Re: [PPLetterpress] light source question
- The heater you can find all over the place, Wallgreens, home depot etc.
they are standard home heaters.
Before I bought a 24 x30 Vreeland Unit, I used a home made 16 x 20
unit to make letterpress plates.
Than for a print job in intaglio (Aquatint) there I orininally thought
of using copper, but for time issues, the artist couldn;t get his stuff
together and we have scheduled exhibitons. i decided to go polymer.
For the size of plate I decided to get a professional platemaker as
getting the moisture out from the plate is the key issue next to
On Sunday, June 22, 2003, at 04:34 PM, Jan Ziegler wrote:
> Very good. I think we might have nailed one issue. Not
> enough heat or time pre post-exposure. I will
> definately try a new heater. I have read about and
> seen many people use the hairdryer method but mostly
> with plates that have lots of ink coverage like a
> halftone photograph. Many of my images have more
> "white" around them where the plate is wiped clean.
> Can you elaborate a little on what a small ceramic
> heater is? Is it marketed for home use (like at Target
> or Home Depot) or is it something that would be
> marketed as an industrial dryer? --Jan
> --- "L.A. Book Arts, Inc" <livres@...> wrote:
>> Jan, the press is never the problem.
>> On Sunday, June 22, 2003, at 03:53 PM, Jan Ziegler
>>> On sticky PP plates:
>>> Thanks Charles, for your help.
>>> I have a Takach, so the press was not the problem.
>>> if you drop the whole thing in a water bath that
>>> solves that one print's problem, it doesn't make
>>> convenient editioning. (rather a funny picture of
>>> most frustrated printmaker). Plus, if you get the
>>> plate wet often enough it will begin to soften and
>> He only wanted 5 prints anyway.
>>> Perhaps Charbonnel inks are oilier or a
>>> different kind of oil than Graphic Chemical. I use
>>> inks, mostly, some Daniel Smith.
>> Less oilier than any other ink I've seen. I'm a
>> french trained
>> printmaker, so there, my attachment to charbonel
>>> At any rate, it begins to look like its a problem
>>> polymer that perhaps cannot be solved for etching
>>> plates, unless most of the surface area that comes
>>> contact with the paper is inky. Cleanly wiped
>>> are where the paper was sticking for me.
>>> I always dried for at least 10 minutes in a little
>>> oven made from a hair dryer and a cardboard box
>>> on its side(high tech) before post exposure.
>> I don't think 10 minutes is good enough and I don't
>> think a hairdryer
>> gets hot enough.
>> I would consider getting one of this small electric
>> ceramic heaters and
>> use that for a heat box.
>> I have a 24 x 30 plate right now in the machine,
>> it's a BASF 94 and it
>> will have to dry for 20 minutes at 120 f.
>> I have tested a wide range of polymer plates,
>> otherwise I work on
>> copper- and if the paper sticks to wiped areas start
>> playing with the
>> ink first and modify it. Not neccessarly by dropping
>> oil in it but
>> mixing it with a different ink, same black but
>> softer values.
>> I've a roller grinder and mixer and I sometimes make
>> 20 lbs of a custom
>> ink for a job.
>> But I use very, very little oil overall.
>>> Jan Ziegler
>>> Santa Barbara
>>> --- "L.A. Book Arts, Inc" <livres@...>
>>>> I had an Artist here for whom I made plates, he
>>>> brought his own ink
>>>> -Graphical-Chemical ink - and the paper (BFK)
>>>> sticked to the plate, I
>>>> just dropped the whole thing in a water tray and
>>>> paper comes off
>>>> without damage. He claimed the problem was with
>>>> press ( a Karl
>>>> Krause 32x 60 inch, from ~1890) as the pressure
>>>> higher than is usual
>>>> equipment (Takach and Brandt).
>>>> I wiped ones off his plates with my standard ink
>>>> use Charbonnel only
>>>> - and pulled a plate with deep values , a
>>>> aquatint and the
>>>> paper lifts without a problem.
>>>> The most important thing than using polymer
>>>> for intaglio is to
>>>> get all the moisture out off the plate before
>>>> exposure. Otherwise
>>>> you have shallow etched lines and areas, which
>>>> as flat spots on
>>>> the plate and print whiter.
>>>> Smaller plates you may be able to make in the
>>>> but I recommend to
>>>> use a commercial Polymer plate maker for larger
>>>> plates, as the
>>>> exposure, drying and post exposer time is
>>>> Opposite to letterpress plates, in intaglio you
>>>> the majority of
>>>> polymer plate material on the plate.
>>>> L.A Book Arts, Inc.
>>>> The Custom Bindery
>>>> Krause Intaglio
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> In answer to Matt's thought about using mat foil: IJan,
> use Kreene foil (is that mat?) and no glass right now.
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,