A New Pin Wrench

When I was fixing my Monotype caster to do some composition casting a few months ago, I broke the small pin wrench that I use for turning some of the adjustments on the caster. The wrench seemed to be too brittle because I was applying very little force to it when it broke, and the broken surface had the appearance of a brittle failure.

Rather than tracking down a replacement, which might have the same brittleness problem, I made my own.

I started with some ⅜″ round low carbon steel rod mounted in my lathe between a three-jaw chuck and a live center, cut off a skim layer to reveal clean metal, and used my knurling tool to form a grip area on the center of the blank. This process applies a lot of lateral pressure to the part, which is why I had a center supporting its right end.

Once the knurling was complete, I turned the end area of the work down just enough to remove the rough end of the knurling, then cut a freehand taper down to the desired tip diameter (0.100″). I smoothed off the taper and transition to the cylindrical sections with a file and used fine sandpaper to polish it up a bit. I stopped the lathe, cut off the end with a hacksaw leaving the right amount of tip length behind, and used the file and sandpaper to finish the tip.

I mounted the work in the lathe the opposite way, and did similar shaping on the other end, except that I did not cut off the tip.

IMG_7013

This end should be angled a bit so the wrench can reach places where the pin hole is facing a tight place. I use an oxyacetylene torch to heat the metal partway up the taper so I could bend it without the tip itself bending. Once that was done I again used a hacksaw to cut off the end and a file and sandpaper to finish it. I soaked the wrench in Evap-O-Rust for a day or two to remove the oxidation from the torch work, cleaned it up with a brass brush and oiled it a bit to prevent rust.

IMG_7015

This shows the finished wrench above the broken one. Dotted lines mark the missing pieces of the broken wrench. When I was using the torch to heat the metal for bending, I applied it a bit too concentrated and actually melted the metal a bit, leaving some small craters (arrows).

If I wanted to copy the wrench more closely, I should start with 5/16″ round rod, and get a pair of diamond knurling wheels for the knurling tool. The replacement is a bit bulkier, but for its main purpose when running the caster, adjusting the quad size (width of the type body) it works just fine! Because it is low-carbon steel I expect that if I abuse it by trying to apply too much torque with it, the tip will bend rather than snapping off.

Rubber feet for the Challenge Proof Press

Proof presses are subjected to a lot of sideways forces when used, caused by the carriage hitting its stops at either end of its stroke. These can be reduced by slowing down near the end of the stroke, but there are times when you’re in a hurry or just plain forget and the carriage hits its bumper springs with enough force to move the whole press along the floor a bit. After a while you may find that the press has moved halfway across the room!

To avoid this, you can place rubber pads under the legs of the press, and I believe this is actually recommended in the manual for the press. I added some pads to my proof press today. I used rubber floor matting ¼″ thick cut to 3½×7″ which is ½″ larger than the feet of the press in both directions. I cut two pieces for each foot (eight pieces in all) and used a spray contact adhesive to glue them back-to-back in pairs.

I jacked the press up with the pallet truck, sprayed more of the adhesive in the center of one surface of each pad, positioned them under the feet of the press and lowered the press onto them. They have a very trim appearance, showing ¼” of exposure all around each foot.

In addition to preventing the press from sliding on the floor, they also provide a little give in places where the floor is not quite flat, so the press is less likely to wobble on two opposite legs.

IMG_7010 IMG_7011

Putting a back on the Challenge Proof Press

When I got this press earlier this year, I printed off a nice copy of the instructions. Challenge Machinery still exists, and their web site is quite useful in that they seem to be trying their best to have manuals for their older products available there.

One thing I had noticed when looking at the parts diagrams is that there should be a back on the press, joining the two pedestal legs. The back not only closes off the shelf area under the press, but it also adds structural stiffening to its base. In its current condition, the press has a noticeable shake when the carriage reaches either end of its stroke with any speed faster than a crawl.

The Vandercook SP-15, of which this is a clone, has a cabinet base that is a single welded structure and so is quite rigid. The pedestal legs on the Challenge are nowhere near as stable.

Today I finished replacing the back on this press.

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I started with a piece of 16 gauge steel sheet, cut to size by the supplier. I marked two of the screw holes by direct measurement and layout, drilled them, and used them to attach the back temporarily. Then I used a small felt-tip marker to mark the remaining holes from the front side of the press and drilled them as well.

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This is the back screwed in place for a test fit. I had to enlarge a couple of the holes to get their screws in.

