boys!

2010-02-19T23:17:00.007-05:00

Part of a long tradition.

Cleaned And Pressed

2010-01-09T20:25:00.009-05:00

I finished the restoration of the etching press last weekend but couldn’t get my camera, the Sony dinosaur with 3 ½” floppy disks, to work until today. I’ve actually been doing some letterpress printing in between but more on that later. I’ve got a few Before And After photos below as well as some detail shots. The Before is on the left and the After on the right. The quality as usual is poor and in some cases doesn’t do the cleanup job justice. For example, the face of the large cylinder on the bottom was completely covered with paint, which it should not be for use. It is now completely clean. The same is true for the bed and the cylinder, in addition to which they were both covered with rust under the paint. They are now down to bare metal again. In fact, all of the bare metal and bronze bearings that you see were once covered with paint, dirt, and grease.

Speaking of grease, I found on this press what one often finds on old machinery: grease in the oil bearings. If any of you have old machinery that requires regular lubrication remember that the engineers who design machinery design bearings for a certain type of lubrication and that you can’t just decide on your own to change it without consequences. Bearings designed for oil have channels and reservoirs and oil holes and are sized to work with oil. Bearings designed for grease are specially designed to do so and have appropriate grease caps attached, etc. Some people put grease in bearings designed for oil thinking that the grease will last a long time and they won’t have to oil it. This is completely wrong, especially the idea that greased bearings require no attention. Except for the first day or so, the grease will not keep the bearing surfaces coated with lubricant and the bearings will wear. That was the case with this press. Remember that bearings designed for grease will have cups with screw caps or grease nipples like the universal joint bearings on your car. The cup type will have grease in them and periodically the caps must be screwed down a bit pushing more grease into the bearings. In the case of nipples, a grease gun is used to pump more grease into the bearing. Bearings design for oil will either have open holes or caps with hinged lids. More rarely, there are oil cups with glass reservoirs that can provide a constant drip of oil and there are a few other types of automatic oilers. But the average printer will not likely encounter these. The thing to remember is to identify whether or not the bearing should get grease or oil and then use the correct lubricant; don’t substitute one for the other. If someone else has done so clean out the bearing completely and then use the right lubricant.

NOTE: In the above After photo of the press, that brown thing hanging down that almost looks like an extension of the cylinder blanket is actually the window curtain that just happens to be lined up with and the same shade as the blanket.

Two of the bed’s guide/support rollers were broken and have been replaced with new, machined copies. Most of these rollers were rusted or otherwise frozen but everything was disassembled and cleaned and now turns smoothly. Etching presses use felt blankets, usually three long ones of different thicknesses on top of one another. They perform several functions including soaking up sizing from the wet paper, pressing the paper into the incised lines of the plate, and helping the cylinder push the bed and plate through the two rollers. This particular kind of press has a D-shaped (half) cylinder and the top blanket is attached directly to it as the photo above shows. The other two felt blankets are held in place at the rear of the bed by the bars and thumbscrews shown in another photo below and pass under the cylinder. I removed those two for the photos. The blanket on the cylinder gets a lot of wear from pushing the other felts through the rollers and is therefore usually woven felt in contrast to the pressed felt from which the others are made. I was fortunate to have a piece of used woven felt that was once the cylinder blanket of an old galley proof press. It was filthy and is still stained as the photo shows. But I cleaned it by hand with Woolite and it is now clean and perfectly serviceable, if dark in color.

The above photo shows the air piston that helps slow the bed down on its automatic return to the forward position. I described in a previous post how that aspect of the press works. I had to make a new leather cup washer as the old one was almost completely destroyed. It was surprisingly easy to do and is basically the same kind of mechanism found on old hand-operated water pumps. There is also a rubber bumper directly above where the piston goes into its tube. The rear of the tube has an adjustable cap with a hole so that the amount of air exhausting out and thus the speed of the bed’s return can be controlled. Pretty clever, eh?

In the above photo if you look carefully towards the bottom center you can see the counterweight that pulls the bed back to the forward position. It is suspended from a leather belt that runs over a pulley on the rear support roller shaft. You can see the brown belt in the photo of the air piston. I made the counterweight from a large slug/cylinder of brass I had laying around. It’s about 3” in diameter and 8” long and weights about 25 pounds. I wrapped it in leather with a large wooden dowel so I could easily attach a screw hook for a D-ring on the leather belt.

In one of my previous posts on this press I described the mechanism by which the felts are automatically held up and out of the way. I did hook things up so it would work but the felts I have, scraps I had laying around, are not quite long enough for this to work too well, though it did work. When I’m able to replace the felts I’ll hook it up properly.

A few other things I did: I made a new arm for the wheel. One had gone missing sometime in the distant pass and a wooden replacement had been fabricated for use while it was a display piece. Fortunately I had a length of 1-inch bar stock and the correct screw-cutting die on hand so after some grunting and groaning and plenty of smelly cutting fluid the job was done. Cutting a 1-inch diameter thread by hand is not that easy. I also made wooden runners for it. I also decided to place pieces of leather between the upper cylinder’s bearings and the iron pressure pads. I’ve seen this and read about it in a number of places and it seemed a good idea. Supposedly it provides a slight amount of give and avoids undue strain on the press. Maybe. But it certainly doesn’t hurt.

I’m very happy with the press and am making some more test prints. I can’t wait to incorporate what I can do with it with my letterpress work. And I’ve got so much printing to do now, both letterpress and intaglio, that I will be quite busy. No more restorations for a while!

Playing Tag

2009-12-29T21:52:00.004-05:00

I’m about 95% finished with restoring the Kelton intaglio press. Later I’ll post more about the adventure of cleaning and adjusting it, which turned out to be a bigger job than I had at first suspected. This was mostly because after it left its useful life as a working press it lay somewhere getting rusty before the next owner applied black paint to every surface whether it was dirty, rusty, greasy, or was supposed to be painted or not. They then used it for a display piece which is also what the next owner intended for it when he got a lobby. Since this lobby never materialized, I now own the press. The net result is that many things were frozen and a lot of paint had to be removed which revealed a lot of rust that had to be removed. In the end it was fine but time consuming.

Anyway, I was so anxious to try something I had never done before, namely intaglio printing, and so much wanted to see whether or not the press actually worked that I threw caution to the winds. After final adjustments Sunday afternoon I had things just together enough to pull a proof. The problem was that I had virtually nothing that one needs to do this; nothing proper that is. I had no intaglio ink, copper plate, tarlatan rag, hot plate, or blotting paper. And I had only watched some Youtube videos and read about the process in a few vintage books I downloaded free online. But fools rush in where angels fear to tread.

I did have a few scraps of felt and some 100% cotton paper however. Also some rubber base letterpress ink and a couple 2” diameter brass key ID tags that had been stamped with numbers. Into one of these I made some scratches to try the drypoint technique. The end results can be seen below. Keep in mind that I didn’t wipe off the (wrong) ink properly and that punched numbers are not the same as etching or engraving; also that I wet the paper too much and didn’t blot it properly; and top all of that the fact that I was rushing a bit to get it done after a long day. They may be some of the worst intaglio prints ever but in the above context didn’t come out too badly for some quick test prints. I certainly got a thrill from the “accomplishment” and the knowledge that the press actually worked. If you look closely you can see my backwards initials in the little scratched box in the second photo. These lines are extremely fine and it surprised me how well they showed up.

I’ll detail in another post the last stages of the restoration and have some photos of the restored press as well as a few more things I learned about it.

Sign Of The Time

2009-12-13T22:57:00.003-05:00

The time in this case is somewhere in the latter half of the 19th century. I found a little time capsule in the Kelton copper plate press today. But let me lay some groundwork.

Presses of this type, especially older ones, needed the lower roller adjusted to come into contact with the underside of the press bed. This was done quite simply using shims under the bronze bearing blocks. Any hard, stable material will do, thick and thin pieces being used as required. Wood and paper were sometimes used but these materials are dynamic, expanding or contracting with changes in the humidity, and therefore not the best. A possible exception would be oiled paper such as tympan that is both hard and stable. Steel, iron, copper, and brass were all more appropriate choices.

I had disassembled the Kelton as much as possible with the exception of the lower roller. I was able to remove the bearing blocks and shims but removing the roller itself would require taking the main frame completely apart. This wasn’t necessary as I could clean everything with the roller in place and supported by two pipes. I cleaned the bearing blocks today and the shims and it was here that I made my discovery.

The press has been moved at least four times in its life including from the factory to its first owner. Adjustment of the roller would have taken place after that first move and I think I know enough about the subsequent life of the press to state that no one has likely changed this initial adjustment. The roller is very heavy and holds the shims in place quite securely. By the time I got it the shims were pretty much glued in place as well with the gunk of the ages and the paint one of the previous owners had sloped on to make it shiny looking. Further examination bore out that they were certainly very old.

On both sides they consist of small steel plates, a few brass pieces of two different thicknesses, and on one side two pieces of oiled paper, possibly tympan. While the steel plates were for the most part unremarkable, one of them contained some evidence of the craft for which the press was intended. An example of this craft in action can be seen in the circa 1860 illustration below of the press room of the American Bank Note Company in New York City.

Copper and other plates used for intaglio printing have a bevel filed at the outer top edges, sometimes at a 45-degree angle but more often one less steep. The purpose of the bevel is to keep the otherwise sharp right angle of the edge from cutting into the paper under the great pressure exerted during printing. Anyone who has seen an intaglio print will likely remember that the edge of the plate is visible at the outside of the image. Even today plates do not come this way from the factory but the printer files the bevel himself. What I found on one of the steel shims was this hand-filed bevel.

The plate is 1/8” thick, a standard gauge for printing, and approximately 1 ¾” by 2” though not a perfect rectangle but a rather accurate parallelogram. As you can see from the photo, there are two holes drilled into it and it has numerous scratches in it. On one side the bevel is a fairly consistent 1/16” wide while on the reverse the edge has only been filed slightly, a distinct bevel but just enough to remove the sharp edge.

I can’t explain the reason why this small plate was prepared as if it was to be used for engraving or etching a print on it. Perhaps it was done for practice. Or perhaps when making a shim for the press the force of habit took over when removing the sharp burr at the edges. I do plan on reusing the original shims now that I’ve cleaned them and if further adjustments are needed simply adding to those. But I’m tempted to replace this one with a new piece of steel.

The stories this press could tell and in some ways is telling, eh?

Look Out! Here Comes The Spider-Man.

2009-12-06T22:11:00.006-05:00

If Peter Parker had wanted to be a print maker of a more ancient variety, he may very well have chosen intaglio as his medium. Had he done so he would have needed a copper plate press, sometimes called a spider-press because of its large spoked handwheel. I don’t spin webs of any size or catch thieves just like flies but I am in the process of restoring a vintage copper plate intaglio press. Eat your heart out, Spidey.

This press was built by the M. M. Kelton Company of Brooklyn, NY sometime from the 1850’s through the early 20th century. I haven’t been able to pin it down closer than that and have found little direct information on these presses. However, by doing a lot of internet research, piecing together tidbits of information including that gleaned form vintage photos and etchings, and disassembly and studying the press as part of its restoration, I’ve learned quite a bit. For one thing, this style of cast iron mass-produced press was used extensively by bank note companies as well as the U.S. Bureau of Engraving and Printing throughout the latter half of the 19th century. One of the largest users in my own area was the American Bank Note Company which had a printing house in Brooklyn, NY in addition to it’s headquarters in Manhattan. Brooklyn is of course where my press was made. Below is a photo of the ABNC’s now closed Brooklyn plant as it looks today.

Another photo shows these presses in operation and there are dozens, maybe hundreds of them churning out paper money, certificates, stamps, and all manner of financial documents. These presses were not designed for artists but for production. The top cylinder was in fact only a half-cylinder, its cross section appearing as a D-shape. The bed had a weight attached to the back that in conjunction with a pulley kept the bed in the forward position. When turning the handwheel an adjustable cam on the right side of the cylinder engaged with an adjustable mating cam on the bed which started the bed through the two (upper and lower) rollers automatically. Intaglio presses use three felt blankets laid over the paper and plate in order to cushion the pressure and press the paper into the incised plate to pick up the ink. On this press, the top blanket is attached to the top cylinder and a bar at the rear of the bed holds the other two blankets that extend along the bed under the upper cylinder.

Additionally, there is an iron frame above the press with a cross bar on which is a pulley. The blankets attached at the rear of the bed are held together at the front end where a rope is attached that goes over this pulley and on the end of which is a weight. When the press is at rest the bed is in its forward (start) position and the front end of the blankets are held up in the air out if the way so the plate and paper can be laid on the bed. Then the handwheel is turned, the bed is engaged and goes between the rollers making the print at which point it is automatically released merely by continuing to turn the handwheel. The bed automatically returns to its forward position and the blankets are automatically drawn up out of the way so the proof can be removed. Anyone who has operated an intaglio press will recognize the time saved with this arrangement. While not necessary for artist’s proofs, it’s a definite advantage for meeting production deadlines.

The press is not large but it is heavy. This is partly because the upper cylinder is solid, and even though the lower cylinder is a hollow casting it is very large and has thick walls as you would expect on an intaglio press because of the pressure exerted during printing. Modern presses have rollers about the same size top and bottom but it was common in the 19th century for the bottom roller to be much larger than the top as is the case here. Altogether the press weighs between 300 and 400 pounds, though that’s just an estimate. In practical terms it will print a plate up to 8” x 10”. The presses most recent use was as a display item in a print shop in Long Island City, i.e. Queens. It had been coated in black paint right over any dirt and rust so it would be nice and shiny. It needs to be completly cleaned and adjusted, the paint taken off where it shouldn't be, and some minor repairs made but otherwise nothing major. I suspect it came from the ABNC in Brooklyn when they closed that plant which is not too far away from its display post.

