Tom,

I had thought, much like you do, that hand-washing would be accurate
than machine washing--until I recently switched over to a machine
washout. I purchased the machine for better exposure and for
convenience, but didn't anticipate better washout.

In fact, the machine washout produces noticeably better plates. The
main advantage to the machine is its evenness of pressure. You don't
need to check the plate periodically for unwashed areas because the
whole plate washes out at the same rate. Corners took notoriously
long to wash out by hand; now, I don't have to worry about overdoing
the washout in the center. This isn't such a problem on type, but a
10% or 5% screen in the middle of your plate will suffer from
excessive washout. Because its pressure is constant, it doesn't tend
to wash away isolated dots as easily.

Since the machine brushes are larger, they also get the plate out of
the water sooner. Some plates, especially the large (say, 11x17)
ones, had to remain underwater for 10+ minutes to wash out with a 4x8
brush. Leaving them underwater so long can cause delamination of the
plate. Oh, and the machine brushes don't have hard plastic corners
that can scratch the surface of your plate.

Handwashing works. Telling the difference between a machine washed
plate and a hand washed plate (by someone who has excellent
technique) would be impossible on most small plates. But for large
plates or ones with isolated dots, light screens, or very small text,
machine washing works much better.

Harold Kyle
www.boxcarpress.com

Thanks Gerald,
Your description of the washout machine action is about as I imagined, having
only seen one not in operation. My washout time is presently quite a bit
longer than others have mentioned, perhaps because I use a very soft brush
and only very gently agitate. Obviously still some room for experimentation
here, but my results now are quite consistent and it seems possible to
control it by hand washing.

My first question was probably simpler than your answer: just that the plate
references (such as MK or MLD) don't tell me much unless I am using the same
source for plates, I think. Would the MK152 be the same as the MS152 I get
from Gene Becker? Maybe I just need to go back to the various notes Gene gave
me to see if the answer is there. Similarly, I have had some difficulty
making comparison with materials supplied by NA Graphics, because the names
differ. So I thought it might help if I say Gene Becker's Miraclon MS152
rather than 152 or MS152....

Regarding toxicity, it sounds like it's a question of skin sensitivity rather
than poison or carcinogin. I have hand-washed maybe 40 sheets (A3 size,
297x420 mm = 11x15? cut to innumerable smaller plates) over six years or so.
No gloves. No noticable skin reaction, no other problems at all (except an
occasional cut from the sharp edge of the metal backing, of course). I do
keep the water running slightly (to keep the temperature constant) so maybe
the concentration is low. Or maybe I'm just not sensitive. So far, it seems
to me remarkably benign. The very slight odor from unexposed material also
seems inconsequential to me. UV light, of course, is bad for the eyes (and
skin as well, I think).

Best regards, Tom

Tom Parson
Now It's Up To You Publications
157 S. Logan, Denver CO 80209
(303) 777-8951
http://members.aol.com/typetom

Hello Tom,
The orbital washout unit has been the only way I have been able to produce
consistently good plates efficiently. The time factor is very important.
     About twenty years ago, when the photo polymer was just entering the
market, I was told by salesmen that the plate could be exposed in the sun
and washed out in a sink with any brush. I spent what seemed and endless
amount of time discovering only that there are many variables. I built
things, converted things, nothing I did seemed to have the same results
twice, or that the plates were just not good enough. I like process, but I
was always off task trying to find a solution.
     While not quite a glorious epiphany, the machine allowed me to make
accurate plates, in a short time with not so much guess work. I only had to
pay attention to the orientation and density of the negative, the suction
of the vacuum table, cleanliness of the kreene, monitor the wash out, water
temperature, drying and final exposure to harden the material. The process
is simple and consistent (generally).
     I like to examine the plate during washout to check that as much
material has washed away as possible but not so much as to weaken its
structural integrity , (small bits of the design, or letters that break off
during printing that you don't notice until you are finished).
     Gerald has a good explanation of the washout process.
     I think Monotype had much more exacting details built into their
production, and while success at times seems atmospheric the documentation
they provided would allow you some success. There are just so many pieces
to pull together and each one requires complete attention to detail.

     If you contact me off list I can send you some plate processing
instructions for Miraclon/Rigilon, this is the MLD made by Toyoba. They
also recommend it for crash printing, hot stamping and for pantograph
masters. I have only used it for letterpress printing.