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I removed the back again and painted both sides. I decided to skip trying to match the stippled green finish of the press and went for boring gray. There is also something to be said for using the paint I already have on hand. Once the paint was dry I reinstalled it and gave the carriage a few test runs. Things now seem a lot more rigid at the end of the carriage stroke.

Last week’s time suck

Last week was March Break, and Audrey and Lily flew to Calgary to visit Granny. I took the opportunity to do a few home improvement projects (replacing a bathroom sink, putting up a knife holder in the kitchen, and installing some under-cabinet lights).

I also spent what seemed to be an inordinate amount of time getting my contribution ready for the Grimsby Wayzgoose Anthology. The work was a single sheet that combined laser printing and letterpress. It took me two tries to get the laser printing (photocopying, actually) to come out straight on the sheet. It seems that the copier I was using was not quite able to feed the special paper straight so each new generation of copy was canted a bit more.

As for the letterpress work, I first tried setting it in the Binny Old Style 12 that I had in my typecase, but found that there were mixed alignments, so I dumped all that type and cast fresh.

When I went to set the colophon in Times Roman 10, I found that I did not have enough 10-point quads for all the short lines involved. So I fired up the caster again and cast a pile of em and en quads in 10 point.

I did not have a # sign in the Binny Old Style (to mention a face name, Modern #2), but I had a small superscript o (º) with which I intended to set “Nº 2” instead. I found I had no capital N’s (the original copy contained none so I had cast none) so I had to cast a few of those.

I did not have a / in Times Roman for a URL in the colophon, so I cast an 8-point / on a 10-point body (to match the rest of the type in the line) and fiddled the alignment and body width so it would look right.

All told, during the week, I think there was only one day that I did not have to fire up the caster for something.

The printing was to be done on my 7×11 C&P on 8.5×11″ paper to be folded in half to make a 4-page section for the Anthology. This C&P cannot normally be used to print a whole side of 8.5×11″ paper. With 1″ margins the type will fit the chase, but the lay pins would have to be below the bottom edge of the platen to position the printing on the sheet properly. Fortunately, none of the letterpress work had to be very near one edge of the sheet so I was able to do the job in just two runs through the press.

One of the chases I used was a bit sprung and needed shimming to make the type run straight across.

The paper I had chosen, some 120 gsm glossy stock that we had as scrap, turned out to be not so great for letterpress work. It did not take the ink as well as I would have liked, so close examination of the printing shows a bit of a stippling as the ink film split between the paper and type. Reducing the amount of inking helped a bit but then impression was touchier to adjust. I wanted kiss impression because the thin glossy paper would just end up embossed on the reverse by heavy impression.

Because of the poor absorption I also had to interleave all the sheets to prevent offset. It took me quite a while to get the right rhythm to feed the press and interleave the sheets as I removed them.

I used an oil-based ink, so it was dry enough after 12 hours to print the second side. Another 12 hours to dry and it was time to fold the sheets and number the copies. Even as I was bundling the copies to send to Grimsby for binding, I noticed some copies with ink smudges. I had to replace these out of a few spare copies and number them to match the smudged ones.

Altogether, starting with 150 sheets of paper, I ended up with 128 keepers (125 numbered and 3 artist’s proofs) and perhaps 5 more good copies which I will deface now that I don’t need any more spares. All the bad copies do not, however, go completely to waste. They end up in a bin which I draw on when I want to take a test print or want to run junk paper to clean up the ink when I’m done and it is time to clean the press. There are also 150 sheets from the first round of misaligned photocopying; all the text is on one half the sheet so I will cut them down and keep the smaller sheets for some future project.

This is the finished job. It is deliberately a low-quality photo; I will post a readable image after the Anthology is published.

This is the finished job. It is deliberately a low-quality photo; I will post a readable image after the Anthology is published. The bottom sections of the two first pages are laser printed.

Repairing the other Monotype nozzle

While trying to do some composition casting recently, I concluded that the nozzle on my caster was worn or damaged, causing it to leak profusely, and the spare nozzle I had on hand was in even worse condition. I repaired one of them using my lathe, but it was not until today that I got the other one fixed up.

Worn nozzle. Note how outer diameter of tip is out of round.

Worn nozzle. Note how outer diameter of tip has a flat spot on the right side.

