Gerald,

Thanks to you and to everyone else who sent in their opinions on this
topic; it was all very helpful.

Best,
Sylvia



>Sylvia
>
>I've got two Bunting Cerface Magnetic Bases that fit my Vandercook
>SP15 bed at 11-1/4 by 17 inches. This leaves just enough room for
>roller supports, quoins, and supporting furniture on the width. The
>press is, amazingly enough, capable of providing uniform ink coverage
>over that range.
>
>A consideration regarding a large base though might be this. Bunting
>won't make a base larger than 11-1/4 by 8-1/2 inches simply because
>they cannot guarantee that it will be precisely parallel throughout
>the measure beyond that; and they are a major manufacturer of all
>sorts of industrial products. They will make larger bases on special
>order but caution with the suggestion that such a base would need to
>be bolted down to the press bed. That is something I would give some
>thought to in your decision making. Sometimes bigger isn't better.
>
>Gerald
><http://BielerPress.blogspot.com>http://BielerPress.blogspot.com
>

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

To the earlier question regarding the deep relief bases:

I have been happy with the standard Boxcar base on my platen press.  I
haven't run into any difficulties yet.  I like the convenience of using the
smaller base on my Vandercook as well.

Allison Chapman
Igloo Press


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

Thanks to everyone who shared their Boxcar Base experience. It's nice
to start the week this way!

We've sold many 13x19 bases to SP-15 users.

On Mar 31, 2007, at 3:25 PM, nagraph1 wrote:
> but I seriouly question the reasoning behind filling up the
> bed of any press with a base that taxes the physical limits of the
> bed. My recommendation is to get two bases that will be the same size
> that can be used individually or in tandem if required for a large
> plate.

Fritz: It's easy to imagine a 13x19 form with light coverage (or
light impression, for that matter) that doesn't tax the physical
limits of the press.  Granted a 13x19 form with solid coverage and
heavy impression on vellum would tax any Vandercook, particularly the
SP-15. But there's no reason you'd tax the press with a 3x5 plate on
a 13x19 base, is there? I don't see how there's any disadvantage to
go large on a Vandercook, as long as you have some "wiggle room" to
move the base to aid registration.

That said, if someone needs the flexibility of two bases, Boxcar can
cut a 13x19 base in half at no additional charge. This is ideal
because the base's height between the two halves matches exactly
(because they come from the same original base).

If your inking rollers are inking the base, then something is way out
of adjustment and needs correcting. The printing is going to be very
poor quality if the rollers are so low. If adjusting the roller
height doesn't help, then NA Graphics has new rollers.

Finally, buying a Boxcar Base is not irreversible because we have a
satisfaction guarantee.

On Mar 31, 2007, at 11:23 PM, Gerald Lange wrote:
> Bunting
> won't make a base larger than 11-1/4 by 8-1/2 inches simply because
> they cannot guarantee that it will be precisely parallel throughout
> the measure beyond that;

Gerald: That may have something to do with the capabilities of their
machine shop, because we're able to guarantee the same tolerances
over a much larger area. None of our customers has had to bolt down
their base to my knowledge, although we've shipped many 17x22 bases
and several 24 inch square bases. It's hard to find a machine shop
that can handle these tolerances, but ours can. We guarantee it, anyway.

Harold


Harold Kyle
Boxcar Press
501 W. Fayette St. #222 ~ Syracuse, NY  13204
315-473-0930 phone ~ 315-473-0967 fax
http://www.boxcarpress.com

We have a Universal I that came with a bunting base that almost fits
the width of the bed (shy  1/16") and fills all but 2.5 inches of the
length of the bed, the first of which is down near the gripper side,
the remaining 1.5" on the back end, which is where all the quoin
action happens to happen.  It is as if some god of the press (is
there a god of printing?) had poured hot metal into the bed until its
height was roughly .85".   Works fine with a boxcar plate (given the
fact we have an adjustable bed.)

Brandon









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

Brandon

By "boxcar plate," do you mean you are using a polyester-backed plate
w/film adhesive on a Bunting Magnetic base? If so, what is the rationale?

Gerald
http://BielerPress.blogspot.com


>
> We have a Universal I that came with a bunting base that almost fits
> the width of the bed (shy  1/16") and fills all but 2.5 inches of the
> length of the bed, the first of which is down near the gripper side,
> the remaining 1.5" on the back end, which is where all the quoin
> action happens to happen.  It is as if some god of the press (is
> there a god of printing?) had poured hot metal into the bed until its
> height was roughly .85".   Works fine with a boxcar plate (given the
> fact we have an adjustable bed.)
>
> Brandon
>
>

>
>
> By "boxcar plate," do you mean you are using a polyester-backed plate
> w/film adhesive on a Bunting Magnetic base? If so, what is the
> rationale?
>

Yes we use polyester-backed plates w/ film adhesive (a whole lot
easier to say boxcar plate), but it's not on a magnetic base, its
just an aluminum base. I don't know why I said bunting.