I have several letterpress printing projects that are a priority at the moment but I’ve begun the restoration process on this press and hope to be able to experiment within a month or so. I’ve never done intaglio before so it will be interesting. Besides limited edition proofs, I want to use it to produce artwork for my letterpress journal and also for artistamps that I can perforate on my Rosback perforator. I’ve seen some examples of work that is a combination of intaglio and letterpress so there are a lot of options, even if I don’t have radioactive blood.

Good Vibrations

2009-10-31T15:58:00.003-04:00

Many thanks go to David Lukens of the Lauchmen Printing Company in Lansdale, Pa. Dave very generously presented me with this paper jogger, a very nice 7” x 10” size perfect for most work. Dave has been a printer for years and years and is still hard at work doing what local print shops have always done: take care of his community’s basic printing needs. Schools, churches, businesses and individuals all make use of his skills and experience. While no longer doing letterpress work, he does all kinds of single and multi-color offset work (making his own plates), binding, folding, etc. His shop looks like a working print shop with cans of ink, paper of every description, boxes of envelopes, and all the misc. debris and brick-a-brac of printing laying about everywhere. While in some trades this is often considered a sign of sloppiness that is reflected in the work, such is most definitely not the case here. The work Dave produces is crisp and clean and he does this with easy efficiency. The old cry of “don’t clean it up or I won’t be able to find it” rings true here. The focus is on being productive and getting quality work out the door when customers want it and not maintaining a museum or laboratory environment. The proof is in the printing and Dave provides excellent work to happy customers.

A paper jogger is probably not one of the most needful things in a small shop, especially an amateur one like mine. But I do confess there have been times I’ve wished I had a way of more easily getting a nice even stack, especially when making pads. I happened to notice the wood table of the little jogger sticking out from among some debris on a bottom shelf while Dave was showing me around the shop and exclaimed, “Hey, what’s that under there?” Once pulled out it was obviously a jogger that Dave said he used to use but it hadn’t worked in a while. He then placed it in my hands and asked me if I wanted it.

Hmmm.

Once home I took it apart, cleaned it out, replaced the cracked and warped table, plugged it in and it was time to give it a workout. It was manufactured by the Syntron Company of Homer City, Pa. and is called the Syntron Paper Jogger, Type PJ4, Style 1763, Serial No. C8PJ65154. It has an on/off switch and a dial control to adjust the amount of vibration. The knob itself is missing and I’ll be picking up a replacement though it’s easy to adjust as it is. Based on the finish, construction and other little things I’m guessing the vintage to be 1930’s or 40’s. Syntron is now owned by FMC Technologies and is still making joggers today. I’m going to write to them to see if they can provide any information about mine from the serial number. But if anyone can narrow the date of my jogger down I’d appreciate it. Well, I’d write more but it’s time for my daily jog.

Cinderella, She Seems So Easy; “It Takes One To Know One”, She Smiles.

2009-10-25T19:56:00.005-04:00

Not too long ago I was reminded that not all stamps are postage stamps that pay for sending a letter from Point A to Point B. Some are in fact fantasy postage stamps, made up by someone to represent a fictional state, country, or protectorate. Some are made to advertise commercially or for non-profit organizations. Some promote various causes, groups, or anything at all. Some are simply ars gratia artis. In the worlds of art and craft they are commonly know as artistamps. Philatelically speaking such non-postage stamps are called Poster Stamps or Cinderellas.

The first postage stamps in the 19th century were printed in sheets and cut one singly with scissors or a knife. With the invention and marketing of the pin-hole perforator, separating them became much easier. Today postage stamps are self-adhesive and peel off a backer. But as I was reminded that not all stamps must comer from the Post Office and be used for postage, I was struck by the idea of letterpress printing my own stamps and perfing them. This is what I have in fact decided to do. I’ve done a bit of research and the consensus from those who do this kind of work with a printing press as opposed to an inkjet printer (which some do use) is that a cut should be made with anywhere from 4 to 12 images in the standard stamp sheet format. Here's a nice example from Rachel Scott at Fox Paw Press:

http://www.foxpawpress.com/Printshop/giftshop/artistamps/artistamps.html

All sorts of ideas come to mind and my first effort will be a simple Front Room Press stamp I can apply to envelopes or most anything. It will be a good opportunity to learn how to design something on the computer and have a plate made which I’ve never done. But even more fun will be to actually print and use them. This was a lot of my inspiration to get my perforator restored. Now it’s on to the next step. I’ll keep you posted.

Holy Perforator!

2009-10-24T18:49:00.010-04:00

The restoration of the perforator is complete and it actually works. Huzzah! Given the amount of rust and the condition of the punches it was no certain thing. For the most part cleaning was pretty straightforward if involved as described in my previous post. The punches and the holes they go in were the most tedious and troublesome part.

The perforator takes 365 punches about 1/32” diameter and 13/16” long. There are three parts that have holes for the punches: the punch holder, the stripper, and the die. So I had to clean out as best I could 1095 holes. I had soaked the parts repeatedly in WD40 after I finally got the punches out and after cleaning them completely I used one of the punches to scrape out the holes as much as possible. The last step here was pushing the punch through, wiping the WD40 off the far end, push it through again, wipe again, etc. until all of the extraneous WD40 was out. This actually worked pretty well and when I was done the punches all moved freely in the holes. The concern I really had was if they would go through freely when they had to pass through all three parts at once.

When these three parts were manufactured and the holes for the punches were bored they were clamped together in a jig and the holes bored through all three at the same time. The three parts were stamped with the same number so they could always be matched up. This is how alignment was always assured. Of course, a lot had happened to the perforator since it was new so it remained to be seen if this alignment remained.

I had picked up the replacement screws I needed and after the last one was replaced in the die I reassembled the stripper bar and its stiffener, reassembled the head, and then put the head back on the machine. I was almost done but looking at the punches I realized that I really needed to clean them down to bare, shiny metal and not leave them with any corrosion, no matter how minor. I was concerned about leaving them too long in the vinegar and salt bath because the surface of the metal becomes rough, if only mildly, and I wanted the smoothest surface possible to ease passage through the holes. What all this meant is that I would have to clean each punch one at a time. Fun, fun, fun.

Of the 365 punches the machine takes all had been present and I was able to recover 214 that were straight. There are perhaps 50 or so more that are only slightly bent and which I’m confident I can straighten out at some point and install. The complete row of punches is 24” long but even with only the 214 installed there are enough to perforate anything of a size I’m likely to need. I do plan on buying brand new punches in the near future because the ends on the old ones are not in the best shape and new punches will mean cleaner holes. But it punches good enough for any normal work, certainly not something the average person would notice.

Anyway, one by one using sandpaper I cleaned the punches, rolling them around with the tip of one finger on some chipboard while I sanded away with the other hand. I was careful not to sand in such a way to round over the edges on the working end of the punches but of course they weren’t perfect at this point anyway. This operation took episodes of Marcus Welby, Quincy, Kojak, Deal Or No Deal, the local news, two episodes of Judge Judy, Judge Joe Brown, and Ghost Whisperer to complete. Whew!

I installed the punches from the center of the head out so the pressure of the punching action would be centered. They went in better than I expected, with a few needing a slight helping hand from the tip of a screwdriver instead of my finger. I put oil on top of the stripper where the punches passed through and then started pumping the pedal. This was to break up remaining “stuff” in the holes and to lubricate things. I put some paper towels in harm’s way and stair-stepped my way to a cleaner, well-oiled perforator. I moved the paper towel with each step and it soaked up the excess “stuff” pretty well. It still leaves a slight residue on the top sheet but there is less each time and it works nice and smooth.

I had taken the tables to work to sand them with a pneumatic random orbit sander. This makes the work go fast and does a great job. The wood is cherry and was originally stained. Even though the tops of both tables had virtually no finish left it was intact on the underside and I found a match for it among some old cans of stain I had. I sanded enough to get rid of the dirt and paper that had been stuck to the wood when it had gotten wet, and to make everything smooth, but not enough to remove the patina. I stained it at home and then applied two coats of orange (amber) shellac, a traditional vintage topcoat. In the end I was surprised that the match was so close. I wasn’t worried about dents, bumps, chips, etc. because these tables have little affect on registration which is accomplished by the fences. Mostly the simply support the sheets.

Next time I’ll explain more about what I plan on doing with it besides the obvious, i.e. making holes. One thing I did realize is that because the holes are so small, this is a nice vintage option for general jobs requiring perfing instead of the more usual slit perf. The paper stays together well but tears very easily. And it won’t tear up the press rollers. Oh, boy!

Stamp Act

2009-10-18T20:16:00.008-04:00

I’m in the process of restoring a Rosback treadle-operated round-hole perforator circa 1920. It is 300 pounds of mostly cast iron with a 24” row of hundreds of tiny punches. Philatelically speaking it punches a perforation measurement of 12 which is, or rather was, the standard for U.S. stamps before 1914. Guess what I’ll be printing in the not too distant future? But more on that later.

While in generally good if typically dirty condition, the perforator had one serious problem: at one time it sat someplace where water was allowed to get onto the punch assembly. This assembly consists of three main parts besides said punches: the punch holder, the stripper, and the die. The punches are 13/16” long and a little over 1/32" diameter with a small head on one end like a brad. They drop into holes in the punch holder and down through the stripper bar. When the treadle is depressed the punches are pushed down through the stripper bar and into the die which has corresponding holes. Well, when stored at some point the head which carries the punch assembly was adjusted in such a way that the punches were pushed down below the bottom of the stripper. Add water, time, and neglect and presto! Rusted punches, punch carrier, stripper, and die plate. O joy!

Adding a bit to the sorrow is the fact that at some point someone with more physicality than patience tried to loosen the head and get the punches moving. To do this he inserted some kind of crow bar into the assembly and did what one does with a crow bar. While not loosening the punches it did have the affect of snapping the heads off four of the six screws by which the punch holder is attached to the head. His work apparently done, the perforator was left to get older. On the bright side the tables, while needing refinishing, are in good shape and it has both of its original fences with attachments. Also, it is not rusty to the same degree on all the punches.

Having disassembled and restored any number of antique machines in various degrees of decrepitude, I was reasonably certain that I could get it apart and that it could be cleaned and restored to use. The first step was to somehow get the punch assembly off the head and disassemble it. There was little point in cleaning anything else unless this could be accomplished. I sprayed on a liberal dose of PB Blaster “penetrating catalyst” and let it soak. I was prepared for a long process and this was the first step. Over the next three days I kept adding more Blaster and gently pried and tapped. No crow bar. During that time I was able to remove enough of the punches from both ends to get at the two bolts that hold the stripper bar to the bed. The stripper bar is attached to the bed and normally you can remove the entire head with the punches with the stripper bar remaining behind. But of course the punches were rusted to the bar. So in this case when I was finally able to lift off the head the stripper bar came with it.

Now I had access to the bottom of the stripper bar and after a couple more days of soaking I was able to tap the bottom of some of the punches to loosen them and pull them out. Just like pulling teeth, both descriptively and in terms of it being somewhat difficult. Keep in mind that there are literally hundreds of punches. I haven’t counted all of them yet but have got as far as 238. I got enough out finally to bend the stripper bar slightly and come at the screw heads of the last two screws holding the punch holder to the cast iron head using a right-angle screwdriver. More soaking and more tapping. It took a week but finally the last punch came out. Now all the parts needed to be cleaned down to original paint or bare metal. I don't like repainting unless absolutely necessary but I hate rust. I let the punches and some other parts soak overnight in a solution of vinegar and salt to loosen the rust up. Except for heavy rust this allows you to virtually wipe if off. In the process of removing the punches a number of them were bent or broken but I saved about 230 and I’m hoping they will work once clean. Replacements seem to be available from a couple sources and I’ve been in touch to get particulars. If the price is right I’ll replace them all and keep the old ones as spares.

Four screw heads had been broken off in the head and I had to drill out the remaining parts of the screw. I’ll pick up replacements at the hardware store. Cleaning itself was straight forward using WD-40; sandpaper; 3M green pads; a wire brush on a grinder and drill; and lots of paper towels. I’m not afraid to use sandpaper to get heavy rust off, stopping as soon as I get to bare metal. Then it’s the green pads and finally the wire wheel to make it nice. I used one of the old punches to clean out the inside of the hundreds of holes in the punch holder, stripper bar, and die plate. They weren’t that bad, the punches having provided some protection from direct exposure. But this part of the job was very tedious and cleaning the holes in the three parts took 5 hours. I did this in the evening while watching TV.

The main frame has been cleaned and the die plate reinstalled but for one screw that needs to be replaced. Once I get that screw and the others I need everything can be reassembled. At that point we’ll see if actually works. I hope to refinish the wood tables this week at work. More on that and what exactly I’ll be doing with it will wait for another post.

Once Upon A Time

2009-10-01T20:41:00.007-04:00

Old photographs and engravings conjure up feelings of nostalgia, historical interest, and rank curiosity. And they can often be a source of a surprising amount of practical information about the past, information that helps one gain real insight that goes beyond the superficial objects seen in the image. If we looks closely and carefully and where necessary take the time to do a little research to truly understand the snapshot of time that has been immortalized, we can make a tangible connection with those who have gone before us. Such a connection will enlighten our modern experiences and place them within a context in which their true meaning and worth can be grasped. Further, such an interaction with the past will give greater pleasure and satisfaction in those activities in which we take part in the present.

