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Letter ink traps in photopolymer

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  • Paul W. Romaine
    I m curious. I just became aware ink traps as a design feature or a non-functional archaism for digital types. The matter was discussed on the Typographi
    Message 1 of 42 , Jun 16, 2003
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      I'm curious. I just became aware ink traps as a 'design feature' or a
      non-functional archaism for digital types. The matter was discussed on the
      Typographi forums http://typographi.ca/000611.php, concerning Christian
      Schwartz's face "Amplitude." (There's also a link to a showing of the
      type.) Ink traps on metal type are "alterations to the face to prevent ink
      from accumulating in corners and at junctions." Gerald told me there are
      two types of ink traps: one "a bit of a squared off end to what normally
      would be a incised angle" and two, "a slight reduction in the curve as it
      led into the angle." There are some Acrobat files on the PPL website (How
      To section) showing ink traps. Particularly dramatic are the traps on
      Carter's Bell Centennial. I'm not entirely clear if ink traps were commonly
      used in metal type (foundry or hot metal) or photofont.

      So my question: in taking digital types without ink traps, have you
      experienced problems? The traps are more visible at larger sizes--has
      anyone had to compensate to hide them? Has anyone tried to add traps of
      their own to faces lacking them (in non-display sizes)? Has anyone had
      problems of another sort--a trap for the unwary, so to speak??

      You might want to check out the typographic.ca discussion--the comparison
      of type making to show making is quite amusing and resonates for this
      descendant of cobblers.

      Best,
      Paul


      Paul W. Romaine
      romaine@...
      http://home.pipeline.com/~romaine

      [Non-text portions of this message have been removed]
    • Mats Broberg
      ... Jan, Apologies for my belated reply to this question: Yes, I think it s called Kreene foil and is a vital part of the system, not only when exposing the
      Message 42 of 42 , Jun 26, 2003
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        > In answer to Matt's thought about using mat foil: I
        > use Kreene foil (is that mat?) and no glass right now.

        Jan,

        Apologies for my belated reply to this question: Yes, I think it's
        called Kreene foil and is a vital part of the system, not only when
        exposing the plates using a traditional setup with UV tubes but even
        more so when using a UV point light source, like Theimers, NuArcs, Olecs
        and the like. Harold Kyle @ Boxcar Press (on the list) sells it,
        together with alot of other fine printing pressroom supplies, should you
        run out of it.

        Regarding halftones I agree with Katie's recent post. Extremely high
        quality fine halftone work can be carried out using a letterpress
        printing press but since the eclipse of specialty makeready systems,
        like Permaton and chalk overlays, you probably wouldn't want to do it
        anyway. If you aim for halftones a better investment would be an
        entry-level offset press, like some of AB Dick's earlier models, which
        can be bought for very modest prices.

        Regarding the Windmill, you shouldn't be afraid, but merely keep a
        healthy respect for it, and any other motorized presses. Even with all
        the guards working fine, a platen press can hurt you very badly, and is
        perhaps more dangerous than a cylinder press. Should you aim for a
        Windmill - which indeed is a remarkable press of which I own two - never
        work by it when you are out of shouting distance to someone until you
        are very, very experienced.

        All the best,
        Mats Broberg

        Stockholm, Sweden
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