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Re: Trying To Make A Good Impression

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  • 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 1 of 51 , Dec 4, 2007
    • 0 Attachment
      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
      > >
      >
    • 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
      • 0 Attachment
        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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