RE: [PPLetterpress] Metallic ink
I assume youre referring to my post in this newsgroup of February 27th, in
which I explained the technique of dusting metallic powder on freshly
printed ink. As you suggested I experienced quite successful results on
smooth surfaced papers only (Simili Japon & Velin dArches 230g/m²). I
suppose this goes for all metallic effects in general: the rougher the
printed surface, the more the light diffuses, spoiling the sheen. With
(hot/cold) foil stamping even rough paper is kind of smoothed down so that
the gloss is assured.
Using varnishes only fakes the gloss: not the metallic pigments give a shiny
result, but the varnish does. I am not very fond of fake in fine
letterpress; and foil stamping to me does have something kitschy
As I suggested earlier on, try polishing the metallic printed surface, be it
a metallic ink, or dusted pigment. This is handwork, alright, and only
advisable for (very) short runs. But Im sure techniques could be found to
burnish the printed sheets (the ink on it, that is) in a more timesaving
manner. Perhaps ironing could do the job? Im thinking of Baskervilles
heated copper cylinders Just letting my fantasy loose. Give it at try, Id
say. And let us know.
Maybe those bindery folks out here could help. Besides handy crafted gold
work in leather: how do you manage your gilded lettering on linen textiles
e.g.? Im not speaking about those kitschy silk screen monstrosities of
these day and age, but of the fine bindings of the 1930s1950s. And could
the technique be used on paper?
By the way, I have a copy of Der hundertste Geburtstag Ottmar
Mergenthalers, published 1954 by the Linotype GmbH. The booklet has a very
nice cover, black vergé paper with a stylised linotype matrix, printed in
gold. Its beautifully shining, without any varnish kitsch. Im not quite
sure whether they used metallic ink or some sort of foil stamping. However,
in those days foil stamping was offered optionally with the Heidelberg
platens and cylinder presses, already. Probably thats the way the did it,
but it intrigues me how exactly in pre offset and varnish times they
succeeded in crafting such splendid things.