The nozzle that I had already repaired was not marked with any number, but the one I fixed today had a square body and was marked #18. This nozzle is supposed to be for use on American casters to cast composition under 9 points. After truing up the outside of the tip, I tried redrilling the hole and found that the drill went right in without cutting anything. It turns out that the hole is a few thousandths of an inch oversize and a bit out of round, probably from being cleared out with a hand drill too often.

The refinished nozzle tip. Note that the outer rim of the tip is now round, assuring leak-free operation. However, the hole is out of round and shows a ridge inside it. which may cause turbulent flow of the metal jet.

The refinished nozzle tip. Note that the outer rim of the tip is now round, assuring leak-free operation. However, the hole is out of round and shows a ridge inside it. which may cause turbulent flow of the metal jet.

Although the refinished outer surface means the nozzle should once again seal properly under the mould, the rough hole might result in a less-than-ideal stream of type metal entering the mould.

I also checked the diameter of the hole from the base of the nozzle, and found that its diameter was about 0.129″ (exact measurement was difficult because of the coating of type metal and slag lining the hole). This means that the back hole has been drilled out, since it should be 0.096″ on a #18 nozzle. The redrilled hole means the nozzle is now actually a #22, to be used with American casters for casting composition type 9 points and over.

I should therefore finish the job by re-stamping the nozzle with its new number.

 

A Bit of Font Casting

I have a short project in the works, and since I don’t have a Monotype Keyboard or a computer interface for the caster, I have to fall back to hand setting some text. I have a few paragraphs that I want to set in 12 point Binny Old Style. I had some of this in my case that I had cast when I was first getting some experience with font casting, and due to some stupidity between then and now, the case had mixed alignments on the type. My first casting had been at the wrong vertical position on the type body, then I had cast more with the correct position. At some point I mixed these, probably from distributing some set text into the wrong case. But because the case was now mixed, any type I try to set ends up with dancing letters, and there are not enough of either alignment to do this project (not to mention separating them would be a nuisance).

So this evening I dumped all this type into my Monotype hellbox, and cast a fresh, properly aligned font based on the letter count of my project. There is a utility at Ian Schaefer’s web site for doing this counting. I printed off the count sheet for the project, wrote the matcase positions on the printout, and started casting. I would set the matcase position manually, and count pump strokes in my head, usually casting 10-20% more than the printout indicated. I also cast plenty of spacing. All through this I was also estimating when there was a full line on the galley so I could manually trip the galley cycle. Sometimes the line was a bit long so I would pull the extra types and set them aside, and use them later to fill slightly short lines.

The cast type on the galley before coming off the caster. The loose pieces on the left are pulled from lines that were too long.

The cast type on the galley before coming off the caster. The loose pieces on the left are pulled from lines that were too long.

The new type distributed into a typecase. Some of the compartments are empty because the text I will be setting did not need those letters or figures. Upper left contains the fractions 1/2 and 1/4, and upper left contains a small superscript o so I can use "No" instead of "#" which was not in the matcase.

The new type distributed into a typecase. Some of the compartments are empty because the text I will be setting did not need those letters or figures. Upper right contains the fractions ½ and ¼, and upper left contains a small superscript o so I can use “Nº” instead of “#” which was not in the matcase.

My counts called for an exclamation mark, but for some reason there were none in the matcase, so I might have to either steal one from another 12-point font or live without.

I will also have to remember that this is cast with a soft Linotype alloy, so I should not expect it to be as durable as it would be with a harder alloy.

This was cast using a 12-point American 3E composition mould, and I had very little trouble with the actual casting. A few of the very narrow characters started getting bleeding feet (something which I would expect more from the wide types) after casting 30 or 40 of them. What with all the time spent setting the matcase position this intermittent casting did not seem to need any cooling water for the mould, although using water might have prevented the bleeding feet.

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Proof from the March 2nd Casting

My post on this weekend’s casting adventures did not include a proof of the imperfect but useable forme cast in the early evening, so here it is:

Second ProofThis was done with rubber based ink, and the gloss of the ink caught the camera flash making the jet black printing appear gray and porous. There are ten corrections to make, and I cast a few sorts today for this purpose. The corrections are in now, but I have not filled the lines yet to make everything lock up tight.

Having looked at this proof I also see something wonky about the spacing of the second line in item 3: The first four spaces are clearly wider than the remaining ones, yet the line length seems to have come out correctly. The mixed space widths could perhaps be due to the S punch being not recognized in part of the line, making the spaces have their natural width, but that doesn’t explain why the line length is correct. This also did not happen in the Sunday afternoon casting, so I’ll be taking a closer look at the ribbon to try to find an explanation.