Regards
Frank

Hello Tom
I seem to be sensitive to the water after washout, my skin can become very
chapped, so always wear vinyl gloves. I do the same for every press wash
up. I haven't noticed much fumes associated with the plate material I use
the most.

Frank
in California


Mark Attwood wrote:

>
>
> Dear Polymer Fundis,
>
> I hand washout my polymer plates using a large brush, and put my hand
> into
> the water while doing this to turn the plate every so often for even
> washout.
>
> I wondered if anyone knows if there is any health risk attached to this,
> or
> possible fumes from the plates?
>
>
> Mark Attwood.
>
>
> South Africa
> mark@...
>
>
> P.S. Fundi is a Zulu word meaning "someone who really knows"
>
>                    Yahoo! Groups Sponsor
                         ADVERTISEMENT
                          [Click Here!]

>
> Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.


[Non-text portions of this message have been removed]

I can't imagine polymer plates being particularly hazardous compared to all
the other chemicals used in printing.
I am particularly sensitive to photo developers containing metol--but
polymer has never bothered me in the least.  I suppose if you are really
concernd about this there would certainly be no harm in wearing rubber
gloves and installing adequate ventilation.
Ed

Hi Gerald,

Thanks very much for the info. It is good to know that no other manufacturer
makes any mention of toxicity. It is just difficult to get any info on this
in South Africa, so it is great to be able to discuss this sort of thing on
this list.

Those BASF plates really do stink. It's the reason I changed to the Jet
plates. The BASF are easier to hand wash because you can see the red
material more easily than the transparent Jet material, and know when to
stop washing, but I would rather use the trickier ones than deal with the
smell.


regards,
Mark.



Mark Attwood

The Artists' Press
Box 623
Newtown
2113
South Africa

Tel. +27 11 836 5474
fax. +27 11 836 6858
mark@...


----------
>From: Gerald Lange <bieler@...>
>To: PPLetterpress@yahoogroups.com
>Subject: Re: [PPLetterpress] Re: Polymer toxicity?
>Date: Thu, Oct 4, 2001, 7:37 am
>

> Dear Mark
>
> Actually, I don't think they are saying they are toxic. Note, no other
> manufacturer actually has come out with such a statement, far as I can tell.
> Basically, and I suspect this is true, they are saying some people might be
> "sensitive" or react to continued exposure.
>
> I mentioned in a recent post how I thought BASF plates "stunk." They smell
> awful. And they crud up the washout unit. I'm guessing there was a very subtle
> transition between the "older technology" photopolymer and present-day
> photopolymer (both Miraclon and BASF's nyloprint may be a bit "older" than say
> the later Japanese developments) and my suspicions are that early nyloprint
> material and most of Miraclon material may be of transition formulation.
> Especially Miraclon, since it is so associated with liquid photopolymer
> applications and techniques and the "older" chemical washout processes.
> For example, Tim's trick with the talcum powder, was, at one time, almost a
> requirement but this is now never mentioned in industrial reports on sheet
> polymer processing, though often is when referring to liguid photopolymer.
>
> Use the gloves, please. If you are hand-washing this stuff, use gloves. Also,
> BASF does recommend that you throw away those acetate cover sheets once they
> are pulled off the raw material, and that you do not use them for any other
> purpose.
>
> It would seem quite clear that finished material poses no threat, but that
high
> concentrations of raw material suspended in the wash are best avoided.
>
> Gerald
>
>
>
> Mark Attwood wrote:
>>
>> Hi Gerald,
>>
>> So reading between the lines BASF are saying that the washout solution may
>> be toxic. I have found that the bASF plates give off a destinct odour which
>> makes me feel a bit queezy and headachey, whereas the Jet brand does not.
>>
>> I will use gloves from now on when doing washout by hand.
>>
>> The BASF report says nothing about the fumes. Do you have any idea of that?
>>
>> Regards,
>> Mark.
>>
>> Mark Attwood
>>
>> The Artists' Press
>> Box 623
>> Newtown
>> 2113
>> South Africa
>
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>

Hi Frank,

I have recently started using surgical latex gloves for the washout. they
are thin enough for me to be able to still "feel" the slimy or squeaky
nature of the plate and to know when I get down to the metal.