Take the above image as an example. It shows the press room of The Pictorial Drawing Room Companion circa 1858. Let's look at some of the things we can learn from this image that can help us understand better what the printing trade, the workplace, and society in general was like at that time.

First is the obvious. Even at this early date cylinder presses were actively at work. Even more so, the plant was steam-powered. Note the steam engine at the right which powered the presses. This place was very modern and they are making a point of letting people know it. Did you ever notice that pre-twentieth century factory buildings are long and narrow? This image shows why. Whether powered by water, steam, or later even electricity, machinery did not begin to have dedicated motors until the beginning of the twentieth century. Even then it took years for industry to fully change over. The single source of power must be distributed to the individual machines and this was accomplished by the line-shaft system as the image illustrates. The water wheel, steam engine, or whatever was connected to a main shaft that ran the length of the building. Because the machines, often different, had to be run at certain speeds, intermediate shafts with pulleys of different diameters were used to mechanically change the speed of the main shaft and deliver the correct speed to any given machine. The use of the line shaft dictated the architecture of the building. But it did even more.

These shafts were mounted to the ceiling and sometimes to the floor, by cast iron hangers in which were mounted bearings of a composition metal that was soft enough not to mar the steel shafts, hard enough to last many years, and that could be lubricated with oil and so allow the minimum of friction so the shafts could rotate freely. These were, and still are, the famous babbitt bearings, named for the inventor of the metal Isaac Babbitt. These bearings must have a regular supply of oil or friction will cause them to heat up, turn slower and even bind, causing damage and costly repairs.

Have you ever heard of grease monkeys? Ever wonder where that term came from? The means by which these bearings were kept oiled was through the labor of young boys who would climb into the rafters on a daily basis and oil each bearing. While the machines were running. And boys they were, even 9 and 10 year-olds. Why young boys? Their small size was an obvious advantage in tight quarters as was the small wage they could be paid. By the time they reached their early teens of course, they could start operating the machinery itself and start to really learn the trade. They're not seen in this image, but they and the social mores of the times are present nonetheless. Think of your 10 year old son going to work down at the steam-powered printing house every day for at least part of the day, including Saturdays, coming home all dirty like his father does from his own job. He gives you or perhaps his father his small wage every payday, helping meet the household expenses. Think of him climbing around, through, and over the moving shafts, pulleys, and machines, the flapping belts, 15 or 20 feet off the ground as he squirts oil into the small holes of the bearings. Are you getting a better understanding of the people and their lives at the time that image was printed?

Another interesting social aspect is in fact on view. Who do you see feeding the presses? Could it be...yes I think it is...women! This shouldn't really be a surprise, especially to letterpress printers who know even a little about the history of the craft. Women have long been associated with working presses. What makes this example a bit more interesting is that this is not a small family print shop or a forlorn western newspaper. Clearly they are well established working women in a large, for that time, printing operation employing dozens of workers at least. Just another day of work for the ladies of 1858. Eat your heart out, Rosie the Riveter.

There are any number of other things that can be gleaned from the now long forgotten steam-powered press room of the Pictorial Drawing Room Companion. See how many more you can spot for yourself. Get a feel for yesteryear that will help you understand tomorrow. Or today.

What’s The Buzz?

2009-09-26T19:40:00.007-04:00

I’ll tell you what’s happening: printing. Yes, after a period of high stress at work that hasn’t actually ended I’ve gotten myself in the swing of things again, cleaned up the shop, and got the press running. A number of projects are now back on track including the upcoming first issue of my journal, otherwise known as a ‘zine for you non-hipsters. And that bit of news leads me to the events of today.

Friend-of-mine and very creative and talented artist Rachael Faillace expresses herself in many ways and I highly recommend you check out her website to see for yourself: http://www.rachaelfaillace.com/. I want to include original artwork in my journal and I asked Rachael if she would contribute a linoleum block print. The idea was that she would provide the cut image and I would mount it type high and print it. That way I could incorporate the cut in one of the two-page forms. She very graciously agreed and the result appeared in my mailbox a few weeks later. She had been working in her garden one afternoon and the bees flying from flower to flower inspired her. As planned, I made a cherry base for it at work and mounted the cut.

Today I printed the cut for the first time and the result can be seen above and I really love it. This is the first time I’ve printed a linoleum block since elementary school. I know it’s a common practice to print them with a platen press but I had several concerns. One was over the ink. Block printing ink sold for this kind of printing is different from the rubber and oil base ink used for letterpress and I don’t have any and didn’t really want to buy any. I also wasn’t sure how the linoleum would handle the strength of the impression and thought I might find myself in limbo, printing too lightly but not being able to increase the impression for fear of damaging the linoleum.

Of course, as is so often the case with premeditated fears, they were unfounded in the event. In fact, the block printed surprisingly well, at least to my eyes. The image itself is about 2” x 2 1/2”. I decided on a yellow colored cover stock and it so happened I had some pre-cut scraps from a print shop I help clean out. I believe it’s about 80 pound stock. So the final sheet is 3 7/8” x 4 ½”. Remember: never turn down free paper.

I’ll describe my basic procedure in case that might be helpful to anyone. If I had a decent camera I’d have taken a few photos. Oh, well. First I got the dirty work out of the way and oiled and wiped down the press. Then I redressed the platen with a new top sheet. Except in very rare instances I always replace the top sheet for each job. That way I’m always sure it’s clean and flat. My tympan paper at .012” is thicker than what is most often sold today which is .006” thick. When I got my first press and most of the contents of an old print shop there was a partial roll and one new, unwrapped roll. I haven’t seen the need to get something thinner and it actually works very well as it holds any kind of gauge pin very firmly and lays flat and tight.

After that I went to the stone and locked up the cut using a spider chase to save a bit of time by using less furniture. I prefer using the chaser method of lockup as I think it’s more secure, especially with type. I snugged the quoins, planed the form, tightened the quoins the rest of the way. I checked to make sure they weren’t overly tight and had sprung the chase by trying to rock the chase from corner to corner. Finally, while not as critical as it would be with type, I checked for lift.

I put the rollers on the press, taking a chance by only using two for no other reason other than it would be one less to clean. I wiped a dab of ink, in this case Van Son rubber base black, across the ink disc with an ink spatula and then ran the press to distribute the ink. Then in went the chase and I pulled an impression on the top sheet. I always pull an impression on the top sheet for setting the gauge pins. I wipe the wet ink off with a rag and mineral spirits and then a bit of talcum powder (actually baby powder from the grocery store). It’s then very easy to measure out the margins directly on the top sheet and draw lines to place the gauge pins. I find this method to be fast and accurate. I laid out my margins by measuring the height and width of the image and the height and width of the paper. I subtracted the one from the other for each dimension and then divided by two. That gave me my top/bottom and side margins. I drew a line directly along the lower edge of the image on the top sheet and then did the same thing along the top edge of the image using a drafting square. Then I measured off the margins I had worked out and drew lines parallel to the first two the width of the margins apart. Those were the lines I would use to set my gauge pins.

I generally use McGill’s double-grip pins so after placing a sacrificial piece of pressboard under the top sheet I used a makeready knife (basically an X-Acto knife) to cut an approx. 1” slit. Then I inserted the pins, lined them up with the layout lines, and tightened them in place. I removed the sacrificial pressboard and placed a sheet of the stock I was going to print in the gauge pins. I use the sacrificial pressboard so I can easily press through the top sheet with the knife without damaging the pressboard in my packing which I reuse as many times as possible. Waste not; want not.

I set the grippers; in this case one would be able to hold down the right side but the left gripper had to stay to the outside of the far left gauge pin. So to help strip the sheet off the form I ran a rubber band between the grippers so it would lie across the top portion of the sheet in the margin area. Turning the flywheel by hand I cycled the press through slowly and pulled an impression on the test sheet. This also made sure that the packing was not too thick and showed me on the test print that I wouldn’t need to make any further adjustments. I adjusted the left gauge pin slightly and pulled another proof.

Thus did the printing commence.

Extra! Extra!

2009-07-31T22:07:00.009-04:00

Let me first apologize as so often before because of the poor quality of the photos below. I'm left with the ancient Sony digital camera that records on 3 1/2" floppy discs. Enough said. But I figure they must still be worth at least 750 words.

I live in Hunterdon County in central New Jersey and while today there is only one local newspaper, the Hunterdon County Democrat, at one time there were a dozen or more papers published in many of the little towns that make up this area. The largest town in the county was and still is Flemington, today about a 45 minute drive north from Trenton.

Peter Haward was a teenage immigrant, later one of Flemington's leading citizens. In his diary for October 11, 1802 he recorded: "In Trenton I got the Newspapers at the Printing office, & left at sun-rise, rode to New Market & left a package at Benj. Johnson's, then at Price's tavern, arrived at Flemington at 11 o'clock, delivered packages there, had dinner, then to Pittstown, left papers there, then to Mr. Exton's, left one paper, then to John Maxwell's in Bethlehem [Pennsylvania], arriving about sun-set, left two packages of papers there, returned to Mr. Exton's, having ridden 48 miles."

The first local paper was the Hunterdon Gazette, originally The Hunterdon Gazette and Farmers' Advertiser. The first number was published on March 24, 1825. It was a one-sheet, four-page paper with four columns to the page. By the 1880's there were numerous competitors, many openly aligned politically as was common in the 19th century; some independent; some of a religious character; and even some amateur efforts like The Amateur Sun and others published by boys of the Jersey Blue Amateur Editors' Association. Another was The Jerseyman published by H.E. Deats who described his paper as "an Amateur Journal devoted to airing the pet opinions of the Editor and others."

One of the regular local papers was started in 1880, The Milford Leader. Living in Milford, NJ as I do, this paper has a special interest for me. The "Leader" was an independent paper meaning it was not aligned with a political party or local interest group, at least not in an overtly partisan nature. Most independents strove to give balanced coverage even as they maintained a character of their own given to them by their editors. The proprietor of the "Leader" in 1890 was George B. Corson and the editor Samuel H. Bast.

The Hunterdon Democrat, today the Hunterdon County Democrat, had its roots in the election of Andrew Jackson to the presidency. The Gazette was a Whiggish paper and most of New Jersey had gone with the democrats in the election of Jackson. So the county officeholders were determined to have a paper that would "hew to the official line". Over the course of the next 100 years many of the small local papers failed and the Democrat bought out the others. In 1949 they purchased the Frenchtown Star and the Milford Leader, merging them into the Delaware Valley News. The Democrat ceased publication of the News two years ago and is now the sole surviving local newspaper.

The photos below show the original press used to print the Milford Leader; a "turtle" used for transferring chases from stone to press; and the last issue of the Leader from 1949. Some other misc. bits and pieces of the printing trade are also present. All are on display in the foyer of the Democrat's office in Flemington.

You Want It When?

2009-07-24T00:28:00.005-04:00

A Family Affair

2009-07-17T18:54:00.010-04:00

I love vintage photos of print shops and try to latch on to as many as I can. This is one that came my way while online this afternoon. I think it shows a family operation and I think my hunch is a reasonable one. The age of the three boys: young, older, and oldest; the presence of those who appear to be a father and mother of appropriate age to be the parents; and an older man who seems the right age to be the scion of the family. How likely is it that a group with those characteristics would be found working in a small shop. I think it likely that this is a newspaper office also doing the real money-making job work.

I'm particularly drawn by and attracted to this photo. One reason is for the apparent family relationship and that it therefore represents a not uncommon though seldom seen working scenario of that era. Another is that it shows regular, daily print shop activity including the accompanying work that goes on in any shop. The woman appears to be collating or otherwise sorting and stacking printed matter for some kind of jobbing work.

Unfortunately I don't have any information about where this photo was taken or the date, but based on the clothing, equipment, and facilities I'm thinking circa 1900-1920, possibly out west or in some rural area.

I wonder what ever became of them all...

Ship, Ahoy!

2009-07-14T12:33:00.007-04:00

The mystery is no more. Of all things, it turns out that the cut is for an advertisement for the mast of a sailboat. Three respondents suggested this and two provided links.

The link with the most comparable information is here: http://www.dwyermast.com/items.asp?cat1ID=20&cat1Name=Masts&familyID=40&familyName=DM-6+Mast

Since the basement print shop was near Hartford, Conn. it makes sense that there would be something nautically related. But I never would have figured out it was the cross section of a mast. And the text is not just random filler but the the arcane specifications for such a thing.

Now, how to use it...

Cut It Out!

2009-07-11T11:54:00.000-04:00

I have a mystery cut that I recently acquired. It was packaged well in paper and looks to be unused. The use it may have served is a mystery to me. The "border" does not look like anything that I have reference to and the text is equally mysterious. My guess is something to do with sports or fishing. Because the cut appears to have come from the manufacturer and never been opened I'm assuming the text is related to it's use, but perhaps is just a bizarre filler. It consists of Lino slugs and 2 pt leads and 6 pt slugs for spacing. It is slightly snug but not tight enough for a lockup. It would need another lead or some other means of wedging it a bit tighter. If anyone can provide some insight I would really appreciate it.

The text reads as follows:

P-5 BARRACUDA

Length 4.25

Width 3.00

Wall 0.95

lxx 2.10 in. 4

lyy 1.23 in. 4

The Return Of The Native

2009-07-10T21:59:00.001-04:00

Well, it's been one of those months when not much has gotten done around the shop in terms of printing, my day job has been extremely stressful and tiring, and so finding a real need to relax I helped some friends move thousands of pounds of iron, wood, and lead. Oh, yeah.