But, even on a magnetic base I would use boxcar plates (and have
before, on other people's setup) and just adjust the press
accordingly, for a number of reasons, though mostly for quick
registration (we tape the plate upside down to the paper, properly
registered, and then run it through the press).  Yesterday we had a
last minute switch on a poster for a summer movie series--  the
client wanted to change "last of the unicorns"  to "the last
unicorn."  rather than order a new negative we chopped up the plate
with scissors and rearranged the words.  I would never attempt
something like that on a steel backed plate.





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

Brandon

A Kutrimmer works quite well for precision cutting on steel-backed
plates. I did have an occasion to correct a steel-backed plate in the
manner you describe. Not something I'd suggest as common routine.

Don't know though that I'd also suggest this as a qualitative measure
for a polyester-backed vs. steel-backed kind of thing. That seems a
bit silly. Quick and dirty fixes are just what they are, and I'd
"hope" not a rationale for preference or practice.

Gerald
http://BielerPress.blogspot.com


>
> But, even on a magnetic base I would use boxcar plates (and have
> before, on other people's setup) and just adjust the press
> accordingly, for a number of reasons, though mostly for quick
> registration (we tape the plate upside down to the paper, properly
> registered, and then run it through the press).  Yesterday we had a
> last minute switch on a poster for a summer movie series--  the
> client wanted to change "last of the unicorns"  to "the last
> unicorn."  rather than order a new negative we chopped up the plate
> with scissors and rearranged the words.  I would never attempt
> something like that on a steel backed plate.
>
>

While kutrimmers are handy for cutting straight lines, I find the
need to cut in curves or around particular items-  which I have tried
on steel plates with snips but the results are difficult to come by
and often messy.  As per quick and dirty fixes, while I'm a
perfectionist like the rest of us-  an end result I can be proud of
is what I'm after and the number of paths I take to that result on a
day to day basis are widely varied.  In this instance the job was a
favor and with a whole bunch of paying jobs waiting in queue, quick
and dirty sounded mighty delicious.

Brandon


On Apr 5, 2007, at 12:59 AM, Gerald Lange wrote:

> Brandon
>
> A Kutrimmer works quite well for precision cutting on steel-backed
> plates. I did have an occasion to correct a steel-backed plate in the
> manner you describe. Not something I'd suggest as common routine.
>
> Don't know though that I'd also suggest this as a qualitative measure
> for a polyester-backed vs. steel-backed kind of thing. That seems a
> bit silly. Quick and dirty fixes are just what they are, and I'd
> "hope" not a rationale for preference or practice.
>
> Gerald
> http://BielerPress.blogspot.com
>
> >
> > But, even on a magnetic base I would use boxcar plates (and have
> > before, on other people's setup) and just adjust the press
> > accordingly, for a number of reasons, though mostly for quick
> > registration (we tape the plate upside down to the paper, properly
> > registered, and then run it through the press). Yesterday we had a
> > last minute switch on a poster for a summer movie series-- the
> > client wanted to change "last of the unicorns" to "the last
> > unicorn." rather than order a new negative we chopped up the plate
> > with scissors and rearranged the words. I would never attempt
> > something like that on a steel backed plate.
> >
> >
>
>
>



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

In celebration of Horse & Buggy Press's tenth anniversary I decided to
organize a group letterpress show here in our foyer gallery.

Both to reprise some favorite projects of the first decade, 
and also to show the work of a few friends from across the Southeast,
several of whom I got to know via Penland.

TYPE HIGH & KICKIN': Group Letterpress Show
April 6-May 26
Josef Beery (Charlottesville, Virginia)
Trade Union Press (Ayden, North Carolina)
Ray Duffey (Raleigh, North Carolina)
Convivio Bookworks (Lake Worth, Florida)
Horse & Buggy Press (Durham, North Carolina)

Fine Press Books, Posters, Literary Broadsides, CD Packaging, 7 inches,
Limited Edition Prints, Samples of commissioned work, & more

Unlike most shows here at the BCAC Upfront Gallery, this will spill into and
through the letterpress shop.


VIEWING HOURS
April 6­May 26, 2007

Every Friday 12-2, also...

