On large printed areas, I find it hard to get consistent ink coverage on cotton paper.  Sometimes if the image is really large, I break up the plate into 2 pieces which works, but man, what a pain!  Recently I started to wet my paper and it makes a world of difference.  I take a cloth or sponge and wet it and wring out most of the water so your cloth is slightly damp.  Depending on where the image is I will just moisten that portion of the paper.  Make sure to just moisten the paper not drench it.  I read somewhere that someone puts the paper in front of a humidifier to moisten their sheets.   I think that’s genuis and I think I will give it a try. 

So you’ve finally got a press, you’ve taken it apart, cleaned it, put it back together, and are finally printing on it. So what’s next?

Lubrication. Why?

Well when any surface moves against another surface, friction is generated which leads to heat, noise, and most importantly mechanical wear. Over time excessive wear can and most likely will damage the part and damage the machine. The lubrication helps to reduce the friction and thus reduce or eliminate wear. Just like you change the oil in your car regularly, you also need to oil your press.

What kind of oil do you use?

There are a lot of types of oil and even more opinion on what oil is best for you press. The type of oil that you use will depend heavily on your press and more specifically the amount of moving parts, the speed at which the parts move, and the types of surfaces that are in contact. For simplicity, the two presses we are going to consider are the Pilot and the C&P OS, although these guidelines apply to any similar machine.

A friend of mine once told me that the most important aspect when it comes to oil is to simply use enough. The grade of the oil is not as important as some think, after all any oil is better than no oil. Conventional motor oil contains additives specifically designed for internal combustion engines and none of which are really needed for a printing press. Simply put, the more additives a motor oil has, the less oil there is. Since you only need the oil for lubricating the moving parts, the cheapest kind of non-detergent oil can be used on your press.

Typical oils you will find in an automotive shop have three classifications:

1. API Service Rating
2. Viscosity Grade
3. Energy Conserving Indicator

We are primarily concerned with the viscosity grade but if you want more information I suggest starting with this article (HowStuffWorks: “What does the weight mean on a can of motor oil?”). The viscosity grade (for example: 20W-50) is a measure of the oils viscosity (thickness) as measured in centistokes and converted to grade using a SAE weight designation chart. Commonly, viscosity is measured in terms of the time it takes a standard amount of fluid at a specific temperature to flow through a standard orifice. A thin oil has a low viscosity grade and flows easily like water, while a thick oil has a high grade and is more resistant to flow like honey.

The viscosity grade on most modern (multi weight) oils is actually two numbers since the addition of polymers to the oil allows the viscosity to change depending on temperature. The first number in the grade indicates the weight of the oil when cold, while the second number indicates the viscosity at the higher temperature. The polymers resist the oils tendency to thin out at high temperature by uncoiling and stretching out (at cooler temperatures the polymers prefer to be coiled up and reduce viscosity). This additive allows the viscosity to be maintained at the same level over a greater temperature range.

So getting back to what oil is best to use on your press. Thinner oil is better suited to tighter clearances or for use on an old machine that hasn’t been oiled for a while and whose bearings are clogged. When you first set up a press it is best to run a thin oil through all of the oil spots until it runs clear. Once the bearings are clean, you can replace the oil with a heavier weight like 20W-50 that we use on both of our C&Ps. The easiest way to oil each one of the many holes is to use a pistol grip oiler, available at any local automotive or hardware store.

In some instances, grease may be more appropriate for lubrication since it will stick to parts that are exposed or hang upside down like the pinion and large gear cam wheel that are on the right side of your press. Grease is just oil with thickening agent added to vastly increase its viscosity. You can find grease at any automotive or hardware store.

Where do I oil?

This is pretty straightforward and luckily C&P provided an oil chart with the press. Below are the pages scanned from the manual which show you all of the important parts of the press to oil.

One last important tip I was told by an experienced printer and teacher was to label all of the oil spots on the press using a bright paint like yellow or red and to oil the press by starting at one side and working around until you get back to where you started. You should oil your press by topping off all oil holes before printing each time and replenish all oil for every 8 hours of machine use, though this might vary depending on the type of oil you use and your climate.

We get so happy when we receive new letterpress stuff, so when we got a new set of Kort Adjustable Quad Guides we had to take some pictures of them and share them with you. Printing in the shop has changed quite a bit over the past year. When we first started out, we used photo corners or paper flaps to hold paper on the tympan when printing. This can be a quick/cheap solution and can be useful if the design your printing has a bleed on multiple sides.