The first such adventure was helping my friend Sarah Smith of Smith Letterpress move her recently acquired C&P 8x12 press, a Challenge paper cutter, imposing stone and bench, and misc. items from Alan Runfeldt's Excelsior Press in Frenchtown, NJ to Long Island on a Saturday the second week in June. Interestingly enough, this paarticular press was my first press which, as readers of this blog may remember, I traded for a 10x15 last Fall. I can't say how happy I am that Sarah now has this press.

The day started out fine as we used a small U-Haul box truck with a pullout ramp to move everything. It looked like we might avoid the rain but no, after traversing the Lincoln Tunnel, Manhattan, and Queens, we ran into some wetness just before arriving on the north shore of the "Big Island". It was then we found out that the layout was not quite what we had thought and the truck had to be parked somewhat further away from the storm cellar entrance than we had anticipated. But we had come well prepared with plywood and 2x6's and as you will see from the photos. Good thing we had recently watched Bridge on the River Kwai.

Photos are posted here: http://picasaweb.google.com/funkedude/PressMove?feat=directlink

When all was safely in the basement we were treated by Sarah's very gracious, easy-going and companionable parents to massive, juicy, marinated and delicious BBQ'd steaks and accessories. I took advantage of an offer by Sarah's mom and took an outdoor shower that was extremely refreshing. We sweated and we grunted and we ate, and then we had a long drive back home. All in all it was a very satisfying and enjoyable adventure.

Adventure No. 2 started on Friday morning the 24th about 9:30 and ended Saturday morning about 5:15. The mission was to travel to Clinton, Conn. and retrieve a Heidelberg platen press, a Golding jobber, a paper cutter, cabinets of type and galleys, and misc. treasures. The shop was once owned and run out of the basement of Alan Duran who began printing privately about 30 years ago. He recently passed away and the house is being sold. His son and grandson wanted his equipment to go to people who would preserve and use it and carry on Mr. Duran's legacy. They contacted my friend Alan Runfeldt of the Excelsior Press who in turn found a man in West Virginia looking for a Heidelberg. It was arranged that he would come up with a trailer and pick Alan and I up and then continue on to Conn. where we would pick up the equipment. We would stop back at Alan's shop and unload everything but the Heidelberg which would continue on to its new home father south. Alan will make the other equipment available for sale to help others building their shops and provide funds for his Excelsior Press museum.

Here are photos of that move: http://www.flickr.com/photos/shawfamilypublishing/sets/72157620540304943/

Fortunately the shop was in a basement that was at garage level and we only had to demolish a short section of wall to make room to get everything out. The wall was somewhat makeshift and will be easy to replace if necessary. Once again there was plenty of rain and we just missed a tornado. But though extremely tiring and taking nearly 24 hours from start to finish, it turned out well and we all have a few more things for our shops and to pass on to others. Mr. Duran's family was very personable, only to be expected of members of a Bluegrass band of course, and provided labor, coffee, pizza, and plenty of moral support. I even got a vintage oscillating fan from the garage sale pile for my shop!

All in all it was an eventful month even it it did keep me out of the shop. Now it's on to pending projects.

Spooling Around

2009-06-06T13:15:00.004-04:00

All right, that's perhaps the worst heading ever but since it's for a relatively unnecessary post, it's actually appropriate. I just wanted to put up a photo of the label on the spool of stitching wire that came with the stitcher. It's a wooden spool and the vintage label is pretty interesting. The label has the imprint of the manufacturer who made the stitcher but while gluing it back on I noticed that it had actually been placed over the original label. I couldn't see enough to determine the manufacturer of the wire.

BTW, I'm still looking for some additional spools, partial or full, wood or plastic, whatever gauge. I know I can buy them new but this poor printer is hoping to save some money if possible.

Wired!

2009-06-02T23:10:00.005-04:00

Many thanks to my friend Alan Runfeldt of the Excelsior Press for having numerous printer's supply catalogs laying around and allowing me to borrow them. In two I found ads for my No. 8 National wire stitcher.

The top scan is from the circa 1950's New York Type Distributors catalog. They were located at 579 Broadway in New York City: just phone Canal 6-6767.

The second scan is from the Zimmer Printer's Supply catalog from 1969. Their main office was at 225 Varick St. in New York City with a sales office in Boston and an executive office in Hawthorne, New Jersey. Orders can be placed by cable using the code: Zimsupco

Don't you just love old catalogs? The information in these two ads tells me virtually everything I need to know regarding the stitcher. Capacity, speed, and clear enough graphics to allow me to reconstruct accurately the table gauge. Fortunately one of the end slides was still attached so I can use it for scale and general construction.

I now need some wire. If anyone has any 5 pound spools of wire they don't need, aren't using, or wish to donate please let me know. Older wooden spools are especially welcome!

A Stitch In Time

2009-05-22T21:31:00.007-04:00

I've been on a slight hiatus from posting because I've been without a computer at home for about three weeks. I had an ancient 366 mhz unit that I've exchanged for a less ancient Pentium III at about 800 mhz. I still have dialup so dowloading, etc. is as slow as before, but aside from that I'm cookin' with gas. And it doesn't lock up every few websites. And it has Windows 2000 and Corel Draw, and it's the best thing since sliced bread. Now I'm loking into DSL. Yep, I'm moving right into the 90's.

Anyway, in honor of the first post since my return, I have a nice new addition to the shop to introduce, a National wire stitcher. While I don't plan on doing thousands of binding jobs of my own work, I will do some and want to have the option of doing binding for others on a paying basis. Besides, it's a cool machine and I love machines and because I only paid $50 for it and picked it up locally, I indulged myself.

I picked it up today and while I wasn't surprised by its overall dimensions which were about what I expected, I didn't realize it was so beefy. It's made of heavy castings and is very substantial. I still need to look into its particular specifications, but it certainly looks heavy enough to bind up to at least an inch thick as opposed to the smaller, lighter models.

It was made by the Gitzendanner-Muller Co., Inc. of New York, NY. It's their National Wire Stitcher, Size #8, serial number 1325. There is a supplier's tag on it as well showing that it was sold by the E.P. Lawson Co. Inc. of 426 W. 33rd St., New York 1, NY. The tag indicates they sold paper cutting machines and binding equipment and probably a lot of other things related to printing.

I'm estimating it is from the 30's. This is based on the paint color, style of the maker's and seller's tags, etc. The "New York 1, NY" will be a clue that I have yet to look into. It had a wooden wire spool with some 28 guage wire installed. The spool had a paper label from the same company as the maker of the stitcher but because the label was partly falling off and partly damaged I was able to see that it had been glued over a label from the actual maker of the wire. This is not uncommon as for example Martin guitar strings are sold in Martin packaging but are actually made by a company that makes strings as their main business. I wish stitching wire sold today still came on wooden spools instead of ugly, bright colored plastic. I repired the lbel and reattached it to the spool. Gotta love that wooden spool.

The stitcher is dirty with minor rust on some exposed parts but otherwise seems complete and cycled through when I turned it by hand. I need to replace the cord. If anyone could provide me with scanned catalog pages, instructions, or any other information on this particular stitcher or a similar stitcher I would really appreciate it. I'm pretty good mechanically but am flying blind with this machine.

The photos below were taken by the man I bought it from and aren't so good. I'll take some better ones and post them later.

"You may fire when you are ready, Gridley."

2009-04-21T19:42:00.005-04:00

This is about my first broadside and my first-time participation in a letterpress swap. In the spirit of Commodore Dewey, the printing of this innocuous sheet was something of an epic battle. Before the swap was a glimmer in any one's eye, about a year ago I decided I would try and print one of my favorite poems as a broadside. That was back when I had my C&P 8x12 with the poor rollers and worse Morgan Expansion truck tires. It was the first form of any length I had set.

My concept was to create a broadside in the style of the 17th century following examples I had seen. Thus the black letter Old English text and the Caslon title. The border was not exactly in a style of that age but was the closest I had. I picked a Strathmore all-cotton laid paper I got with the press along with most of the original equipment for my shop.

A number of problems cropped up right away, things that had not been so evident on the small forms I had printed to that point such as a business card. First was the roller and truck issue as it affected inking the form. The perf cuts in the rollers were bad at one place and created a white line that moved around slightly. The truck tires being out of round caused their own difficulties. And to add insult to injury I realized that the platen I had so carefully adjusted needed tweaking. I could deal with the platen but had to live with the rollers and trucks for the time being, not being able to afford replacements. The texture of the laid paper did not help. But for all of those things, it ironically still printed as good as some of the cheap and quickly printed originals I've seen. It was certainly readable, if no acme of the printer's art.

Fast forward to the present day and the advent of my great 10x15 press with good rollers and steel trucks. Now you would think hey, now we're cooking with gas, right? Well, sort of. Everything certainly went much better and the print was far superior. But the fly in the ointment was that I had taped the rails to get the rollers adjusted and had been pretty happy with the business cards I had done but I should really have taken more time to experiment. I had signed up for a great letterpress swap (letterpressswap.blogspot.com) and was pressed for time (no pun intended) so even though they did not come out as well as I would have liked and as the press is capable, they're OK.

What I needed to do and have subsequently done is to remove a couple layers of tape from each rail so the rollers would press a bit more into the form. Once I did that I got great inking and nice prints without makeready using the same form. Not that it couldn't have used a touch of makeready here and there to really get it just right. The type was a bit worn and though I replaced a number of sorts it could have used a little onionskin here and there. So the moral of this story is to take your time and go the extra mile.

As my first real project I was reasonably satisfied and I learned a good deal more about what constitutes basic adjustments. You can see the results for yourself below. Wild exclamations of approbation and constructive criticisms are welcome.

Hooked On Wingnuts

2009-04-16T20:36:00.003-04:00

In my last post I neglected to explain that the screw hooks are fixed to the bottom board with nuts and washers, the nuts on the bottom being countersunk into the board so the bottom board sits flat on the base. The screw hooks in the top board are loose in their holes and each has a washer and wingnut. Once the top board is laid on the stack of pads each length of chain is attached to the hooks in the top and bottom boards with as little slack as possible. The stack is then compressed by tightening the wingnuts evenly on both sides.

Now go and do thou likewise!

A Pressing Issue

2009-04-13T19:50:00.007-04:00

I make up my notepads using a padding press and padding cement. These presses come in various shapes, sizes, and types of construction but they all do basically the same thing: compress the stacked pads so the flexible padding cement can be applied and so that the pads will maintain a compact form and the sheets hold together well once released and cut apart for use.

I made my own press modeling it on a style once commonly available from most printing supply houses and still available in one form or another, even on Ebay. The biggest difference is that I made mine from scrap lumber and plywood and it cost me nothing but time and a couple bucks for the two pieces of chain and the screw hooks.

The press consists of a base, a removable vertical backboard, a bottom board and a top board. You can see most of these parts in the photo. The photo is from last year and shows my original pads. To use it you stand the backboard on the base and lay the bottom board on the base. After first folding the edge of a sheet of index and laying it on the bottom board, you take a stack or stacks of pads (whatever will fit depending on the size of the press or pads) and place them on the bottom board with the top of the pads against the backboard. The pads of course have already been made up by interspersing a piece of chipboard alternately between the number of sheets each pad will have. You jog the stack so it is nice and square and the sheets are even all around. Then another sheet of index is folded and laid on top of the pads after which the top board is put on, the chains connected to the screw hooks, and the wing nuts tightened to squeeze the stack of pads. How much they should be squeezed depends on how tall the stack is but there's a lot of "that seems about right" involved.

The top and bottom boards with the pads in between can then be lifted up as one unit and turned around on the base so that the tops of the stacked pads are facing you. The sheets of index can be folded up and down out of the way. They are there to prevent padding cement from getting all over the boards.

As might be expected from the name, padding cement is a special adhesive used for pads. It is sort of rubber-like when it dries and I'm sure everyone has used a pad at one time or another and so is at least familiar with it in a user's sense. It can be purchased from printer's supply houses, art suppliers, etc. It's available in a few colors though white seems to be the most common. The cement I have is water-based and I just take a cheap brush and paint on the cement making sure to work it in well so I don't miss any spots. I let it dry and then put on a second coat. Most people probably use just one coat but I like two for strength. Another way to strengthen the top is to press cheesecloth over the first coat while it is wet and then paint on a second coat.

In a pinch, the pads can be stacked on the edge of a table and a brick or two laid on top to prepare for the cement. This is the method given in an older graphic arts textbook I have. But I like the surety and stability of the press.

Once the cement is completely dry (I leave it overnight) I cut the pads apart with a wide-bladed knife. There's a bit of a technique to this which is easily learned by doing it a few times and after which you can slice them up like butta.

Pads are easy, cheap, and a great project and always seem to be a big hit with everyone I give them to. Obviously they can also be used in business-like ways for advertising, etc. I would only add that you need a lot of sheets to make them. I printed almost 600 sheets on my last pad project which yielded 17 pads of about 35 sheets each. So you Vandercook users may want to pay a visit to your friend's motorized platen press. Heidelburg owners are in luck.

Noteworthy

2009-04-05T23:15:00.005-04:00

I finished the run for the new pad sheets today, about 600 in all. That's the longest print run I've done to date and it went very well. Among other things, doing some of these mundane print projects gives a lot of practise feeding the press. If I haven't mentioned it before, I run the press at 14 impressions per minute which is very comfortable for me. The experiment of leaving the Van Son rubber base ink on the press overnight was successful also. I know this is "common knowledge" but it's nice to have it verified by my own experience. The top photo shows my first pads which I printed on my old 8x12 about a year ago. The bottom photo shows the revised heading. I not only like that heading better but they printed somewhat better as well, though I'm not sure how much of the difference can be seen in the scans. I'll be gluing them up in the next day or two. It's a simple and fun project and besides the potential advertising value they make great gifts and are useful to have around. I made them using offset paper cut offs so they basically cost me only my time. The faces are Old English, Caslon, and Stymie.