Saturday, April 14: 10­6 as part of the Durham Artwalk (same weekend as Full
Frame documentary film festival)
Sun April 15: 1­5 as part of the Durham Artwalk (same weekend as Full Frame
documentary film festival)
Friday, April 20: 6­9pm as part of Third Friday Culture Crawl
Friday, May 18: 6­9pm as part of Third Friday Culture Crawl

And by appointment at this email or 919 949 4847.

WHERE?
We are just two miles off I-85 in Durham (30 minutes from Raleigh) so if you
are travelling through please stop in. Great restaurant next door.
The neighboring gallery in the same building as us has made a nice map and
direx.
http://www.branchgallery.com/main/directions.html

Best wishes to everyone. Hope I might see some faces I havenąt seen in a
while and maybe get to meet some new folks.

Dave
_____________________________________________________

Dave Wofford
H O R S E   &   B U G G Y   P R E S S
Design, Letterpress Printing & More--for the Jet Age & Beyond
401-B1 Foster St
Durham, North Carolina 27701
horseandbuggypress@...
no fax, just rumors
www.horseandbuggypress.com (update and redesign in progress, old site up in
the meantime)
www.bullcityarts.org
919 949 4847

_____________________________________________________






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

--- In PPLetterpress@yahoogroups.com, Blue Barnhouse
<letpresslist@...> wrote:
>
> While kutrimmers are handy for cutting straight lines, I find the
> need to cut in curves or around particular items-  which I have tried
> on steel plates with snips but the results are difficult to come by
> and often messy.

There are a variety of tools that will cut metal plates on an
irregular path or a limited distance, but most will remove a width of
metal. You can get a "nibbler" at Radio Shack, and it takes a 1/16"
deep by 1/4" wide bite, which can be started from a hole drilled in
the middle of the plate; with practice, you can also use a jigsaw or
coping saw or jeweller's saw for a thinner path. I also use little
curved dental scissors, straight and curved tinsnips, and a French
version of the nibbler (it says "cisaille" on the package). All are
useful, none are perfect, and you'll need to file off edge-burrs. And
I warn you, working with cut metal like this, you really should have a
full first-aid kit and know how to make a butterfly bandage.
E Holub, SF

Hi Eric

Yeah, I've got a zillion specialized tools for this, and dropped a few
more bucks tonight searching for that nibbler. Ah, Radio Shack, sort
of like going to Home Depot, except for the wait. Still junk when you
get it home though.

I suppose this will irritate just about everyone but I'd recommend not
ever disturbing the length/width configuration of a plate, whether
steel-backed or polyester-backed. Except, of course, in the quick and
dirty or the desperate necessity. Why? The lay-down can easily get
distorted or twisted. Plain and simple.

Gerald
http://BielerPress.blogspot.com



>
> There are a variety of tools that will cut metal plates on an
> irregular path or a limited distance, but most will remove a width of
> metal. You can get a "nibbler" at Radio Shack, and it takes a 1/16"
> deep by 1/4" wide bite, which can be started from a hole drilled in
> the middle of the plate; with practice, you can also use a jigsaw or
> coping saw or jeweller's saw for a thinner path. I also use little
> curved dental scissors, straight and curved tinsnips, and a French
> version of the nibbler (it says "cisaille" on the package). All are
> useful, none are perfect, and you'll need to file off edge-burrs. And
> I warn you, working with cut metal like this, you really should have a
> full first-aid kit and know how to make a butterfly bandage.
> E Holub, SF
>

Gerald, I should add that I'm using these tools on Miraclon/Rigilon
which has a fairly rigid metal backing. A more flexible back, as on
Printight, can be more distorted by tools with a short cut (except
maybe the nibbler, which supports the remaining material as it cuts,
but it can leave a bit of a sawtooth edge). Cut Printight with
tinsnips and it may get a lasagna-edge. As I said, these tools are
useful but not perfect. And I can understand why some people prefer
the ease of cutting plastic plates with scissors or xacto.
    But since I often mount small plates on lead high-base, the nibbler
lets me trim a plate right up to the beard, butt it against foundry
type, etc.
Eric Holub, SF
--- In PPLetterpress@yahoogroups.com, "Gerald Lange" <Bieler@...> wrote:
> Yeah, I've got a zillion specialized tools for this, and dropped a few
> more bucks tonight searching for that nibbler. Ah, Radio Shack, sort
> of like going to Home Depot, except for the wait. Still junk when you
> get it home though.
>
> I suppose this will irritate just about everyone but I'd recommend not
> ever disturbing the length/width configuration of a plate, whether
> steel-backed or polyester-backed. Except, of course, in the quick and
> dirty or the desperate necessity. Why? The lay-down can easily get
> distorted or twisted. Plain and simple.