hope this helps,
Mark.
in South Africa


Frank wrote:

> Hello Tom
> I seem to be sensitive to the water after washout, my skin can become very
> chapped, so always wear vinyl gloves. I do the same for every press wash
> up. I haven't noticed much fumes associated with the plate material I use
> the most.
>
> Frank
> in California
>
>
> Mark Attwood wrote:
>
>>
>>
>> Dear Polymer Fundis,
>>
>> I hand washout my polymer plates using a large brush, and put my hand
>> into
>> the water while doing this to turn the plate every so often for even
>> washout.
>>
>> I wondered if anyone knows if there is any health risk attached to this,
>> or
>> possible fumes from the plates?
>>
>>
>> Mark Attwood.
>>
>>
>> South Africa
>> mark@...
>>
>>
>> P.S. Fundi is a Zulu word meaning "someone who really knows"
>>
>>                    Yahoo! Groups Sponsor
>                         ADVERTISEMENT
>                          [Click Here!]
>
>>
>> Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.
>
>
> [Non-text portions of this message have been removed]
>
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>

>It is good to know that no other manufacturer
>makes any mention of toxicity.

I suspect that no manufacturer _doesn't_ make a mention of toxicity.
If they didn't, they would be very vulnerable to lawsuits related to
a random allergic reaction. This information isn't printed on the
back of each plate, of course, but on MSDSs. I don't have time to
quote any of the MSDSs I have laying around--electrician's about to
pull my plug--but you might check yours to see if it lists "Health
Hazard Data." Mine targets "acrylate sensitive persons"...?

Your plates may be manufactured differently than the ones we're
talking about on the list. If you have a fax machine, request an MSDS
for the plate you're using for information on its toxicity. If you
develop a bad reaction because of contact with polymer plates,
ignorance is no defense.

Harold

PPL

Seller says this is new

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1470605408

same seller has a carton of Jet plates in a second auction.

As always, buyer beware,

Gerald

Was going to post this on TYPO-L but figured it would just turn into a
roundaround thread. There are more than a few "heavyhitters" here who
I bet could help me out on this.

I know what an "ear" is for a letterform/character but have only relatively
recently come across the variegated "tongue." This is usually in reference
to manuscript bookwork or very early printed bookwork (specifically B42)
and, oddly enough, TeX.

My understanding is that this was (is?) for word spacing adjustment. Anyone
know of anything planned in regard to OpenType or beyond?

Curious

Gerald

Randolph Bertin will be conducting a workshop on making and prining from
polymer plates at the upcoming "Image & Text" symposium at Stephen F.
Austin State Univ. Nacogdoches, TX. on Nov 1-3


The announcement for the symposium is available to be sent by email, fax,
or regular snail.  There is a great lineup of workshops  including Emily
Martin's alternate structures, Priscilla Spitler, new case binding, Nick
Yeager, modern approaches to a medieval binding, Randolph Bertin teaching
about photopolymer  plates and classic Asa Peavy on printing hand set type.

Symposium topics and discussions will take place during the mornings with
the workshops continuing each afternoon and all day Sat.
	 Symposium participants include Nikola Petkovic, Svetlana Rakic,
Marcus Burke, Michael Ricker, Emily Martin, Omar Pound, Karen Zagrodnik,
Chris Ingersol, Amy Halpern, Judy Morgan, Anita Powell, Rachel Jennings and
others discussing topics concerned with Structures of Meaning, Imaging the
Future, The Page and the Screen, Redefining the Book in the Information
Age, and Visiones Latinos.
 	 Evening events include exhibitions, and poetry reading/music
happenings with a special presentation of "The Candide Portfolio" the new
publication of LaNana Creek Press On Wed. Oct 31, 7:00 pm.  This will
include an exhibition of the etchings included, selected readings from the
work in French and English and selections of music and arias from the
Bernstein opera, "Candide."

For a copy of the brochure, or more information contact Charles Jones at
cjones@..., 936-468-4240.

Airports serving the area: Longview, TX, Tyler, TX. Shreveport, LA, Houston
Bush inter. and Dallas/Ft. Worth in order of distance.  (Houston is 114
miles.)