Saturday Night’s Alright For Printing

2009-04-04T23:33:00.008-04:00

While working on several larger projects still in the design stage I’ve been printing some more mundane items. I ran off some more business cards and this evening I reset the form for the heading on my notepads and started printing them. I’ll finish the run tomorrow and then start gluing them up.

I thought I would record how I did these, which will show my usual procedure for setting the gauge pins and grippers, among other things. I have been forced to return to the use of my vintage digital camera so please excuse the poor quality of the photos.

The first photo shows the locked up form in the press. I invariably use the chaser method as shown. Because these pads are basically the same as printing a letterhead, the head of the form is at the bottom of the chase and slightly below center. This will allow better inking of the form and more even pressure. The pads are 5” x 8” and about 1” of the sheet stuck out the top of the platen.

The second photo shows the topsheet after the gauge pins have been set. Note that I like to use the McGill double-grip pins, as they are not only easy to set but easy to adjust. I’ve used the spring type before and have a few other kinds including the quad type for certain circumstances. I’m also fortunate in having a set of McGill extension gauge pins which hang off the lower bail, extending below the platen and thereby allowing especially large sheets to be held and printed.

Once my basic packing is set I usually pull an impression on the topsheet using a piece of old-style carbon paper. Normally ink would be used but I’ve found that I’m usually not printing on the same day I’m dressing the platen and getting things ready for a print run. So the carbon paper let’s me print on the topsheet without inking up the press. For those times when I am printing the same day, I pull an impression with ink and then wipe the ink off with a rag and mineral spirits, drying it with baby powder.

The print looks a little light in the photo but the entire form is actually visible. Using a line gauge I drew a line across top of the form. Using a drafting triangle along that line I drew the other line along the left side of the print. I had determined on a layout sheet what margins I wanted and so measured out that distance at two points along each of those two initial lines. Then I drew lines connecting those marks as shown. Then I attached the gauge pins to the top sheet. The double-grip pins require a single slit in the paper to insert the tongue that I cut with a make ready knife. To avoid damaging the pressboard, which I reuse as many times as possible, I inserted under the topsheet an old pressboard saved for just this purpose. Once the cuts are made I remove that board and set the pins as you can see in the photo. Using a sheet of the same stock I’m going to use for the run I take a trial impression, check the margins, and adjust the gauge pins accordingly.

The third photo shows the setup for the grippers. I set the right gripper so it would cover the right side of the sheet and the left gripper far enough over to put some stretch into the rubber bands and generally keep out of the way. I used two rubber bands stretched between the grippers, one at about the center of the sheet and one towards the bottom, i.e. the top of the platen. In combination with the gripper tongues, this proved to work fine.

The fourth photo shows the delivery board towards the end of the run with some of the printed sheets. It also shows a magnifying glass and four rubber fingertips. I kept an eye on the prints and noted when they seemed to print lightly. I then threw off the impression and looked at the print with the glass. Usually my eyesight was proven correct and I had to add some ink to the press. I got the fingertips from Staples and use them in place of the traditional glycerin and/or sandpaper rubber-banded to the fingertips. I put one on the index and middle finger of each hand. They really work great. You can move sheets around with a very light touch and help keep the sheets clean.

The last photo is simply an overall view of the press after I finished the run. I still have about 300 more to do but will wait until tomorrow. This is also an experiment since I’ve left the Van Son rubber-base ink on the press. I’ve never done this before and tried to print the next day though it’s supposed to be OK. We’ll see.

Once the sheets dry I’ll scan a good copy and show you the results. By the way, note the long ink fountain on the press. I finally got this cleaned up and mounted. I’ll take better photos and post them another time.

Charting A New Course

2009-03-28T20:23:00.003-04:00

Some people mentioned that they might be able to help identify the cut shown in my last post but that the photo was too indistinct to make out, and it's certainly no model of the scanner's art. So since this afternoon I printed some business cards I decided to pull a proof of it. This is the largest form I've printed and it almost filled the chase. I didn't go crazy with any makeready, just adjusted the packing and used a few sheets for an underlay to get the somewhat respectable print you see below. So hopefully this new scan of an actual print will be of some help in understanding exactly what I have. I'd certainly appreciate any insight.

You Can Count On It

2009-03-27T19:22:00.003-04:00

I recently picked up the cut in the photo below. It is 7 1/4" x 12" and the numbers run from 1 to 500 starting in the upper left hand corner and across the row to the right, continuing back to the left side and across to the right in the second row, etc. My guess is that this is for some kind of counting sheet: one checks off the numbers on the sheet as one counts whatever one needs to count then, when the last item is counted, the total is self-evident. I would really appreciate any input either to confirm or deny my own suspicion and/or provide the definitive answer. I'm counting on you...

It Ain’t Over ‘til It’s Over

2009-03-16T23:06:00.002-04:00

A week ago last Sunday I printed my first real project. It was for a letterpress swap and only ran to about 75 sheets but was the first thing I’ve printed in “bulk” for distribution. Everything came out reasonably well and I was very happy with the way the press worked. During this process I learned, or perhaps was reminded of something, I thought I’d share here.

I made a previous post describing how I adjusted the platen on my press at the time I restored it. I adjusted it at all four corners using a machinist’s gauge and I spent considerable time loosing and tightening the platen bolts until everything was set to the gauge. And in fact when I printed a small business card form, it was just fine.

When dressing the platen and before inking the press my practice has been to use a sheet of the old-style dark blue/purple “carbon” paper with a test sheet to pull a proof, turning the flywheel over by hand while holding the two sheets between the platen and the form. Once I’m sure everything is where it should be I ink the press and pull an impression on the tympan that I then use to set the gauge pins following the usual procedure.

The form for my project had a printed area of about 4” x 6”. I had locked it up in the chase slightly below the centerline as is normally recommended. When I pulled the proof using the carbon the impression, while generally even, was lighter at the top than the bottom. For a second I was surprised considering the care I had used setting the platen. But then I realized that an actual form introduces a variable and especially the size of the form.

The answer was to adjust the top two platen bolts very, very slightly to move the top of the platen towards the bed. I then took a trial impression and made another very small adjustment until the impression was truly equal. In fact, the impression was so good that I didn’t feel I needed makeready and so proceeded with the run. Looking back I think there were one or two things I would have spotted-up but in general I was satisfied with the impression. I saved my proofs and will scan them and a copy of the final print and post them tomorrow when I have more time.

So while gauges provide a useful starting point the proof, as always, is in the printing.

Followup: Just to be clear, once I get the platen properly set, and I'm hoping that has now been achieved, I don't expect to have to adjust it again except in extraordinary circumstances. But having recently disassembled, cleaned, reassembled and initially adjusted everything, I'm not surprised it required a bit more tweeking.

The usual means of adjusting the platen is to lock up either four large sorts, one in each corner, or a foundry type border all around the edge of the chase. Then test proofs are taken on the tympan and adjustments made accordingly. I have nothing against that method but when I tried it on my old 8x12 I personally didn't have much success. When I made the adjustment with the method I've also now used on my 10x15 things worked out very well.

Foiled Again!

2009-03-03T20:40:00.012-05:00

I've given some thought from time to time about the possibilities of hot foil printing, especially in relationship to book covers and the like. But this was a passive interest only until a couple weeks ago when I had the opportunity to pick up a vintage hot foil press that was otherwise destined for the scrap yard. It needs a good cleaning but I've fired it up and tried it out with the included burgundy tape and it works just fine. The two "idler" bars on the automatic feeder that stretch the tape between them and keep it at the right distance from the type were missing but an old catalog showed that they were simply 5/16" diameter round metal rod. I bought a length from the local hardware store and bent it to the right shape and now you can't tell the difference from the factory originals. The hand wheel that moves the upper arm was broken and I replaced it with a vintage part from my old parts pile in the basement. Only the cleaning remains.

The type holder holds forms up to 1" wide and 5 3/4" long. It's actually a rather large machine. The table is 12" x 12" and it weighs a good hundred pounds or so, about the size of a large tabletop drill press. Foil tape seems amazingly low priced so I'll have to pick up some gold and a few other colors. So the Front Room Press has become a bit more diversified in what it can do. Anyone need your name on a book? If anyone has any information on this company or press, I'd be very grateful if you'd get in touch.

GO NAVY!

2009-02-20T20:37:00.003-05:00

Anyone who has checked out my website will know that of the three print shops from which the majority of my shop's equipment comes, one is Na-Vet Printing of Elizabeth, NJ. This great shop was started in 1946 by Lawrence Franchini, appropriately enough a Navy veteran of the war. That's him in the photo above in 1949. Every kind of work traditionally done by a local printer was done in this shop. From tickets for fraternal organizations; handouts for politicians; school and church programs; business cards and stationery; etc.; all of this and more was turned out in support of the community. While Mr. Franchini is no longer with us, the business continues to serve not only the Elizabeth area but an ever increasing sphere in New Jersey and New York thanks to many modern innovations introduced by his son Larry, the current owner.

In addition to its original platen press the shop currently boasts a Heidelberg Cylinder press; a Heidelberg offset press; two Heidelberg windmill presses; an A.B. Dick offset press; and state-of -the-art computer-controled copy and printing machines. A new Ryobi is planned for the near future. The shop foreman John, hired about two years ago to oversee day to day press operations, has more than 20 years experience including solid training and background in letterpress printing. The new and the old are blended together in the right proportions to keep the business moving forward in spite of competition from the corporate printing outlets. Those stores simply cannot provide the breadth of services or depth of experience available from Na-Vet and certainly not the personalized service.

I don't mean this post to sound like a commercial but I have been so impressed with their shop and have been so glad to get to know Larry and John on the two visits I've made to pick up equipment they were selling. I was first introduced about a year and a half ago. They were in the process of getting rid of a lot of type and other extra items to make room for new equipment. A few months ago they aquired a lot of older letterpress equipment from a large shop that closed and two weeks ago I made another visit to pick up some more type. Besides the type and other misc. things I needed, I once again was able to learn so much by watching the ongoing work. John is a great teacher and is quite ready to answer questions and show how things are done while he does them. In fact, he is starting to give letterpress classes both on the Heidelberg windmills and the C&P platen press. You will not go wrong spending a day or even a few hours with him.

How great is it that an active commercial shop is still around doing not only what it has always done but the things that are necessary to compete in the present day also? At some point I will have to get some photos of the shop as it looks today. For now, enjoy the vintage photo above.

Ecce Homo

2009-01-26T21:39:00.007-05:00

Meet Stanley Grossman. From the end of the 1950's through the 1960's Mr. Grossman was an Industrial Arts teacher at a high school in New Jersey. Among other crafts he taught printing. He taught my good friend Alan Runfeld of the Excelsior Press who has been a printer since even before high school. He went on to oversee the vocational technical education of several generations of students.

I had the pleasure of meeting and getting to know Mr. Grossman a few months ago when I went with my friend Alan to haul several presses and other equipment out of Mr. Grossman's basement print shop where he had printed for local businesses, organizations and individuals for many years. At 80 years old, he doesn't do much printing anymore and wanted to see the equipment continue its useful life in other hands. I was very fortunate in getting his C&P 10x15 press as I've described in previous posts.

I wanted to take the opportunity to thank him publicly and introduce him to you, part of our shared printing heritage. He's a kind and gracious man with a quick and subtle wit that I especially appreciate. As you can imagine, he's very knowledgeable and I learned quite a lot just from the several visits I made to his house. I wish you could all have the opportunity to meet him.

Keep On Truckin'

2009-01-18T20:18:00.018-05:00

As some of you may know, I haven't done as much printing as I want to do because my old 8x12 press had two problems: I only had Morgan Expansion trucks with worn-out tires and I had rubber rollers that were not only slit badly in some places from perf rule but slightly concave in the center and slightly hard from age. I could print with them but mostly only small forms and even then they had some problems. I couldn't afford to replace either tires or rollers so did the best I could on a limited basis and spent a lot of time organizing and setting up the shop in general knowing that would pay off later.

I posted here how I recently traded in the 8x12 Old Style for a 10x15 Old Style that I restored. In this case I had steel trucks but the rollers were all bad and again, I couldn't afford to buy new ones. Fortunately my friend Alan recently loaned me three rollers from one of his presses, two of which I have and the other I mistakenly left in his shop. I had adjusted the platen for a standard packing as I've described in an earlier post and all that remained was to compensate for the fact that on this press, as on many older presses, the rails were manufactured less than type high. In the case of Chandler and Price, 1/16" less. This weekend I was determined to get the press printing so I could begin some of the projects that I've been wanting to do.

The steel trucks I got with the press were 1/16" oversize from the standard that came with the press when new, meaning that they were 1 3/4" diameter. They are actually stamped "oversize" on the sides. C&P offered oversized and undersized trucks as options according to their early catalogs. The rollers that came with my press when I got it were therefore 1 5/8" diameter so they would be type high. My friend Alan has a 10x15 New Style the rails of which were also 1/16" below type high. He had been using the rollers he gave me on that press which are 1 3/4" diameter and, since the steel trucks he was using were the the normal diameter trucks C&P supplied with the press, 1 5/8" diameter, he had taped both the trucks and the rails to bring them to type high. So in order for me to use his rollers with my trucks I would only need to increase their height by 1/16". I decided to do this by taping the rails.