http://www.nicksherman.com/design/Intercut/

Gerald
http://BielerPress.blogspot.com

Just some information:

Besides manufacturing magnetic flatbases and magnetic cylinders for
the printing industry, Bunting actually makes non-magnetic cylinders
for use with polyester-backed plates—and has for a "lot" longer than
"boxcar plates" have been around. They never manufactured a
non-magnetic flatbase though, I assume, market-wise, they saw no
industry support since non-magnetic flatbases were readily available.
I had a bunch of the old plastic newspaper bases at one point, and
they were also made from type metal and wood (I have some very precise
aluminum combination base material that was manufactured in Germany).
Those old AWT and ATF catalogs list all sorts of base material.

Gerald
http://BielerPress.blogspot.com


> >
> > By "boxcar plate," do you mean you are using a polyester-backed plate
> > w/film adhesive on a Bunting Magnetic base? If so, what is the
> > rationale?
> >
>
> Yes we use polyester-backed plates w/ film adhesive (a whole lot
> easier to say boxcar plate), but it's not on a magnetic base, its
> just an aluminum base. I don't know why I said bunting.
>
> But, even on a magnetic base I would use boxcar plates (and have
> before, on other people's setup) and just adjust the press
> accordingly, for a number of reasons, though mostly for quick
> registration (we tape the plate upside down to the paper, properly
> registered, and then run it through the press).
>

>http://www.nicksherman.com/design/Intercut/

Way to go ;-)

Nothing like deconstruction to really appreciate letterforms.


P


--
AzByCx DwEvFu GtHsIr JqKpLo MnNmOl PkQjRi ShTgUf VeWdXc YbZa&@
ARTQ: Help stop in-box bloat! Always Remember to Trim the Quote!

Semiotx Inc. http://typeandmeaning.com
Web Strategy Consulting Communication Design Typography

Peter Fraterdeus http://www.fraterdeus.com http://www.galenaphotos.com
Galena, Illinois http://www.alphabets.com
		 Photography Irish Fiddle Political Observation
		 Philosophy Fonts Lettering

I will be offering several letterpress-related courses this summer at
both Art Center College of Design and Otis College of Art and Design:

Digital Letterpress
Otis College of Art and Design, Goldsmith Campus
9045 Lincoln Blvd, Los Angeles (Westchester)
10 weeks. Saturday afternoon, 1:30-4:30. June 2 to August 12.
Registration begins April 9. 310-665-6950.


Finer Points in Letterpress Typography
Art Center College of Design, South Campus
950 South Raymond Avenue, Pasadena
14 weeks. Tuesday night, 7 to 10. May 15 to August 14.
Registration begins April 9. 626-396-2376.


Introduction to Letterpress
Otis College of Art and Design, Goldsmith Campus
9045 Lincoln Blvd, Los Angeles (Westchester)
10 weeks. Saturday morning, 9:30-12:30. June 2 to August 12.
Registration begins April 9. 310-665-6950.


A Vandercook operation and maintenance two-day workshop, co-sponsored
by LALA Press and Tiselle in Pasadena, is also in the works.


For further information and updates, go to the post at
http://BielerPress.blogspot.com


Gerald

Hello All,

I am printing with my C & P 10x15 on 4-ply museum board usuing photopolymer
plates.  The client wants a very deep impression but when I woud get the
impression she wanted, the outline of the plate would make an impression as
well.  I know this paper is particularly thick and squishy.

Any suggestions?

Many thanks!

Karen

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

Hi Karen,

Why not just all it what it is ;-)!
Client education is always appropriate!

In traditional engravings, there's always a plate-mark, since the paper and
plate are run through the rollers together.

Otherwise, you may need a deep-engraved mag plate instead of PP...
Just my first thoughts...

I do feel somewhat concerned for your C&P. How much coverage on that plate?
(Just a few lines, I'm sure it's fine...)

PF

At 8:54 AM -0700 9 07 07, Karen Mortenson wrote:
>Hello All,
>
>I am printing with my C & P 10x15 on 4-ply museum board usuing photopolymer
plates.  The client wants a very deep impression but when I woud get the
impression she wanted, the outline of the plate would make an impression as
well.  I know this paper is particularly thick and squishy.
>
>Any suggestions?
>
>Many thanks!
>
>Karen

--
AzByCx DwEvFu GtHsIr JqKpLo MnNmOl PkQjRi ShTgUf VeWdXc YbZa&@
ARTQ: Help stop in-box bloat! Always Remember to Trim the Quote!