Per person rates:
Symposium workshops, each, one day or all 		 $25

	 (at the door) 					 $30

Program packet 								 $5

Barbecue  11/3/01 				 $10

Round Trip Airport Shttle + local 			 $40

Book Fair Deposit (refundable at door) 		 $25

Total

Conference Hotel:  The Fredonia Hotel, 100 North Fredonia, Nacogdoches, TX,
Tel (800)594-5323.  Ask for IME 7 TEXT rate-$65 per night, 1-4  to a room.
Parking:  Stop at the SFA Information Booth on Vista Drive for three-day
parking pass..

Additional Information:  Tel (936) 468-4240; Fax (36) 468-2938, E-mail:
cjones@...



_______________________________________________________________________________

Charles D. Jones
LaNana Creek Press
Crazy Creek Press

Nacogdoches, Texas
Artist/Teacher/Printer

Number 4. Most popular of Vandercook's presees prior to the SP-15.
Seller is in Cincinnati. Machine looks clean. Someone took care of it,
or, at least, cleaned it up for the auction.

Personally don't like the inking mechanisms on pre SP15/20/25 or
Universal I/III Vandercooks. First documented ue of a Vandercook for
fine edition work was in the early 50s. Became popular for fine printing in
the mid-60s to mid-70s (post SP and Uni). Older models (3, 4, 219) picked
up the carry over. But certainly capable of precise work.

There used to be a caution in regard to Vandercooks, since they came
with beds at type high or type high with galley. Lot of the galley presses
were passed by in the old days. No longer a problem with photopolymer.
Wish I now had one or two of those galley Universal I's I walked away
from.

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1646725354

Take a look see. Nice freshly painted feedboard.


Ger

Harold wrote:

>  request an MSDS> for the plate you're using for information on its toxicity.

Thanks Harold.


Mark Attwood
mark@...

Hi everybody, well the Heidelberg is up and running, I just need a little
information re the photopolymer plate that I have had to make for this
particular job, can somebody tell me what exposure times they use under UV
lights, I use a upright plate maker with a bank of 6 UV tubes about one and
a half to two inches away from the image, and expose it for around 3
minutes, and wash it out in a wash out tank for approximately 8 minutes.
The smaller print doesn't tend to come out very well the rest of it looks
just fine, I am wondering if my washout time is too long or I haven't
exposed it long enough or too much, can anyone help?


Regards,

Milton Watkins

Ballarat Bookbinding & Specialist Printing
31 Burnbank Street, Ballarat, Victoria, Australia, 3350.
Ph: +61 03 5339 3355
Fax: +61 03 5339 3600
Mobile: 0438 876 467
Email: ballarat@...
Web page: http://www.bookbinding.com.au

PPL

This is partially in response to Milton's inquiry.

If you need to expose one element of the negative longer than another,
you can mask off the element that needs less exposure with an opaque
material such as Rubylith. With the vacuum on and the negative-to-
plate contact secure, register and tape the mask to the vacuum sheet.
After you have exposed the element that requires the longest exposure,
remove the mask and re-expose the plate (you can determine the initial
exposure rate by subtracting the rate of exposure of the shortest
exposure requirement from that of the longest.)

It might seem to make more sense to do this the other way around
(which is what I initially suggested to Milton). But it is a bit
easier on the nerves to mask this all out before you begin exposing,
than to try and mask at midpoint.

Gerald

PPL

Several interesting threads on photopolymer, digital letterpress, etc
have appeared on Book_Arts-L in the last several days. Worth
following.

Gerald

Gerald,

I have found that UV light seems to partially go through rubylith and give
semi-exposed areas on the polymer, whereas if I use goldenrod paper it
doesn't do it. Am I using the wrong rubylith?

Mark.



Mark Attwood
mark@...


----------
>From: "Gerald Lange" <bieler@...>
>To: PPLetterpress@yahoogroups.com
>Subject: [PPLetterpress] Halting exposure
>Date: Thu, Oct 11, 2001, 5:29 am
>

> PPL
>
> This is partially in response to Milton's inquiry.
>
> If you need to expose one element of the negative longer than another,
> you can mask off the element that needs less exposure with an opaque
> material such as Rubylith. With the vacuum on and the negative-to-
> plate contact secure, register and tape the mask to the vacuum sheet.
> After you have exposed the element that requires the longest exposure,
> remove the mask and re-expose the plate (you can determine the initial
> exposure rate by subtracting the rate of exposure of the shortest
> exposure requirement from that of the longest.)
>
> It might seem to make more sense to do this the other way around
> (which is what I initially suggested to Milton). But it is a bit
> easier on the nerves to mask this all out before you begin exposing,
> than to try and mask at midpoint.
>
> Gerald
>
>
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>

Dear Mark

Stay with the goldenrod. Strips of film negative will work as well.