I know there is special tape sold to do this but of course that costs money. I thought long and hard about what kind of tape I wanted to use. My friend had used duct tape with good results but I decided to try something different. I bought some metal tape at the hardware store, the kind used to tape the joints of metal ducting; basically metal duct tape instead of cloth duct tape. The metal is very thin and easily cut. I decided to use this because I thought it would provide a firm, smooth surface that could be more finely adjusted because the tape is so thin.

I measured the length of the rails and then cut the tape into 24" lengths, slightly longer than needed. The roll of tape is about 2" wide so I cut these lengths to the rail width of 5/8" on my 26" paper cutter. The knife went through like butter and because of the thinness of the metal and the buffer between each layer the adhesive and backer provided I don't think it affected the edge much. In any case, the knife is almost due to be changed anyway.

One by one I laid the strips on the rails. I started with 10 layers per rail and then started checking the height with a straight edge laid across both rails and a type high gauge as I added more strips one by one. When I got it just about right with the gauge I put the rollers on the press and used them with the type high gauge for the final adjustments. I stopped when I could feel a bit of pressure on the gauge from the rollers. In the end it turned out that the left side required one more strip than the right. As I was making the final checks, I ran the press for a bit to press the tape down well and avoid movement through compression later. I was pleased with the end result. Since the tape is metal it doesn't stand out like a sore thumb; it's smooth and hard; and should I need to make adjustments later it will be easy to do so. It was also inexpensive: the roll cost about $3 and I have enough left for at least two more presses.

Of course, the proof is in the pressing. Today I locked up my business card form and inked up the press and pulled some proofs. I was very, very happy with the results. The photos below will show the reason. I used my standard packing only with no makeready. Now a small form should probably need little to no makeready anyway but the fact that it inked and printed so well right off the bat was very encouraging to me. This is especially true after my experiences up to this point with the limitations of my old trucks and rollers. I was also pleased that my platen adjustment seemed to be just right. Naturally when I print a larger form problems may show up but I'm certainly satisfied at this point.

The top photo shows a proof pulled on a lightweight bond paper. I used Strathmore 100 percent cotton laid paper for the proof in the middle photo. I had difficulty with that paper before with my old press so wanted to try it again now. Needless to say, it looks really good. There is a speck of something on the R in my name from the scanner. I decided to try something larger so locked up the cut shown in the bottom photo which is about 3 1/2" x 6". Again, there was no makeready and I thought it came out pretty good, a nice even print at least. The cut is damaged on one corner so there is a break in the border at that point. I'm also afraid the scanner added some bands of color to the photo: oh, well. These photos may not show the details sufficiently so I'll probably post them to Flickr where they can be enlarged.

Now I need to pick up that third roller and then start on my projects.

Sing, O Muse!

2009-01-10T11:57:00.012-05:00

Inspiration comes in obscure and not always immediate ways. I dug up this artifact from my past the other day and thought I would post it. I've always been interested in history, which I get from both my parents. Growing up in the 60's and 70's, family vacations consisted in driving to the Adironadacks, southeastern Penna., and New England where we spent much of our time touring places like Forts George and Ticonderoga, Gettysburg, Sharpsburg and Harper's Ferry, Plymouth Plantation and Old Sturbridge Village. Local places nearer home were not neglected and I've always been an avid reader. You get the idea.

After getting out of the army in 1983 after 7 years, which included 3 years in Germany, I returned home to upstate New York near Buffalo. A couple years later my Mom and I paid a visit to the Genesee Country Village, a restored village of the early 19th century much like Old Sturbridge Village in Mass. I've always had an interest in the printed word and had seen a number of restored print shops at many of the places we visited. Always having been interested in crafts (I built models and cobbled together various things as a boy), in a basic and mostly untrained way (I had some experience printing in 7th grade in shop class) I was always intrigued by the process of printing. History; crafts; printing. You can see where this will ultimately lead.

While at the village that day we of course visited the print shop. They had a Washington hand press and the printer was in the process of turning out handbills for visitors, one of which I received "hot off the press". I really paid attention to the process and was fascinated as I held the freshly printed work in my hands. I took it home and hung it on the wall of my woodworking shop. While nothing happened regarding moving my interests actively towards printing, this visit stayed with me and the paper followed me round as I moved here and there over the years. It took a long time but two years ago the seed firmly planted that day and that had lain dormant began to grow. So for me this old piece of paper is something of a touchstone with regard to my current pursuit of the printer's craft. I also have one of the business cards we printed in 7th grade and the rubber stamp we made from that form, and I treasure them, but they didn't have the impact the trip to the village and this handbill did.

Interestingly, while the staining and holes are the result of the passage of more than 20 years of handling and storage they also make it look like an original document. Except of course for the unfortunate choice of at least one typeface.

I still have a dream of owning a Washington or other type of hand press...

The Paper Chase

2009-01-08T21:09:00.006-05:00

Rule One: Never turn down free paper.

Rule Two: Keep your eyes open for free paper.

Rule Three: Different kinds of printing, type, cuts, and ink require or at least work better with different kinds of paper. See rules One and Two above.

Rule Four: The fact that the paper is free will not improve your printing, but it doesn't hurt.

As you can see from the photos, I've been following the above rules. In fact, I had to recently build the upper shelves on the left of the first photo to make room for more. The large sheets of paper (and metal shelves) to the lower left in the first photo came from the garage print shop where I got my first press at the time I was just starting out two years ago. More came from various sources usually in conjunction with picking up something else where it was thrown in to get rid of it. There is everything from Kromcote to mimeograph; ledger to bond; book to chipboard; diecut cards to tag. I even came across stacks of pre-printed colored-border award certificates in different sizes. Did I mention some boxes of envelopes too?

I've experimented with a lot of it and can recommend that it is good to have different kinds of paper around. E.g. Cuts that don't print well on one kind will print perfectly on another. I suppose this seems like a no-brainer but I've noticed that there are many printers who seem to use one or two kinds of paper exclusively, usually the ubiquitous Lettra.

The issue of free comes up for a number of reasons. First, I am poor and by rights perhaps should not have printing as a hobby at all when one looks at the prices a lot of printing equipment, especially for letterpress, seems to go for. But where there's a will, there's a way and usually a lot of generous people to help. At least that's been my experience and I'm grateful to all of them. Second, there's a lot of good quality old paper laying around and it seems like a good idea to recycle it this way instead of having it go to a recycling center where it can be made into a lot of modern poor quality paper. Third, it's just plain fun.

Say, anyone in the central New Jersey area have any paper to get rid of...?

Pedal Power

2009-01-06T20:36:00.009-05:00

Those of you who noticed that the photo of my new press in my last post showed the motor speed control pedal just sitting on the floor, and you know who you are, can rest easy in the knowledge that a base as shown by the photo below has been installed. The wood is the same as the runners: hickory. You may recall that I made my composing bank out of hickory that we had laying around at work and the same is true here. It's overkill for this application but it was available and is certainly strong and good-looking. You'll notice I ran a cove moulding around the top edge of the runners to add a bit of detail.

Transfiguration

2008-12-22T21:25:00.009-05:00

Here it is in all its naturally lighted glory. It was a lot of work but I'm pleased with the result. Everything is running smooth and easy. I didn't keep close track of how long it took but I would estimate at least 30 hours.

The platen was out of adjustment so I took care of that too; I'll have to make a final test once I get rollers and pull a few test proofs. To make the initial setting I set a machinist's sliding wedge gauge to type high with a micrometer. I then stacked up a pressboard, three sheets of bond and one sheet of tag and had them slightly hanging over the edge of a table. I placed the gauge on top and took a reading of the total thickness with the micrometer. This gave me a reading of about .945. I wasn't really concerned with the actual number but with getting an accurate reading of a standard packing and the height of the type combined. I reset the wedge gauge accordingly and then clamped it in a Vise-grip for a handle. Then I used it to set each corner of the platen so the gauge slides in snugly: easy in and out but no play.

On my old 8x12 I tried at first the standard four-corners lockup with large sorts to adjust the platen but this didn't work well for me. I adjusted it a second time using the above method and it made a dramatic, positive difference in the impression. It did so well that I never had to make another adjustment other than standard makeready. I used this method because those were the tools I had. I chose the packing I did because that is what is recommended in the standard works, with slight variations. I substituted bond paper for book and I left out the cover sheet. I did this to allow for a bit more adjustment with the packing when dressing the platen. I'll see what a few proofs look like and experiment with different packing and then make any final adjustments if necessary. I don't want or intend to adjust the platen often. I want to have it at a setting that is as versatile as possible for whatever I may want to print.

An interesting discovery is that this press, like my 8x12 and other older presses including Pearls, has rails that are lower than type high. I've never yet discovered a reason why the presses were made this way and have not been able to come up with a reason myself, but it seems this was fairly common. What this means in practise is that the rollers and trucks must be different diameters, in my case the trucks need to be 1/8" larger than the rails. This of course flies in the face of the standard view that rollers and trucks must be the same diameter to prevent slurring. Personally I don't believe this view is correct. I think the usual argument from physics/mathematics is wrong. In fact I think physics/mathematics proves just the opposite, that the relationship to the axis at any given point is the same. Clearly some presses were made so only rollers and trucks of a different size would work. If slurring and imperfect work was a necessary result these presses would have ended up in the Ancient Press Graveyard long ago and clearly they were. Some Pearls especially seem to garner high praise for even fine halftone work. What does seems obvious is that some presses, mostly older, use rollers and trucks of a different size and most newer presses use the same size. I don't think it matters in terms of the work produced, only in terms of what will work on a particular press, even the rational for these differences has been lost in the dim past. In any case, I will use 1 5/8" rollers with 1 3/4" trucks like the printer before me did for over 20 years and the printers before him did with this press.

Today at work I made a wooden base for the motor's speed control pedal that will attach to the right runner. I'll post a photo of it once it's installed. I'm pricing out rollers at this point. One quote I've had so far is about $450 for three rollers. OUCH! I've since recovered from the shock with only minor relapses and am pursuing my search further. I am hoping to find something in the $200 to $250 range. I'd even settled for a set of good, used rollers at this point. Hopefully I can get a set by the middle of January. They'll be rubber and I'm going to use the original cores that came with the press. Hopefully that will save a few bucks.

I have a few days of vacation tied in with the holidays and will probably lock up a cut, ink it with a brayer and pull a few impressions. I can't wait to be fully up and running and working on some projects. By the way, I'm looking for a spider chase, book chase, and skeleton chase if anyone has any for sale.

It's Alive!

2008-12-20T22:36:00.003-05:00

Just a brief and photo-less post to announce that the press is completely back together, clean, oiled and belted to the motor. I turned the switch on about 1 a.m. this morning and like the Miracle of Christmas it ran. This is my first experience with a variable speed press motor so I'm getting used to it slowly. But I had it turning at 15 impressions per minute without trouble, the speed I'm most comfortable with for now.

I still need to make a wood extension platform to attach to the right runner for the mechanical foot pedal that controls the motor speed but I'll do that Monday. I'll also post photos Monday along with the details of the final adventures I had getting things completed. Ahhh. I made my Christmas deadline. Now I just need some rollers! Anyone have any old but usable ones they'd like to donate to a poor printer? They need to be 1 5/8" diameter however. I'll explain that later.

Time To Rearm

2008-12-16T21:24:00.010-05:00

The restoration of the press is coming along nicely. I told myself I wanted to have it running by Christmas and I think I'll meet that goal. I'm almost desperate to begin printing on it but for a while at least I'll have to take comfort in the old maxim: patience is a virtue. I need to get my roller cores recovered and I won't likely be able to do that until after the first of the year.

As you can see from the photos I'm at the point where I'm putting the arms back on. I had started cleaning, step by step working my way from the lower back of the base upward. I used my old standard cleaning supplies: 3M green pads; WD-40; rolls and rolls of cheap paper towels; 150 grit sandpaper; and elbow grease.

My goal is almost never to strip things down to bare metal and restore it to factory new. It's an antique and has years of working patina and character that I try to preserve as much as possible. That much being said, I remove all dirt, built-up oil deposits, rust, loose paint, etc. I file off all burrs and make sure all machined surfaces are ready to rub against one another again with only a layer of fresh oil between them. When I find something so worn as to affect seriously the operation of the machine I repair it or replace it. I readjust all settings as necessary.

All of these steps are important, perhaps the last more than any. Over the years modifications get made to machinery, some good and some bad. People who don't know any better make adjustments incorrectly or don't repair things that should be repaired because they don't know any thing's wrong. For example, on the right lower leg of the press bed where the shaft that connects it to the base goes through there is a threaded hole. This is for a bolt that tightens against the shaft so the shaft and the bed casting move together. I wouldn't have ever known this if the presses had not been disassembled and I wasn't thoroughly cleaning them which is when I discovered the hole and asked myself: what's this hole for? The bearing surfaces for this shaft are actually in the base where there are oil holes. But in both this press and my old 8x12 these bolts went missing sometime in the distant past and the holes were filled with crud (sorry for the technical term). This meant that the bed had moved on the shaft when the press was running, at least part of the time. There are no oil holes in the bed casting at these points so the shaft and journals in the bed would simply wear down no matter how much oil was put in the oil holes for this shaft in the base. So it pays to study about and thoroughly go over a machine: know your press.

The press was moved in pieces on different occasions, the bed coming first. It had been laid on a standard furniture dolly and I rolled it out of the back of my van onto my back porch and up through the French doors into the living room by myself. Did I mention it was heavy? It was heavy. The base I had help with and we used the usual 3/4" pipe method to get it off the truck following the same route into the house.