Semiotx Inc. http://typeandmeaning.com
Web Strategy Consulting Communication Design Typography

Peter Fraterdeus http://www.fraterdeus.com http://www.galenaphotos.com
Galena, Illinois http://www.alphabets.com
		 Photography Irish Fiddle Political Observation
		 Philosophy Fonts Lettering

Karen, Peter

I'd agree that the way to go for "deep impression" is via
photomechanical engravings rather than photopolymer, preferably with
copper though rather than magnesium - better relief, sharper
definition, longer lasting...

I think it more than client education though; these days it's fast
becoming printer education. I just use different terminology with
clients and students to steer them. Words like elegant, delicate,
refined... and contrast these with heavy, bold, squished, brutal...
This seems to work for the most part, or at least, it puts the idea of
appropriateness in mind, especially if deep impression can be
demonstrated to contribute negatively to the intent of the design.

In old printer terminology (Moxon) presswork was deemed negatively
either as "beat fat" or "beat lean." No apparent word for appropriate
presswork. Probably no need.

Gerald
http://BielerPress.blogspot.com


>
> Hi Karen,
>
> Why not just all it what it is ;-)!
> Client education is always appropriate!
>
> In traditional engravings, there's always a plate-mark, since the
paper and plate are run through the rollers together.
>
> Otherwise, you may need a deep-engraved mag plate instead of PP...
> Just my first thoughts...
>
> I do feel somewhat concerned for your C&P. How much coverage on that
plate? (Just a few lines, I'm sure it's fine...)
>
> PF
>
>
> >I am printing with my C & P 10x15 on 4-ply museum board usuing
photopolymer plates.  The client wants a very deep impression but when
I woud get the impression she wanted, the outline of the plate would
make an impression as well.  I know this paper is particularly thick
and squishy.
> >
> >Any suggestions?
> >
> >Many thanks!
> >
> >Karen
>

I'd agree with Peter, but magnesium doesn't have a clean etch on the
sidewalls of the letters like photopolymer, so zinc would be better,
and copper would be best. It is easily sourced from Owosso or Metal
Magic in Phoenix. The best engraving, and avoiding the almost always
inaccurate wood bases, is to use quarter inch thick dies mounted on
a base using toggle hooks. Bases are made by Sterling. The same
files used for photopolymer can be used for traditional
photoengravings--photopolymer is not the answer for all letterpress
printing situations.

I would disagree with Peter on steel die engraving work, like on
business cards and letterheads, that the plate or die mark is never
seen unless done by an inexperienced press operator. Plate marks are
seen on etchings and the like, but not on commercial engraving.

Fritz

>> Why not just all it what it is ;-)!
> Client education is always appropriate!
>
> In traditional engravings, there's always a plate-mark, since the
paper and plate are run through the rollers together.
>
> Otherwise, you may need a deep-engraved mag plate instead of PP...
> Just my first thoughts...
>
> I do feel somewhat concerned for your C&P. How much coverage on
that plate? (Just a few lines, I'm sure it's fine...)
>
> PF
>
> At 8:54 AM -0700 9 07 07, Karen Mortenson wrote:
> >Hello All,
> >
> >I am printing with my C & P 10x15 on 4-ply museum board usuing
photopolymer plates.  The client wants a very deep impression but
when I woud get the impression she wanted, the outline of the plate
would make an impression as well.  I know this paper is particularly
thick and squishy.
> >Karen

Karen,

Deep magnesium plates might help.

And, if you are getting not just impressions where you don't want
them, but ink there
as well, your rollers are running too close to the plate and you
could try putting tape on the rails to raise the rollers a bit.

I'm no expert but when I had a similar problem, those were my
solutions. Raising the rails was the most important; mine were quite
worn down, apparently.

Kayle





On Jul 9, 2007, at 11:54 AM, Karen Mortenson wrote:

> Hello All,
>
> I am printing with my C & P 10x15 on 4-ply museum board usuing
> photopolymer plates. The client wants a very deep impression but
> when I woud get the impression she wanted, the outline of the plate
> would make an impression as well. I know this paper is particularly
> thick and squishy.
>
> Any suggestions?
>
> Many thanks!
>
> Karen
>
> [Non-text portions of this message have been removed]
>
>
>



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

http://www.uncommongoods.com/item/item.jsp?itemId=15178&utm_medium=cpc&utm_sourc\
e=yahoo&utm_campaign=jewelry&utm_term=letterpress&OVRAW=letterpress&OVKEY=letter\
press&OVMTC=standard

JEEEZ!

And I thought the 1980's/ 1990's rage of using California Job Cases
as "craft cases"  for dried bean collections  was  . . . . .well who
could top that?