A while ago we switched to Megill Spring Tongue Gauge Pins (below). These gauge pins have adjustable tongues and attach to the tympan much like a paper clip. The pointed side is used to create a slit in the tympan to secure the gauge pin. Once secured, the gauge pin can be slid up/down or left/right to register the print properly on the paper. For most applications, the gauge pins will stay in place while printing however sealing wax can be melted around the gauge pin to secure it further to the tympan. Here are some pictures of the Megill Gauge Pins we use in the shop:

The new Quad Guides we got from John Barrett’s Letterpress Things are much higher quality and will be perfect for feeding heavier stock such as 220# Lettra. A set of three quad guides plus extra tongues cost $26 plus shipping. To attach a Kort Adjustable Guide to the tympan:

1. Use a make-ready knife (X-Acto knife) to cut a slit in the tympan 18 points below and parallel to the guide line.
2. Unlock the guide, grip it with your thumb and forefinger and squeeze together inserting the bottom of the guide on an angle into the slit in the tympan.
3. Slide the guide in as far as it will go and make a second slit at the rear of the guide. Insert the tip of the make-ready knife in the rear slit on the right side of the guide to open the slit. Slide the guide back so that the bottom steel base slips under the tympan and the front of the guide lines up with the guide line. To secure the guide, press the release lever down.The quad guide is firm enough to feed light stock to 10-ply board without slipping.No sealing wax is needed to secure the guide to the tympan.

Here are some pictures of the quad guides and the packaging:

Since these guides are much more expensive than the Megill Gauge Pins, you want to be extra careful not to smash the guide against your plate, base, or gripper bars. If you have any question about these guides/gauge pins, please feel free to ask.

Even after carefully storing your photpolymer plates, you still get a few that stiffen up and curl on you. The solution to this is to dampen a paper towel and place it in a zip lock bag with the photopolymer plate that needs to be flatened. Leave the plate and the paper towel in the sealed zip lock for approx 20-30 mins. If you leave it in too long, it will start to curl the other way. If that happens, simply take the photopolymer out of the plastic bag and let sit out for a bit.

Were always trying to come up with inventive ways to get a tight registration on multi color jobs.  I find it quite annoying to be constantly adjusting my gauge pins, moving the plate, taking apart the chase, adjusting furniture etc, etc, (you all know the drill).  The closest way I found was using transparencies which I wrote about in an earlier post Multicolor Registration, but we have something in the works that might be alot easier when using photopolymer plates. 

We are using something called a translation stage which consist of a base and a platform and the platform moves in extremely small and precise increments, I’m talking microns.  What we came up with is to mount a piece of .25 inch aluminum to the platform of a translation stage, thus making it ”type high” when a sticky back photopolymer plate is added. You can actually take the whole translation stage and lock that up in your chase.  When you need to make fine adjustments you need to turn the dial on the translation stage and you can move the platform right to left without ever adjusting your gauge pins.

When we finalize the details to this, I will be sure to share it with everyone.  In the meantime, if you have no idea what a translation stage is or what I’m talking about, here is a picture for your reference.  For those who have an idea of what I’m talking about, I would love to hear your ideas on this.  If anyone is interested in this please contact us at contact@dolcepress.com.

Gilding as defined in Wikipedia is the art of applying a thin layer of gold, simulated gold, or other metal to a surface. Products employed may be real gold leaf ranging in karats from 9 up to 24; imitation leaf–composition gold, Dutch metal leaf, aluminum leaf, copper leaf; variegated leaf, mica powders; etc.

Lately, I have been getting some requests for wedding invitaions edged in gold or silver.  Since this is quite new to me, I did some research online and this is what I came up with.  First, sandwich 100 (or however many) invitations together, using a book press or any 2 flat heavy objects.  Make sure you put a scrap piece of paper on top of the stack and one on the bottom.  Next, with a paint brush, brush glue to the edges of the paper. Once glue is applied, and almost dry I add the gold or silver leaf to the edges and lightly push down with a clean paint brush or some glassine paper if you have any.  Once dry,  remove the remaining leaf from the paper.

Here is an interesting video from Crane’s and about 4/5 way thorugh the video is a nice clip on how Crane’s creates gold edging to their paper. 

I have also heard of people painting or applying gold powder to the edges of the paper. If anyone else could share how they get gold edging on paper, that would be great!  I am always interested in learning new techniques. 

The title is pretty strange but as odd as it seems it’s very true.  I had some type that was cast “shallow” and when printing on really soft paper it was actually printing the lead as well as the type.  I know you all might be thinking ; I have to adjust my rails, I am over inking, etc etc, but that wasn’t the case because it just happened to be the letter “h” in this particular set of type (10 pt. Lydian and the defect in the type was obvious).  To solve this problem, I used a nail file to actually shave down the part of the lead that was uneven and it turned out to be a perfect solution (warning: be careful because it is easy to damage the type).  You can use sand paper, but I like the stiffness of a nail file and frankly I think it works a whole lot easier.  Plus nail files come in different diameters and shapes so im sure you can find the right one for the job.    Pictures below will show the print before and after the filing.

