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
--- 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
> East Texas Engraving (the Owosso of its day). This job ran twice,
> 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
> 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
> 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
> 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.
> --- In PPLetterpress@yahoogroups.com, "Gerald Lange" <Bieler@>
> > 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;
> > drying solvent, lint free tight knit cloth and compressed air.
> > compressed air. The higher the line screen the more often the
> > 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,
> > a half-tone ink. Lewis Roberts used to make these and I used them
> > 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
> > will supply thes old formulas if you are willing to pay a
> > was able to pick needed collotype ink that had not been made for
> > thirty years simply by asking. And paying :-)
> > One thing to note, you can control the coverage by closing
> > for edge darkening. In your photo the corners are showing this.
> > 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
> > two plates, one with a controlled but bland appearance, another
> > 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
> > Toyobo) as the surface area slightly conforms to the contrasts of
> > imaging following the patterning of the increasing or decreasing
> > Uniformity of surface height is dictated by contrasting elements;
> > of a built in makeready. With photomechanical engravings this
> > have to be adjusted by handwork.
> >> Gerald
> > http://BielerPress.blogspot.com