Re: [PPLetterpress] Re: Trying To Make A Good Impression
The Centre for Fine Print Research
would be my first stop. They weren't around when we were doing our work
with the process.
A few books:
The Practice of Collotype by Thomas A Wilson
The Keepers of Light: A History and Working Guide to Early Photographic
Processes by William Crawford
Studio Collotype by Kent B. Kirby
There is another, older book, like the Wilson, but I can't readily find
it in the library.
The Kirby book looks very impressive and comprehensive, until you try to
follow any of the formulas and what not. The most damned book that has
ever been in my library.
This is a horridly difficult process, one that I would never ever want
to repeat, but am so thankful for the experience. It WILL teach you
more about printing as a process than you will ever learn from
letterpress practice, and it can be printed on letterpress presses. We
used an Albion iron hand press.
Lisa Davidson wrote:
> Gerald --
> What can you recommend to read about collotype printing? I am trying
> to find out about it, but it's all rather vague.
> On Dec 1, 2007, at 8:57 PM, Gerald Lange wrote:
>> 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 :-)
- 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