BEFORE FILING

 
AFTER FILING

Lettra - American - It is 100% cotton, soft and luxurious to the touch, yet strong and stable on press. Lettra’s distinct “letterpress finish” is rare and engaging in a machine-made, commercial paper. Lettra is uncalendered, meaning that it is not smoothed in the calender stacks on the papermaking machine. The cotton fibers are relatively uncompacted, so the sheet feels extra-bulky, even fluffy. Cotton fibers are naturally long and strong, but also non-rigid. Lettra is made without surface sizing to maximize its suppleness and its receptiveness to a deep impression.

Arturo - Italian - a mouldmade paper of 100% high alpha cellulose made by the historic Cartiera Magnani Mill - available in a range of sizes, including square sheets, all with deckled edges and matching envelopes.

Somerset- British - a mouldmade paper of 100% cotton produced in Wells, England- available in a range of sizes.

Arches - French- Mouldmade in France specifically for printmaking and publishing, Arches Cover has a pronounced grain, two watermarks, and two natural deckle edges. It works beautifully for any printmaking process, or as a drawing surface.  Arches Cover is 100% cotton fiber, acid-free, pH neutral, internally sized and buffered. 

ColorPlan- British - a machine made paper of 100% Virgin ECF Fibre produced by GFSmith, available in a range of weights and sizes, including square sheets.  The great part about this paper is that it comes in 20 different colors.

Crane Palette - American - The 100 percent cotton Palette collection provides an unrivaled selection of colors, weights and finishes, never before found in a text and cover line. The three whites coordinate with Crane’s Crest and Crane’s Choice and the distinctive colors range from soft pastels to intense, saturated darks. Comes in 18 different colors.

Fabriano Medioevalis - Italian - Crafted in Italy by the Fabriano mill, this soft white deckle-edged stationery adds a distinctive flair to letters, invitations, and announcements.

Magnani Pescia - Italian - Paper is mouldmade in Italy from 100% cotton. It is chlorine-free, with neutral pH. Each sheet has two natural deckles and two tear deckles. 300 gsm.  

Rives - French - This very popular, fine printmaking paper is mouldmade in France and has a smooth, absorbent surface. Rives Papers, made of 100% cotton, are acid free, soft-sized, and buffered.  Each sheet is watermarked and has two natural deckles and two tear deckled edges. Three weights available.

Oyster Card - Dutch -a machine made paper of 100% paste board in a range of weights and sizes, including 450 gsm, 600 gsm and the super thick 750 gsm. Perfect for hand gilded beveled edges.

Canson Edition - American - These are luxurious 100% cotton, acid-free papers that deliver excellent performance with a variety of media. Each sheet features two deckled edges and two distinct surfaces, one smooth and one slightly textured.

If anyone uses other papers for letterpress, please share.  I would love to see what other printers and hobbyists are using.

Update: For more information on Makeready, check out Cromwell’s manual, “Makeready … the details and the techniques“.

After adjusting the platen and planarizing the press I thought my problems with uneven impressions were over. Unfortunately, I was very wrong! A couple of months back I had acquired a large amount of type and finally got around to using it when I had to make personlized stationery for a client. It became very apparent that I had some dishing on my platen when I went to use my 48 pt font. I noticed that the letters “D” and “l” were barely impressing the paper (oldschool printers, please don’t take offense). So now what do you do? The answer is make ready, the process of building up certain areas for even impression. Since my “D” was making less of an impression than my “l”, I cut a piece of 20lb copy paper for my “D” and a piece of tissue paper for my “l”. I take an impression on my tympan and then with a glue stick or make ready paste, adhere the pieces of paper to the letters than need to be built up on the tympan. Make sure the pieces of paper are exact.

The picture below is of my make ready.

Finished Product

There are alot of different tools out in the market to score paper.  Such tools as bone folders, line scorers used by scrapbookers are great for cardstocks and plain paper but does not work too well on 100% cotton paper such as lettra.

A good way to score a card is right on your letterpress machine.  There are scorers and perforated lines you can buy that you lock up right in your chase.  The only problem you might run into is denting your platen.  You do not have to be concerned if you are not constantly scoring but if you are, you can always dedicate one press to scoring and perfing. But lets face it, for some people its hard enough to get your hands on 1 press.  If you have a manual press such as a C&P pilot or Kelsey you can just use less pressure on the lever.

A recent post on the list in regards to scoring led me to these 2 alternatives. 
http://www.scorit.com/
and
http://www.thelineboard.com/the_perf-it_score_board.htm

Please feel free to share other ways of scoring paper.