I started on the base and when that was done I pulled and slid it sideways onto more pipes so that it was lined up with the spot where it would finally rest. Then I rolled the bed behind it, cleaned the legs, bed face, and sides as well as the shaft. Then with a bit of heavy-duty fiddling got the holes lines up and pushed the shaft in. Using the heavy tie-down strap you see in the photo as a come-along I raised the bed high enough so that I could get under it enough to lift it up into place. Did I mention that it was heavy? It was heavy.

I tied the bed and base together as you can see in the photo for safety and then finished the cleaning. I made sure the press was lined up where I wanted it to go and then pushed/rolled it back to almost where you see it sitting now. I hadn't yet replaced the oil, grease, and dirt soaked original runners but did that next using some hickory we had laying round at work to make new ones (It's good to be a cabinetmaker). Using the scissor jack from my van and a 4x4 I lifted first one side and then the other, swapping the runners out. The I rolled the press back the rest of the way to where you see it in the photo. I then jacked up the back and removed a couple pipes and then did the same for the front. It ain't goin' anywhere now.

I'll leave the tie-down strap on until I get the drive shaft in and pinion gear and flywheel on. Though the side arms limit the movement, the drive train keeps the bed from simply flopping back. One more arm to go and then the drive shaft, etc.

I described all of this in some detail to show that there is no magic to doing this kind of work by yourself nor is the machine a living thing waiting to attack. Mechanical experience is definitely a plus but common sense goes a long way. You have to think and be careful but if you can't do that you shouldn't consider printing anyway since you're likely to lose some fingers. You also don't need to spend a lot of money or possibly any money to move a press and restore one. Except for the cleaning supplies, which were very inexpensive, it cost me nothing. I used short boards I had in the basement as ramps to get things from the van to the back porch and then up the stoop of the French doors. I also had several lengths of old 3/4" pipe from some pipe clamps but Home Depot has them cheap or perhaps a neighbor has some. The tie down strap I had from years ago from some other move. The jack came from my van. So if you're thinking of getting a press but the idea of moving it and setting it up intimidates you, ask some questions and use your head but you can do it!

Before and After

2008-12-09T12:49:00.004-05:00

Here's a quick post to show some of the progress on the 10x15. There is almost no rust at all but a lot of the usual buildup of ink, grease, oil, dirt, sludge, glop, ick, slime, and what otherwise can make the press look bad and run worse. There was so much stiff syrup in the throw-off mechanism it was almost impossible to engage and disengage it. The press had sat idle for many years after regular use and everything just hardened up and turned to glue. But it's getting there.

De-pressing

2008-11-24T12:40:00.013-05:00

It was a busy weekend and somewhat bittersweet. My old C&P 8x12 OS (1893) press was removed from the shop and hauled away to make room for my new C&P 10x15 OS (1892) that was brought into the shop the same day. I'm very happy to have gotten this press and it will be much more useful but the 8x12 was my first press, I spent a lot of time restoring it, and I liked it quite a bit. Sigh.

The weekend began Saturday morning (of course) when I drove with my friend Alan to northern New Jersey to pick up some presses and other print shop items. Alan does what he calls Letterpress Rescue as part of the Excelsior Press Museum. People cleaning out their parent's house or closing down their print shop often find Alan through his website and ask him if he can come and get their presses and equipment. Sometimes selling the items isn't an option for people and presses are often in the basement or even the attic where scrap metal dealers seldom venture. Instead of them going to the smelter, Alan adds the items to the museum shop or sells them so they will continue their useful lives and help fund the museum.

Thus we found ourselves hauling one C&P 8x12 NS out of a basement and a second out of the garage. In a shed there was some type in cases and about eight 5 gallon buckets of Linotype slugs, leads, and misc. heavy metal. Here's a bit of news: lead is heavy. Both presses had Kimble variable speed motors and were complete and in good shape, though in need of cleaning. Our adventure took the better part of the day and we got home (Alan to Baptistown and me to Milford, NJ) about 5:30.

Sunday morning we were off to the house of Alan's former print shop teacher in east-central New Jersey, a very nice man now 80 years old. Over the course of several weeks we had removed from his basement a C&P 10x15 OS, the press I am trading up to, two 1940/50's vintage Mutilith offset presses, a NuArc platemaker, Challenge paper cutter, type in cases and all the other detritus of a print shop. There was another Challenge electric cutter already in the garage along with a brand-new in the box Spinnet paper drill. Because we had prepped all this previously and had a rental truck with a hydraulic lift gate it didn't take us long to load up.

The next stop was my house where my 8x12 press was waiting on my back porch. On the truck it went and off came the 10x15 and right into the living room. Then back to Alan's shop where we unloaded everything and put it with the haul from Saturday. All in all it was a busy weekend. I plan to begin cleaning my new press this weekend and will hopefully have it running and printing by Christmas. I'm very anxious to move from setting up the shop to printing. The press is very nice and came with 6 chases, a Kimble variable speed motor, and a long and interesting history of job work.

The first photo below shows the two NS presses in front of my OS press in the barn where Alan has his shop, all lined up like soldiers on parade. The second shows a closeup of my old press. The third shows the main frame of my new press after we got it into the living room, otherwise know as my shop. As you can see, it needs some cleaning.

Let me mention that the three 8x12 presses are for sale. I can give you particulars or you can write to Alan directly about specifics and prices through the Excelsior Press website, a link to which is at the right of this blog page. In addition, the two Multilith presses are for sale, one is for parts but the other is complete and running and there are many, many (did I say many?) accessories, blankets, an extra brand-new motor, etc. that go with it. Alan's teacher used it regularly and had large stocks of all needed supplies. Also, both Challenge paper cutters are for sale, they're complete and nice. The paper drill and platemaker with several boxes of new carbon rods and vacuum pump are also for sale. As for me, I'm getting some type, cuts, and ornaments.

So it's not so de-pressing after all, eh?

Soldiers On Parade

Should Old Acquaintance Be Forgot

New Kid On The Block

Rack 'Em Up

2008-11-07T12:41:00.003-05:00

I was fortunate in getting several chases with my new 10x15 press. I kept my chases for the 8x12 in the old imposing table I have but the 10x15 chases are too big. So I decided to make a chase rack patterned after a few I've seen in 19th century photos and the ATF catalog from 1908. I didn't have much time this week for other projects but I was able to stay after work for an hour or so on Wednesday and knock out the rack you see in the photo.

It's made out of poplar and though intended for my 10x15 chases will also hold smaller or larger chases up to 12x18. The chase in the photo is for the 10x15. I chose poplar because it's light in weight but harder and stronger than pine and mills very well. It was a quick, easy project but very satisfying and I can't wait until the press is set up, the chases are in the rack, and I can start printing.

Composed And Standing Ready

2008-11-04T21:36:00.002-05:00

Here is the finished, in every sense, composing stand after the third and final coat of shellac. You can see that I've cleaned the three front faces of the base cabinet and these match the top rather closely. I'm not going for an exact match but just don't want a glaring disparity. I'm still going to clean the inside areas to the left and right of the cases and the end panel. Once I do that they will look like the front faces and everything will be reasonably the same.

Besides the two ends of the bank there is a similar support in the center. Original base cabinets with these tops usually did not have flat tops and the banks were attached directly. I didn't want to remove the flat top so made the bank to fit over it. It rests on two cleats on the inside of the two end pieces. The top was no longer exactly flat after all these years so for the center support, where it rests on the top, I relieved the bottom so it only touches the back and front of the flat top. This prevents any rocking and the bank sits nice and flat on the top of the base.

Since this photo was taken, with my borrowed camera, I've put a lead and slug case at the upper left and started cutting more leads and slugs. I have another case in the main press room (otherwise known as the living room) but didn't want to rob Peter to pay Paul if I didn't have to.

E Pluribus Unum

2008-11-03T19:13:00.006-05:00

The many separate parts you see in the photos, once joined back together in a perfect harmony of one, will be my newly acquired Chandler and Price 10 x 15 OS press, built in 1892. This is in fact a trade-in on my current C&P 8 x 12 of the same vintage. The 10 x 15 belonged to my friend Alan's former print shop teacher and since Alan's shop has a 10 x 15 but not a restored 8 x 12 we've swapped.

I had thought some day I would want a larger press so I could print larger forms and feel more comfortable doing some die cutting. But I had not intended to go out actively looking for some time as I'm still getting started on the 8 x 12. But this was a perfect opportunity and I'm very glad it came along. I'm very excited about getting it up and running. The only thing I'll need is new rollers as the original composition rollers are no longer any good.

You don't see the main body of the press because it's still sitting in the garage near the basement we hauled the press out of. Alan took some photos of this effort that he's going to post on his Excelsior Press website. But I'm getting started cleaning these parts so that in a few weeks when we get the rest of the contents of the shop with a big truck I'll have gotten a head start. Last night I managed to get the flywheel off the drive shaft. It was stuck pretty good but by drilling out the key I was able to do it. I also cleaned the feed and delivery boards and gave them a coat of shellac.

Shellac is a great finish. The original boards were finished with it and I used a rag and denatured alcohol to rub them down thereby removing the dirt from the finish while leaving the aged patina. A couple of coats of new shellac will make them as good as new as far as use goes but they will still have all the character of age. Shellac is made from the secretions of the Lac beetle in Southeast Asia (no, I'm not kidding) and has been a common furniture finish for a few hundred years. Usually amber in color (thus "orange" shellac) it is dissolved in denatured alcohol which acts as a vehicle to carry the pigment to the surface. Because the alcohol evaporates quickly you can often sand and re-coat with a half hour. It's an easy finish to use and repair. You can still get it at paint stores and even Home Depot.

A Real Borderline Case

2008-10-30T21:26:00.004-04:00

In between coats of shellac on my composing bank I've been cleaning out, sorting, and redistributing my borders and ornaments. I was very fortunate when I got my press and much of the equipment for my shop to get this border case will all kinds of borders, ornaments, fractions, etc. It was completely disorganized and filled with dust and dirt, but fortunately no type lice or corrosion.

The quality of this photo is much better than my usual because I borrowed a camera from work. If I would have composed the shot better I would have captured the other side of the case too which is also fairly full with different kinds of borders. But I'm just grateful for the clarity.

You Can Bank On It

2008-10-27T21:31:00.007-04:00

I completed the bank top for my type cabinet tonight and brought it home from work. I still have to apply a finish to it which I'll start in a day or two. Normally I use orange shellac for anything I make that I want to match older furniture because that was the usual finish used. My Tracy cabinet is no different. But because in this case the bank is not just a separate piece of furniture but will be part of the old cabinet I will likely stain the bank first so that when I apply the shellac it will more closely match the patina of the base. I'm going to make some tests on scrap pieces before I decide.

The old cabinet is made out of ash and since we didn't have any at work, or any white oak that I liked and which would have been something of a match, I used some hickory which we did have. The grain is very similar and the darker color in some of the boards will aid in matching it to the older base.

I debated with myself over exactly what type of bank I wanted. One with the upper part elevated above the lower and taller so as to support a full-sized case or like the one I finally decided upon. I chose this style because I wanted a reasonably deep lower surface that would accept 3/4 cases which are often deeper than full-sized. Also, I know it will be extremely unlikely that I will ever need to have a separate upper case font above and a lower case font below. More useful will be to have a lead and slug case and perhaps a quad and space case on the upper level. This type was also less time consuming to build, a not altogether irrelevant consideration.

I made the lips at the front edges of the upper and lower levels 1/2" tall so case handles would clear and so they wouldn't interfere when I tie up a form on a galley. I will likely attach a small strip of wood to the lower right corner as a galley stop.

Once the finish is on I'll post another photo though it will probably be just as poor as this one. Hopefully I'll be buying a new camera in the next couple months.

Cutting Out The Middleman

2008-10-25T22:00:00.004-04:00

I've mentioned my friend Alan Runfeld and his Excelsior Press Museum previously and there is a link to the museum's website in the left column of this blog. He often receives donations and contributions of printing equipment for the museum. For the past several weeks I've been helping him clear out the basement print shop of his former high school print shop teacher. Some of the equipment will be incorporated into the museum but those things that would be doubles or even triples to what the museum already has will be sold to raise funds to help pay the museum's rent, electric bills, etc.

I thought I'd mention some of the items that will be coming up for sale shortly because as an amateur printer I'm always looking for things I still need for my shop and don't mind passing on a good tip. Perhaps I should point out that I have no personal interest one way or the other in any of these items or whether or not they sell other than a desire to help the museum. The museum has been of benefit to me as a printer and I know others who have also been helped by visiting the museum and taking part in its activities.

Now for the good stuff. Other items will be posted on the For Sale page of the museum's website but the three things I wanted to mention are two nice paper cutters and a paper drill. I don't remember details about the drill but it is brand-new and still in the box, never used. Both of the paper cutters were made by the Challenge Machine Company. One looks like it is from the 1940's and was made by Challenge for the Multigraph Company. It is a 19" manual cast iron tabletop cutter mounted to its original steel stand. There are a number of new wood cutting sticks with it and I believe an extra knife, as well as the original instruction manual. It is a very clean cutter and works great as I saw for myself when Alan's 80 year old shop teacher showed me a few things on it which was a real treat. It does have a safety release knob.

The second cutter is I believe from the 1980's but possibly even newer. It is also a 19" cutter but is a floor unit. The cast iron legs also make up the body where the knife holder, etc. is mounted. This is an electric cutter and is also in good working order. It has cutting sticks and possibly an extra knife as well. It has all sorts of safety features.