I should never have underestimated the capacity of commerce to turn a trick.

*********************************
My new business reveals itself. And here, the first ad to appear in
the NYTimes, and other assorted papers:

HELL BOX MAGIC REVEALS INNER TRUTH! DAMAGED LETTER FORMS
				 FORM THE KEY
					 TO YOUR LIFE CODE!

Feeling out of sorts?  Seeking the ONCE-HIDDEN TREASURES of true
alphabetic divination?

USE HELL BOX MAGIC!

With Hell Box Magic, you can find your secret revealed in the  the
magical smashed & dinged letters INDIVIDUALLY chosen to predict  your
future  both upside down and backwards.

Now, you can know your own personal truths, your future life's secret
for happiness previously hidden for centuries within the Black Arts
of Printing.

Using a centuries old techniques of divination once known only by
"Printer's Devils,"  Hell Box Magic is the one, true path to the
Secrets of the Illuminati  - a gnostic revelations of Alphabetic
Magic in which you CHOOSE your own readings through the special "dip
and read" method.

   See your name as revealed by the Printer's Devils! Look to the Black
Arts for the  Techniques of the Secrets Arts! Know how to read the
truth of yr life upside down and backwards! Find joy in lead!


RUSH you payment now.  Operators standing by.



Eileen









><http://www.uncommongoods.com/item/item.jsp?itemId=15178&utm_medium=cpc&utm_sou\
rce=yahoo&utm_campaign=jewelry&utm_term=letterpress&OVRAW=letterpress&OVKEY=lett\
erpress&OVMTC=standard>http://www.uncommongoods.com/item/item.jsp?itemId=15178&u\
tm_medium=cpc&utm_source=yahoo&utm_campaign=jewelry&utm_term=letterpress&OVRAW=l\
etterpress&OVKEY=letterpress&OVMTC=standard
>
>


--






"Work as though you were in the
   early days of a new Nation."











"

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

Eileen

This is quite brilliant. Hate to say it, but you could probably sell
this. You've certainly got the hype down. Ha! you might even pick up a
willing distributor or two from this list!!!

Gerald


>
>
>
> I should never have underestimated the capacity of commerce to turn
a trick.
>
> *********************************
> My new business reveals itself. And here, the first ad to appear in
> the NYTimes, and other assorted papers:
>
> HELL BOX MAGIC REVEALS INNER TRUTH! DAMAGED LETTER FORMS
> 			 FORM THE KEY
> 				 TO YOUR LIFE CODE!
>
> Feeling out of sorts?  Seeking the ONCE-HIDDEN TREASURES of true
> alphabetic divination?
>
> USE HELL BOX MAGIC!
>
> With Hell Box Magic, you can find your secret revealed in the  the
> magical smashed & dinged letters INDIVIDUALLY chosen to predict  your
> future  both upside down and backwards.
>
> Now, you can know your own personal truths, your future life's secret
> for happiness previously hidden for centuries within the Black Arts
> of Printing.
>
> Using a centuries old techniques of divination once known only by
> "Printer's Devils,"  Hell Box Magic is the one, true path to the
> Secrets of the Illuminati  - a gnostic revelations of Alphabetic
> Magic in which you CHOOSE your own readings through the special "dip
> and read" method.
>
>   See your name as revealed by the Printer's Devils! Look to the Black
> Arts for the  Techniques of the Secrets Arts! Know how to read the
> truth of yr life upside down and backwards! Find joy in lead!
>
>
> RUSH you payment now.  Operators standing by.
>
>
>
> Eileen
>

HI Karen,

I have done a lot of printing on 4-ply museum board and am familiar
with the problem you are encountering. Assuming you are working for a
client who is not interested in being educated on the finer points of
beat fat/beat lean (although it's hard to imagine such a person),
here are some suggestions:

1) Remove all the packing from the tympan, pull an impression and see
if you are still getting a plate impression.

1a) If you still see the plate without any packing, you will need to
back off the platen prior to proceeding with the steps below.

2) If without any packing you are NOT getting a plate impression,
progressively build up the packing until you start to see the
impression. Once you do reduce the packing by 2 mil.

3) Trace an outline of your plate onto a sheet of packing material (I
usually use 6 mil tympan paper) and cut it out just inside the line
(ie. the packing should be slightly smaller than your plate so that
the plate edge does not contact the paper).

4) Due to possible shift in the packing, I would mount this packing
directly onto the tympan using either a spray adhesive, or carefully
positioned dots of pva. You can usually increase the packing within
the perimeter of the plate by at least 8 mil before you will
encounter the next problem which will be getting an impression of the
packing material.