Gerald


Mark Attwood wrote:
>
> Gerald,
>
> I have found that UV light seems to partially go through rubylith and give
> semi-exposed areas on the polymer, whereas if I use goldenrod paper it
> doesn't do it. Am I using the wrong rubylith?
>
> Mark.

PPL

Those of you who are also members of the Fine Press Book Association,
please note that there is a YahooGroup site for FPBA members at

http://groups.yahoo.com/group/FinePressBook

This was set up a couple of months ago but will be officially
announced at the Oak Knoll Fest this weekend. If you are not a FPBA
member but would like to join please visit the official website at

fpba.com

The Association's journal, Parenthesis, is fast following in the path
of Fine Print/Bookways and is part of membership benefits. I am the
North American Chairman of the organization so if you have any
questions you can direct them to me at

Bieler@...

Gerald

Some related group sites have appeared recently:

Santa Barbara Area Book Arts Connection. Similar in its regional,
amateur, emphasis to sfletterpress. Bit on the light side, too much
"fun and games" at this point.

Turn right at Type Road. For historians, collectors, and printers of
wood type. Restricted membership. Just started. [Rob Roy Kelly's
_American Wood Type_ has that great photo of the road sign "Type Rd.",
which marks the way to the now non-existent Allen/Tubbs mill.]


Some other interesting sites are Qalam (on the writing systems of the
world) and Before ASCII_ART (on concrete poetry). Both are diverse,
far-ranging, and the sites are loaded with links and files.


Also, PPL member Andy Crewdson's Lines and Splines (not Yahoo) is one
of the more engaging and informative websites on things typographic.


http://groups.yahoo.com/group/bookartsconnection
http://groups.yahoo.com/group/TypeRoad
http://groups.yahoo.com/group/Qalam
http://groups.yahoo.com/group/BeforeASCII_ART
www.linesandsplines.com

check em out

Gerald

Gerald:

I am enjoying your splendid book.  It is a pleasure to have, really.

As for my project:  I am still in pre-press because of the diverse
components.  The service bureau worker decided I was going way over the
budget figure I mentioned to him when we started to Quark the pages with all
the illustrations.  I arranged with a friend who has  a Mac G3 to install
Pagemaker (she has PHotoshop already) and we are both figuring the PM stuff
out.

The service bureau guy agreed to complete the first three booklets
(quarto-like yours), and I see PM has a Quark translator which will help
because I still need to laser print what we have -- even with the guy's
proofs.  I have ledger size (8x 14 or 17) scanned as bitmap images of ship
logs and letters which I am going produce myself because as I said, the
copperplate hand is appealing.  Is that crazy or what?

These I want to use as a kind of floor for a clam shell box on which the
pamphlets rest.

I looked at the W. Caslon site and agree it is a wonderful typeface, a
beautiful job. The 200 bucks is not a bad price at all.  Does one need both
packages?

Anyway, I wanted you to know that I am savoring Printing Digital.

David Hodgdon

my name is christine and I am designing a line of letterpress birth
announcements and wedding invitatins. very distinct and high-end.

I am looking for someone who owns/operates a letterpress and would
like to fulfill the letterpress pieces as they are ordered. I
anticipate about 2-3 orders a month with about 100-150 qty per print
run.

is anyone interested? if so, let's talk! please contact me at
thepear2450@...

thank you.

PPL:

Anyone looking for stock historical cuts might want to check out

http://wally.rit.edu/pubs/guides/quaintcuts.html

Good bibliography of Dover et al.


Black Rock Press has an interesting bibliography of books arts related
stuff at its site. Odd to see the Edward Rusche listings. Rusche spent
some time at the Plantin Press. There was a reason there were "twenty-
six" of those gasoline stations. Or not. But, how many famous artists
have a respect for type?


