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Re: C&P makeready

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  • parallel_imp
    ... the two platen halves ... that you have to make up for ... Lisa, to simplify things a bit, it is not hard to level the platen of a C&P. Locking a large
    Message 1 of 51 , Nov 30, 2007
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      --- In PPLetterpress@yahoogroups.com, "lisaxdavidson"
      <lisaxdavidson@...> wrote:
      >
      > Hi everyone -- I've never used a C&P, but someone told me that since
      the two platen halves
      > are not strictly parallel (closer at the hinge), there is some way
      that you have to make up for
      > this in makeready. How do you do it?

      Lisa, to simplify things a bit, it is not hard to level the platen of
      a C&P. Locking a large type character in each corner of the chase, the
      four impression bolts are adjusted (and nuts retightened) until each
      character prints evenly.
      However, the adjustment only holds for a given amount of packing
      and stock. As those are increased, the lower portion of the platen
      will be driven roward the form more than the upper portion. That can
      be compensated for by either re-adjusting the bolts, or feathering the
      packing.
      A similar problem occurs when the form is off-center; there, in
      addition to adjusting the bolts or feathering the packing, it may help
      to re-balance the form by placing another printing element, such as a
      bearer, outside the trim and/or frisketed off.
      It takes patience to do all these things, and I think that's one of
      the reasons for the current popularity of proof presses: easier makeready.
    • okintertype
      Very interesting, and I appreciate the information. I am getting ready to try my first. It will be only 100 lines. The engraver didn t think he could do
      Message 51 of 51 , Dec 4, 2007
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        Very interesting, and I appreciate the information. I am getting
        ready to try my first. It will be only 100 lines. The engraver
        didn't think he could do anything finer, but 100 was all I wanted.
        Maybe I'll try to find another supplier eventually. I will use
        VanSon's oil base ink. I don't have time to order anything
        different, and if it doesn't work, I'll do a different project
        without halftones.

        Stan


        --- In PPLetterpress@yahoogroups.com, "nagraph1" <nagraph@...> wrote:
        >
        > Back in the summer of 1963, I printed a 16 page booklet for my
        > fraternity on my 10x15 C&P platen. I used 133 line halftones made
        by
        > East Texas Engraving (the Owosso of its day). This job ran twice,
        for
        > a total of 1500 copies. I used a regular letterpress halftone ink
        > which is a soft ink, not hard, and it has a gloss to it. I printed
        > type and halftones together, in 2 page spreads. I used traditional
        > makeready, that is, under the tympan using tissue. The text was 14
        pt
        > Times Roman (linotype), cut lines handset 8 pt ATF Garamond, and
        > heads 18 and 30 pt ATF Bulmer Italic. It is printed on 80# gloss
        > coated paper. I don't recall this being a very difficult job and is
        > typical of what I did at the time in my blissful ignorance of what
        > can and can't be done. See
        >
        > http://farm3.static.flickr.com/2285/2086487480_83074cb7ce_b.jpg
        >
        > for a scan of the largest halftone that after the bleed trim is 32
        > x38 1/2 picas. The actual sheet this particular halftone was
        printed
        > on had 2 facing halftones plus text.
        >
        > I think the key to any of this is to experiment. Tips are great and
        > lead one in the right direction, most of the time. I even bought a
        > new skeleton chase so I could print 11x17 sheets of solid type,
        > firmly beliving that a 10x15 should print that big of a form. As I
        > previously noted, I know better now.
        >
        > And yes, I'm in that picture, in the foreground, standing on the
        > rocks. I still have the jacket, the halftone, the hand set type,
        > except now I also own the ATF Bulmer matrices this type was cast
        > from. And the C&P still turns out work for me on a somewhat regular
        > basis. The Linotype work was cast at Edwin Stuart Typographers in
        > Pittsburgh, and I did the printing in Palo Alto, Calif. I also now
        > have a complete run of Times Roman mats for my linotype--it's just
        > taken a while to accumulate all this stuff.
        >
        > Fritz
        >
        > --- In PPLetterpress@yahoogroups.com, "Gerald Lange" <Bieler@>
        > wrote:
        > >
        > > Hi Barbara
        > >
        > > You've done a pretty good job. Couple of points regarding halftone
        > > images that might be of use in the future.
        > >
        > > First, yes you do have to clean the image quite a bit and often;
        > fast
        > > drying solvent, lint free tight knit cloth and compressed air.
        Lots
        > of
        > > compressed air. The higher the line screen the more often the
        > cleaning
        > > but despite common wisdom, you can print 150 lpi (on a Vandercook,
        > > even with only a relatively smooth surface of paper) without
        > > difficulty if you take great care in procedure.
        > >
        > > Kiss impression, very tight hard packing, stiff tacky ink,
        > preferably
        > > a half-tone ink. Lewis Roberts used to make these and I used them
        > all
        > > the time for type. I think they got sold to Carlson (sp?) a while
        > > back, probably a long while back. (Carlson made an incredible wood
        > > block black by the way.) They were last handled by Dan Smith I
        > > believe. Maybe they have the old HT formulas. Many ink
        manufacturers
        > > will supply thes old formulas if you are willing to pay a
        premium. I
        > > was able to pick needed collotype ink that had not been made for
        > over
        > > thirty years simply by asking. And paying :-)
        > >
        > > One thing to note, you can control the coverage by closing
        watching
        > > for edge darkening. In your photo the corners are showing this.
        > Clean
        > > the plate at first notice. To build in contrast you can only do so
        > > much with the photo image, even in Photoshop. But a trick is to
        make
        > > two plates, one with a controlled but bland appearance, another
        with
        > > extreme contrast. Print the latter first. Often best to use
        > > transparents when using this technique.
        > >
        > > Halftones tend to work well with high-end sheet photopolymer
        (BASF,
        > > Toyobo) as the surface area slightly conforms to the contrasts of
        > the
        > > imaging following the patterning of the increasing or decreasing
        > gray.
        > > Uniformity of surface height is dictated by contrasting elements;
        > sort
        > > of a built in makeready. With photomechanical engravings this
        would
        > > have to be adjusted by handwork.
        > >
        > >> Gerald
        > > http://BielerPress.blogspot.com
        > >
        >
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