Good Luck,
Russell Maret

This made my day!  If someone were to typeset this (Hammerpress in
Kansas City would do a brilliant job) it would be magnificent.  Count
me in for a copy from the first run.

Maryellen Quarles
Byrne Street Studio
Houston, Texas

Assuming they already don't have someone in mind, first public
announcement of one of these I have seen in about a decade-and-a-half.
Maybe things ARE picking up.

Gerald
http://BielerPress.blogspot.com





PRINTER-IN-RESIDENCE

UNIVERSITY OF IOWA CENTER FOR THE BOOK (UICB)

The University of Iowa Center for the Book invites applications for a
Printer-in-Residence position for the academic year 2007-08. A
certificate-granting graduate program that also serves undergraduates,
the UICB seeks a fine letterpress printer for a nine-month academic
appointment starting August 2007. Responsibilities include teaching
two courses (one in the fall and one in the spring), completed
production of a proposed fine press or artist's book edition while in
residence (two copies of which will go to the Center), production of
ephemera or other short projects with student assistance, and studio
oversight. The applicant should have an MFA or equivalent, significant
letterpress printing experience, and a substantial fine press literary
or artist's book exhibition or publication record. The
printer-in-residence will be provided a Vandercook SP-20 press,
storage and work space within a studio shared among UICB adjunct
instructors, as well as a project budget to assist in financing the
proposed book project. Teaching experience required, and knowledge of
Vandercook operation and general maintenance required. Experience with
academic teaching, polymer plate production, and nontraditional relief
print processes desired.

Salary for nine-month appointment: $36,000, with health and dental
insurance. The University of Iowa is an Equal Opportunity and
Affirmative Action employer. Women and minorities are strongly
encouraged to apply. Please send a letter of application, curriculum
vitae, a book proposal (including a detailed project description,
estimated edition size, and production schedule with timeline for
completion), a portfolio of personal work (slides or cd accepted, 20
images maximum), images of student work if available, and the names of
three professional references, to Matthew P. Brown,
Printer-in-Residence Search Committee, 308 EPB, University of Iowa,
Iowa City, 52242. Applications received by May 10, 2007 will be given
priority, with review continued until position is filled.

UICB press facilities: two letterpress studios, one used as a
classroom and a second for professional and advanced student work.
There are three SP20's, an SP 15 and a Universal 1; an assortment of
monotype book faces, wood display type, photopolymer plate maker, and
wash out unit. The letterpress shop also has a computer lab with 5
iMacs, a black and white laser printer, and a large format color
inkjet printer. There is a well-equipped student bindery and student
papermaking facility.

For more information about the UICB, visit our website at:

www.uiowa.edu/~ctrbook

Matthew P. Brown

Assistant Professor, English/UICB

Director, The UI Center for the Book

http://www.uiowa.edu/~ctrbook


EPB 308, University of Iowa

Iowa City, IA  52242

phone: (319) 335-0454

fax: (319) 335-2535

email: matthew-p-brown@...

Hello all,

I am looking for some advice on creating a portfolio of work. I have
spent many days practicing on my windmill and making polymer plates
and I now feel ready to start creating. I am curious to see how other
printers started out selling letterpress work.

Whew! And I thought money could only be made by more money. This is
my big chance.

(Someone wrote in wanting to print this somewhere - Book Arts
newsletter, I think. I lost the e-mail, so please excuse this
reproduction of Hell Box Magic in this post.)

As for using this:  Feel free! Some punctuation and verb/subject
DIS-agreement generated by the too-fast flying fingers in original:
Fixed below in this version.  (Can't help myself : it's the English
Teacher in me.)

Everyone else can ignore this version below.


Cheers,

Eileen






(grammar errors fixed)


HELL BOX MAGIC REVEALS INNER TRUTH!
DAMAGED LETTER FORMS
		      CAN FORM THE KEY
				 TO YOUR LIFE CODE!

Feeling out of sorts? Seeking the ONCE-HIDDEN TREASURES of true
alphabetic divination?

USE HELL BOX MAGIC!

With Hell Box Magic, you will find your personal life secrets revealed in the
magical smashed & dinged letters INDIVIDUALLY chosen to predict your
life's meaning both upside down and backwards.

Now, you can know your own personal life truths now revealed
within the mysterious logomancies
of  the Black Arts
of Printing.

Using a centuries old technique of divination once known only by
"Printer's Devils," Hell Box Magic is the one, true path to the
Secrets of the Illuminati - a gnostic revelation of Alphabetic
Magic in which you CHOOSE your own individual readings through the special "dip
and read" method.