In case you haven't seen it yet, you might want to get a copy of
_Digital Book Design and Publishing_ by Douglas Holleley. I use this
for a class I teach and the students love it. Now that's a change.
This book is loaded and the info is clean, and useful. Co-published by

clarellen.com

and

Cary Graphic Arts Press
http://wally.rit.edu.cary


Last but not least, PPL member Harold Kyle (Boxcarpress.com), has some very
useful info on photopolymer for foil stamping in book binding applications
currently posted on Book_Arts-L.



Ger

Greetings all,

Thought I would toss this out there.

What types of solvents are being used to wash the ink away from polymer
plates?

Any difference for relief or intaglio style?

One artist that I know uses Canola or vegetable oil to clean the intaglio
style plates. This can leave an oily residue which can be touched-up with
roller wash. The plate can also be stripped of oil residue by running it
back through an etching press onto proof paper.



Thanks,

Dan Mayer
Book Arts Printer & Shop Manager
Pyracantha Press
School of Art
Arizona State University
Tempe, AZ 85287-1505

480-965-3713
djmayer@...

I use POSCO Rubber and Plastic Plate Wash. Its a version of old fashioned
type wash. Cleans quickly and deeply and evaporates quickly as well. Roller
wash will work, but dries slowly.

Some just wipe the plates off with a rag and call it a day.

James Shanley
B Designs

Gerald: The POSCO product number is P1320. Call them at 800-252-5290. I get
the plate wash in 5gal buckets.

For washing up my windmills, I am using Genie Safe & Easy, followed by
Mirachem Pressroom Cleaner. Then a quick water rinse, followed by California
Exempt Roller Wash on a rag. A bit anal retentive? Yes, indeedee, but it has
drastically reduced the moaning and groaning from the other side of the shop
about the "smells". Anything to stop the moaning and groaning.

One benefit of the Genie product is that it acts as a deglazer, too. My
rollers are staying very nice.

All best.
James

Hello Dan,
I use press wash (not type wash) that is purchased from LDR. It dries a
little slowly, but still generally faster than I work.
Frank

Dan Mayer wrote:

> Greetings all,
>
> Thought I would toss this out there.
>
> What types of solvents are being used to wash the ink away from polymer
> plates?
>
> Any difference for relief or intaglio style?
>
> One artist that I know uses Canola or vegetable oil to clean the intaglio
>
> style plates. This can leave an oily residue which can be touched-up with
>
> roller wash. The plate can also be stripped of oil residue by running it
> back through an etching press onto proof paper.
>
>
>
> Thanks,
>
> Dan Mayer
> Book Arts Printer & Shop Manager
> Pyracantha Press
> School of Art
> Arizona State University
> Tempe, AZ 85287-1505
>
> 480-965-3713
> djmayer@...
>
>
>
>                    Yahoo! Groups Sponsor
                         ADVERTISEMENT


>
> Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.


[Non-text portions of this message have been removed]

Dear James

Thanks. I'll check this out. I've been using Anchor's Aled Platewash,
formulated for cleaning nylon (photopolymer) and wood type. Anchor/
LithKemKo, Inc. 800-354-2300. Works very well.

Sounds like you have quite an elaborate set up.

Sorry this is such a late response.

All best

Gerald

--- In PPLetterpress@y..., thronobulx@a... wrote:
> Gerald: The POSCO product number is P1320. Call them at 800-252-5290. I get
> the plate wash in 5gal buckets.
>
> For washing up my windmills, I am using Genie Safe & Easy, followed by
> Mirachem Pressroom Cleaner. Then a quick water rinse, followed by California
> Exempt Roller Wash on a rag. A bit anal retentive? Yes, indeedee, but it has
> drastically reduced the moaning and groaning from the other side of the shop
> about the "smells". Anything to stop the moaning and groaning.
>
> One benefit of the Genie product is that it acts as a deglazer, too. My
> rollers are staying very nice.
>
> All best.
> James

Dear Gerald: Elaborate, indeed. Most likely unneccessarily so.

Thanks for the Anchor phone number.

All best,

James

Hello Folks,
I know a printer who is clearing out some equipment. He has an Asbern
press that looks like it is in pretty good shape. It is marked ADR.1
7958  1966
Is this worth anything to anyone? He would like to know.
You can contact me at my email jullpaul@...

Oh yes, the press is in central Idaho.
Thanks.
Paula Jull