Alan will be posting complete information and pricing sometime soon but I just thought I'd mention them here. Please contact him directly if you're interested. Also, if you can possibly visit the museum please do so, it's a great place and Alan is very knowledgable and loves to teach. Maybe you'll even see me there!

Tiers Of Joy

2008-10-10T23:39:00.003-04:00

Below is another in my Bad Photo series showing my new double-tiered Tracy type cabinet. It was made by Hamilton around the turn of the century. My type collection has grown surprisingly in the last year and another cabinet was necessary. This one holds 40 full-size cases and while a few spaces will be used immediately there will be plenty of room for new fonts!

I ran out of space in the living room so the second bedroom that I've been using as an office has become the latest part of the house to be taken over by the Front Room Press. It will still remain an office with my desk, etc. but I moved out a few bookcases and it will hold several print shop items including this cabinet.

I was off from work today so spent the time cleaning it up and getting it ready for cases. It originally had two case racks on top but if I can't find any I'm going to make a full-sized bank, copying an original. It's good to be a cabinetmaker!

Proof Of The Resurrection

2008-09-28T19:20:00.012-04:00

As can be seen by the incredibly bad photo from my old and indequate digital camera, I pulled a proof on my newly restored galley proof press of the Ludlow slug I made at my friend Alan's shop. That started a sudden urge to pull proofs on all sorts of cuts and standing forms to test out the press. I've very satisfied with the results. It does make a deep impression on the paper, sometimes the surrounding areas that got inked by the brayer get on the paper, and there is sometimes a bit of slurring. But considering that these presses were designed for proof-reading newspaper copy it does a very acceptable job. I'm happy to have it and plan on using it regularly. I suppose I could simply beat a proof off with a hand proofer but not only do I think this is better for larger forms but it's a lot more fun. It's also exciting using such a restored piece of history that must have proofed many a newspaper form over the years.

Wheels Within Wheels

2008-09-20T21:15:00.004-04:00

There's been a lot of discussion on Briar Press and the LETPRESS mailing list recently about operating a press safely. One of the important factors to consider is the speed of the press. Without a treadle or variable speed motor, running the press at a slow enough speed for safe operation, whether for a beginner or experienced pressman, is not always so straightforward.

To use my press for an example: It came from a print shop where the printer had over 50 years experience. The press had a 1725 rpm motor which gave 36 impressions per minute when belted to the 24" pulley on the drive shaft. Needless to say, this was much too fast for me and probably even for many experienced printers.

The press had no treadle and an expensive variable speed motor was financially put of the question. The answer was to slow the speed down by the use of an intermediate pulley arrangement known as a countershaft. By adjusting the diameter of the pulleys in this setup the speed of the press is adjusted up or down. In this case, the pulley on the motor is a 2" V-belt pulley which is belted to a 6" V-belt pulley on the countershaft. On the end of the shaft is a 2" flat belt pulley which in turn is belted to a 24" flat belt pulley on the press. The motor, 2" and 24" flat belt pulleys came with the press.

The photo below shows my countershaft. I was fortunate in having an old motor mount with a built-in countershaft but a similar setup could easily be made out of wood and with pillow blocks, a shaft, and pulleys purchased from an industrial supplier, flea market, etc. The wide pulley under the belt is an idler pulley to keep tension on the belt and help it wrap around the small pulley better and provide more surface contact. This is not essential but I had it laying in my basement and it works well. I made the base for it out of wood, the same as can be done for the main countershaft and motor mount.

I've read and been told that 14 impressions per minute is a good speed to start for a beginner, or even slower. My press runs at 15 ipm and as a beginner I'm very comfortable with that speed. I thought I would post this to show a less common but effective, inexpensive, and relatively simple option to run the press at a safe speed.

A Watched Ludlow Never Melts

2008-09-15T00:03:00.005-04:00

I spent some time at the Excelsior Press today with my friend Alan. We changed the wiring on one of his Ludlows and then fired it up. While waiting the 50-some minutes it took for the full lead pot to melt the type metal Alan completed some of the work for local municipalities he's been doing since the 1970's: padding, perfing, numbering, cutting to size and boring holes in multi-part dog and cat licenses.

By the time that work was done the Ludlow was ready to go and we had some fun playing with mats and hot metal. I ended up with about a dozen Front Room Press slugs in 36 point Umbria. This may lead to a new Art-Deco motif for the Press...NOT! But it was a lot of fun and the slugs will be interesting to print.

We're going to cast and print specimen sheets and Alan will be starting a hot metal casting service. He has dozens of mats so has a great selection. Look for this soon at the Excelsior Press website, a link to which is in the left column of this Blog. I also should mention that Alan has some presses (including Kelsey's), type cabinets, furniture, and many other accessories for sale. Even some nice smaller -size planers I made at work; I'm a cabinetmaker in my real life. In particular he has several nice 2/3 size type cabinets available which are great for small spaces. All proceeds go to the Excelsior Press museum. Check out his website to see more.

If It's Not Baroque...

2008-09-02T20:15:00.004-04:00

...you're not supposed to fix it. But since in my case it's Rococo I'm making an exception. I have a caps with figures font of 24 point Rococo, a late 19th century face. Unfortunately it has no P's or points. I'm interested in aquiring a complete font of caps, figures and points to beef mine up, or any combination thereof. If nothing else I'd at least like to get a few P's to complete what I have. If anyone can help please contact me. Below is a photo of some examples.

Simply DeVinne

2008-09-02T19:48:00.004-04:00

The distribution of the American Bank Note Company type continues. The Comstock has been completed but unfortunately I only have three more empty California cases. Also, I need at least one triple cap and one double cap or two triple cap cases to complete the upper case fonts. I think I need about five more California cases for the full fonts remaining. But I'm getting there. Tonight the 18 point DeVinne Extended is on the schedule. Tomorrow the 30 and 36 point Bank Script.

I also spent time this weekend distributing some used Old English in 12, 18 and 24 point that my friend Alan Runfeld of the Excelsior Press generously gave me. I have Old English in 12, 14, 18, 24, 36, and 60 point so it's sort of the house face and these additional sorts beefed up their fonts nicely. I still have a 30 point to get which will add a new point size to the collection. I got the original 6 fonts from a print shop in Elizabeth, NJ that was cleaning out much of its letterpress operation.

I've been very fortunate in terms of getting good deals on used type. This has been a necessity considering my finacial situation. I'd encourage anyone who wants to be involvd with traditional printing and is in a similar situation to do as much study and research about the craft as you can and keep your eyes open. This will pay off by enabling you to understand what you need, what is good and what isn't, and what is a bargain and what is not. Roy Underhill of The Woodwright's Shop on PBS once said that luck is where opportunity and preparation meet.

Comstock Load

2008-08-30T09:30:00.006-04:00

No, I didn't lose my dictionary. I'm referring to the load of new-old-stock fonts of Comstock I picked up a little while back. They, and others, came from the American Bank Note Company printery in Philadelphia at the time they closed in the 90's. I was able to get them from a former employee.

There are 12, 14, 24, 24 Condensed, and 30 point caps fonts with figures and points and one 36 point complete upper and lower case font with points and figures. Lucky boy, eh? I spent a quiet evening yesterday distributing them. Thanks to my friend Alan I had a triple and a double caps case for the caps fonts.

Altogether I ended up with about 20 fonts. Other faces include Bank Script and Bank Gothic (go figure), Cheltenham Outline, Franklin Gothic, etc. plus a huge font of 6 point 20th Century Light. There were a number of outline style fonts that I attribute to the nature of the work they were doing with legal documents, certificates, etc. though that's an assumption.

I have more type than I have cases for right now. I know: boo-hoo poor me. I've never had new type before and it's a thrill and a lot of fun unwrapping it, untie-ing it on the galley, and then distributing it line by line. I also find it very relaxing. I'm saving the proofs that are glued to the top of the paper wrapping on each font. An extra bonus is all the 2 and 6 point lead and slug stock and some heavier slugs recovered from each package.

Rules Of Thumb...

2008-08-25T20:59:00.007-04:00

...sometimes need clarification. In my last post I wrote that my rule of thumb when restoring old equipment is: less is more. Afterwards I realized that I was painting with too broad a brush. This rule is true as far as painting or refinishing in general goes. However, with any piece of equipment, from a stapler to a press, I invariably disassemble it, clean every part and make any repairs as I go. I remove any and all rust and while not a fanatic about polished metal surfaces, will at least make them bright.

Because my usual method of cleaning involves WD-40, green pads and paper towels original paint tends to stay put and I don't usually find a need to replace it or touch it up even if there isn't much left. But there are those cases such as the proof press where there are only bits and pieces of finish left and it was so rusty that sandblasting was the most reasonable method of cleaning. Complete repainting was therefore the only practical option.

So I hope I've set the record straight. I thought it important to do so because I'm a strong proponent of disassembling and cleaning machinery. Not only does it insure that it will operate the way it should because bearing and other surfaces are clean but you gain an intimate knowledge of the machine. You learn its strong points and areas where parts are worn and perhaps must be repaired, replaced or compensated for during operation. Trouble-shooting problems will be much easier if you know the machine inside and out. No machine is perfect, especially antiques, even when they're restored to full operation. I also find that being able to take pride in your equipment translates itself positively to your work.

I've attached a photo of a lead and slug cutter that was covered in rust on the bare metal surfaces but the paint of which was mostly intact. I took it all apart and cleaned everything including the screws, springs, and snap rings. I cleaned the gunk off the paint but otherwise left it alone. I made the base at work from some mahogany we had laying around.

Press In A Blanket

2008-08-24T18:14:00.005-04:00

Here is a poor photo from my inadequate camera of the restored proof press. The one I posted previously was taken by the man I got the press from. I've made a new door for it but I'm waiting for a reproduction latch before I mount it. Other than that it's ready to go.

The first step was to completely disassemble everything which was straightforward. I took it to work and sandblasted the castings. I also sanded the wood parts inside and out, removing the dirt, crud, and old paint. Some of the original paint remained on the wood but had been partly covered by the ubiquitous battleship gray. The wood was in good shape though there were a few interesting surprises, one being that while the bottom of the cabinets is pine, the rest is mahogany. As a cabinetmaker I didn't find that painting mahogany was odd as it has excellent rot resisting properties and is often used for exterior, painted millwork instead of cyprus. But I don't see why this characteristic would be desirable in this type of application. The factory may simply have had some in stock or gotten some at a good price. This happens in the shop I work in from time to time.

I wet-sanded the bed after sandblasting to polish it and the original milling marks showed up nicely. It's a bit pitted here and there but not to the point that it will affect its use, especially since the form to be proofed sits in a galley while using the press. I cleaned the cylinder by hand after removing the original felt blanket. I had some thoughts about trying to clean and reuse the blanket but finally decided it was too far gone. Once the cylinder was cleaned I put a new blanket on it, sewing it by hand like the original. You can see the seam in the photo.

The original color was a dark green similar to the Kelly Green I used here. My green is somewhat lighter and is more likely to have been used in the early 1890's if not the 1880's. I was only somewhat concerned with exactly duplicating the color. If money had been no object I would have gotten a color scan. In any case, it's very close and I like it. I brushed the paint on as I do with most of my machine restorations; it gives a thicker coat and is less messy.

I wanted to pull a proof with it but ran out of time. When I do I'll post a photo here. I'm pleased with the way it turned out and I'm happy to finally have the galley proof press I've wanted.

Proof Press Project

2008-08-23T11:30:00.013-04:00

Ah, the joys of alliteration.

Unfortunately I haven't been doing much printing as a result of press problems. I have a Chandler & Price 8x12 Old Style built in 1893. I need new rollers and new tires for my Morgan Expansion Trucks. I can print with what I have but the quality is spotty. But I should be able to take care of both issues by the end of the year, hopefully in time for Christmas so I can put out my first holiday card.

In the meantime there's never any lack of other projects in the shop. From cleaning type cases to distributing type and cleaning and organizing fonts of rule, etc. it's an ongoing project. I recently picked up a Chandler & Price galley proof press. Along with a few other things I've been working on this past week or so I've been restoring it to beauty and practical utility.

My entire shop pretty much consists of vintage equipment and accessories that do not date beyond about 1930. When cleaning or restoring antiques my general rule of thumb is: less is more. Even where more drastic measures are necessary I try and take a minimalist approach. Not only do I like the original, vintage look but also the wear and patina that is usually present. On the other hand, I don't consider rust to be a patina worthy of preservation.

The age of the proof press is roughly from 1890 to 1910 based on the style and remaining bits of paint color. The design of the stand seems to have changed at some point around 1910. But in any case, as can be seen from the photo below of the press as I received it, flood and tempest had taken their toll. The only option was a total restoration including repainting. I started last weekend: details on that in my next post.

Rust Never Sleeps

First Things First

2008-08-22T21:40:00.000-04:00

I've had a website for my printing hobby since last Fall and a Blog associated with the website from the same provider that I've almost never used. The main reason I've rarely posted is the difficulty of going through the lengthy steps required to enter a post. So I've finally decided that, like the link on the website to my Flickr account where I easily post all my photos, I should do the same thing with a Blog. We'll see if the ease of posting here has a positive affect on the frequency of posts. Of course, like everyone else with a Blog I naturally assume that anything I have to post is so interesting to others that eventually this site will become a veritable Mecca of daily pilgrimage to read the pearls generated from this keyboard. Or perhaps not. But I would like to share what I'm doing with others and hopefully my adventures, trials, and trevails might prove interesting and helpful.

So, I've made my first post. Now we're cooking with gas, eh?