See your name as revealed by the Printer's Devils! Look to the Black
Arts for the Techniques of the Secrets Arts! Know how to read the
truth of yr life upside down and backwards! Find joy in lead!

RUSH you payment now. Operators standing by.

Eileen











>Eileen
>
>This is quite brilliant. Hate to say it, but you could probably sell
>this. You've certainly got the hype down. Ha! you might even pick up a
>willing distributor or two from this list!!!
>
>Gerald
>
>>
>>
>>
>>  I should never have underestimated the capacity of commerce to turn
>a trick.
>>
>>  *********************************
>>  My new business reveals itself. And here, the first ad to appear in
>>  the NYTimes, and other assorted papers:
>>
>>  HELL BOX MAGIC REVEALS INNER TRUTH! DAMAGED LETTER FORMS
>> 		 FORM THE KEY
>> 			 TO YOUR LIFE CODE!
>>
>>  Feeling out of sorts? Seeking the ONCE-HIDDEN TREASURES of true
>>  alphabetic divination?
>>
>>  USE HELL BOX MAGIC!
>>
>>  With Hell Box Magic, you can find your secret revealed in the the
>>  magical smashed & dinged letters INDIVIDUALLY chosen to predict your
>>  future both upside down and backwards.
>>
>>  Now, you can know your own personal truths, your future life's secret
>>  for happiness previously hidden for centuries within the Black Arts
>>  of Printing.
>>
>>  Using a centuries old techniques of divination once known only by
>>  "Printer's Devils," Hell Box Magic is the one, true path to the
>>  Secrets of the Illuminati - a gnostic revelations of Alphabetic
>>  Magic in which you CHOOSE your own readings through the special "dip
>>  and read" method.
>>
>>  See your name as revealed by the Printer's Devils! Look to the Black
>>  Arts for the Techniques of the Secrets Arts! Know how to read the
>>  truth of yr life upside down and backwards! Find joy in lead!
>>
>>
>>  RUSH you payment now. Operators standing by.
>>
>>
>>
>>  Eileen
>>
>
>


--






"Work as though you were in the
   early days of a Better Nation."











"

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

***Apologies for cross-postings***



PRINTER-IN-RESIDENCE

UNIVERSITY OF IOWA CENTER FOR THE BOOK (UICB)



The University of Iowa Center for the Book invites applications for a
Printer-in-Residence position for the academic year 2007-08. A
certificate-granting graduate program that also serves undergraduates,
the UICB seeks a fine letterpress printer for a nine-month academic
appointment starting August 2007. Responsibilities include teaching two
courses (one in the fall and one in the spring), completed production of
a proposed fine press or artist's book edition while in residence (two
copies of which will go to the Center), production of ephemera or other
short projects with student assistance, and studio oversight. The
applicant should have an MFA or equivalent, significant letterpress
printing experience, and a substantial fine press literary or artist's
book exhibition or publication record. The printer-in-residence will be
provided a Vandercook SP-20 press, storage and work space within a
studio shared among UICB adjunct instructors, as well as a project
budget to assist in financing the proposed book project. Teaching
experience required, and knowledge of Vandercook operation and general
maintenance required. Experience with academic teaching, polymer plate
production, and nontraditional relief print processes desired.



Salary for nine-month appointment: $36,000, with health and dental
insurance.  The University of Iowa is an Equal Opportunity and
Affirmative Action employer.  Women and minorities are strongly
encouraged to apply.  Please send a letter of application, curriculum
vitae, a book proposal (including a detailed project description,
estimated edition size, and production schedule with timeline for
completion), a portfolio of personal work (slides or cd accepted, 20
images maximum), images of student work if available, and the names of
three professional references, to Matthew P. Brown, Printer-in-Residence
Search Committee, 308 EPB, University of Iowa, Iowa City, 52242.
Applications received by May 10, 2007 will be given priority, with
review continued until position is filled.



UICB press facilities: two letterpress studios, one used as a classroom
and a second for professional and advanced student work. There are three
SP20's, an SP 15 and a Universal 1; an assortment of monotype book
faces, wood display type, photopolymer plate maker, and wash out unit.
The letterpress shop also has a computer lab with 5 iMacs, a black and
white laser printer, and a large format color inkjet printer. There is a
well-equipped student bindery and student papermaking facility.



For more information about the UICB, visit our website at:

www.uiowa.edu/~ctrbook



Matthew P. Brown

Assistant Professor, English/UICB

Director, The UI Center for the Book

http://www.uiowa.edu/~ctrbook



EPB 308, University of Iowa

Iowa City, IA  52242

phone: (319) 335-2365

fax: (319) 335-2535

email: matthew-p-brown@...





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