Letterpress Basics: Time to Print

This is the fourth in a series of posts speaking about the basics of letterpress. I started off with how to use a composure stick, next working with metal type and then on to moving your composition from galley to chase ready for print. There are a lot of visuals taken from my own hands-on experience learning the basics of letterpress in Paris with Thomas Gravemaker some years back. This is an overview and would suggest anyone interested in the craft to take on a workshop for more in-depth knowledge. So without further ado, it’s time to print!

CUTTING PAPER DOWN TO SIZE

First do an initial test print on a proof press to get an idea of your composition and if there are changes to be made to it, then cut your paper. Observe the numbers 50x85 around the P.  That was the final size of my business cards. We decided to cut the paper twice length wise, so 100x85.

We printed the wooden P first on one side, then flipped around the paper so the letter P would be printed again mirroring the first one. Metal type was printed secondary. Final trim down the center happened at the very end. You can also choose to cut business cards to final size from the beginning.

ABOVE AND BELOW IMAGE: PLANNING - DIMENSION OF CUT PAPER 

Before using the press, you’ve got to prepare it. For my cards we used a tabletop press; it’s perfect for a business card format! Oil up your press where there are open holes; it will keep it more fluid (this can be done the day before). Add and take away packing paper under tympan paper (tympan is the top-most paper where your test impression will go). Thickness of packing paper will depend on the pressure you want to give to your print.

Some people prefer a “kiss” impression. This means the impression sits on the surface of your print, while others prefer a “deep" impression. In this case, the surface of the paper will be pushed into it. It’s important to take care and not over stress your press. The lever coming down should feel easy and not as if your pulling down too hard to close.

OILING UP PRESS

ADDING MORE PACKING PAPER UNDER TYMPAN

Your press is ready to go (almost). I have, however, left out an important step: measuring the height of your rollers. This is crucial as it makes sure the rollers spread just the right amount of ink onto your form to get a good print. A further detailed description is here at Boxcar Press and worth a study. They also sell roller gauges to aid in the measuring. My husband works with mechanics and they were able to make some for us.

Now you’re ready for official test prints. These will be done on your press and not your proof press. I’ve listed a few ways on doing test prints on your tympan.

Whichever way you choose, you will print with just a few daps of ink. One way is to dab black ink directly onto your platen clockwise. I can’t over stress, just a few dabs go a long way! If you go this route, it means cleaning platen and rollers before using the final ink color you want for your final print! Another way could be to dab black ink directly onto a brayer and roll ink onto form to avoid cleaning platen and rollers twice. And yet another way could be using chosen ink straight away to do both test prints and official prints.

INSERTING FORM TO DO INITIAL PRINT ONTO TYMPAN

MANUALLY REGISTERING - GAUGE PINS

Insert your chase and make a test print directly onto your tympan paper to get a good idea where your gauge pins will go to hold your cut paper. You do this directly onto your typman, because you are manually registering your print--you need guidelines!

I would suggest going to youtube to get an idea on how to insert gauge pins; I think they are tricky. Now, I use paper gauge pins made at home, as they are quicker and easier for me to use. There should be two gauge pins placed horizontally and one vertically to hold up paper just right. If your paper is tall, you should use your grippers with a band across them to hold paper firm as you pull lever up and down.

GRIPPERS AND BAND

After you do the initial test print on tympan paper, sprinkle some baby powder and gently dust away excess to dry up the ink. The last thing you want is to ink the back of your cards by mistake!

BABY POWDER APPLIED TO KEEP INK DRY

Further test prints are done on scratch paper cut down to size. Final and slight adjustments are made by moving paper up and down or sideways. Sometimes these adjustments are ever so slight, so be patient. Try to use the same texture and weight scratch paper of your chosen paper if possible.

*For beginners, printing is much simpler and suggested in one color or even two colors just as long you don’t have to register them (fit them just next to each other side by side).

MIXING INK

After adjustments have been made on your test prints, you’ll now use your chosen paper for final prints. Keep in mind you should cut an extra 10 to 20 cards for mistakes or ones you want to keep for your portfolio or samples. I printed my cards in one color: eggplant by mixing red and blue.

*Your form should never be inside the press when distributing ink on the platen.

When well mixed ink is dabbed onto platen, pull lever up and down again and again so your platen whirls around and around until a smooth even layer is distributed. It should not be gloopy. Now you’re ready to put form in the press and your paper positioned inside your gauge pins. It’s time to see the results of your hard work!

At the end of printing my cards, while the ink was still damp, we sprinkled just slightly some loose bronze, gold and silver powder on top, then the following day gently brushed it away. And voila!

POWDERED AND FINAL CARD PRINTED ON BLACK ARCHES PAPER

*Please feel free to contact me if you are in Italy for a weekend workshop. More details on my website.