A look at the spreadsheet I used to verify the justification codes reveals that this line in fact contains only 4 S punches, and has a wide justification adjustment of 8/3, meaning about 2½ points of justification are being added to just four of the spaces. The previous casting would have been before I corrected the justification. If all 11 spaces had S punches, the justification code would be 5/3, adding only about one point to all of the spaces. It will also be interesting to see what the original justification codes were on that line. I believe that the keyboard has a lever to control whether the space bars produce adjustable or fixed spaces. It would appear that partway through keying that line the lever was moved to the fixed-space position, and reset at the end of the line when I noticed there were only 4 justifying spaces. So I may fire up the caster again to cast the correct width of spaces for this line to produce even spacing.

Oh, yes… that row of cap H’s at the bottom is for checking the matrix alignment and will of course be removed from the final proof!

Hilarious auto-captioning of one of my YouTube videos

I recently posted a video on YouTube showing the basic operation of the TAPPI hand sheet former we have for sale.

Just this evening I noticed that YouTube tries to do speech recognition to generate closed captioning for the videos. On this particular video, I would estimate it got at best 5% of the words correct. Some of the captioning is just gibberish, some sounds like pithy aphorisms, and one line is NSFW. With the proper selection of lines you could make a very cryptic haiku. I found it hilarious to watch.

To see this captioning, below the video you will see a row containing the Like and Dislike buttons, the selectors for the About, Share, and Add To tabs, and some icons the first of which sort of looks like a menu selector, but actually gives the “Transcript” as YouTube calls it. Click on this then play the video.

If you want a puzzle, here is the (censored) transcript without the video; see if you can guess what I’m really saying! Hint: The boldface words are correct

when I got here ahead she for hurt at
test Thur it’s not hot
climbing her grammar how the f*** her trainer are her fellow
so on a star well
whole or half
first who
happy a
sorrel record here screening out enough grass
break Harper slain or
rushed and watch down here well
rest away for
hotline at Paul
I have here I was watching grams Paul
after all and former No leaders
water which is not recommended for the cat for anything has changed
all
not hot rest away
so I’m
and use this device to stir
all then
the persuade Hall
things of horror and their pop star
centigrade when you’re you’re tasked you or the sleeper
a the show here
bear sighting in she
years and she or on the screen
and these are standard Larson you’re just peace
copter all I’ll
as
not shattered roller
the reason why I got his coaches sheesh
come with up there is one here are
Shia I didn’t send pretty well
holders low last boss
stuff in there that’s hard for me

I didn’t think I mumbled that badly!

March 2nd Casting Session: A Modicum of Success

The first job was to address the problem of the magnetic starter tripping out every few lines. I found online several documents regarding the pulsing nature of the current drawn on the input of a VFD. I think the pulsing current may be fooling the current sensor on the magnetic starter, making it signal an overload and turn off the power. In the manual for the VFD they provide recommendations for input wiring protection based on the capacity of the VFD rather than that of the motor. By following these recommendations I set the current limit on the magnetic starter to a higher value, and as a result the power did not shut off at all during today’s work.

For reference of what it is I’m trying to cast, here is the proof I took at Mono U of the caster output from my ribbon after hand corrections:

IMG_6991This is cast in 9 point Times Roman on a 10 point body, with 3-point leading between the lines. Although the lines were supposed to be justified, due to the keyboarding errors and manual corrections, only three of the 8 lines that should be justified actually are (“1. Select the location…”, “2. When you click…”, and “also be options for fixed…”). My corrections to the ribbon should improve that average a bit.

The third line, once corrected, was actually too long so part of the hand correction was to hyphenate the word “pointing.”

By the way, the text is a short excerpt from the documentation for a computer program for managing digital Matrix Case Arrangements (MCA’s).

Sunday afternoon, I tried casting the ribbon again. One thing I noticed about the line lengths was that the lines that were quadded out at the ends of the paragraphs seemed to have more accurate line lengths. There was one adjustment I had not done on the caster, which is to adjust the space transfer wedge so that types cast with the S punch in 3/8 justification come out the same width as the same types with no S punch. I manually punched a ribbon to set 3/8 justification and cast a series of em quads. By running this ribbon and stopping it after it got to the quads I could cast a line of justified em quads, then disconnect the air supply and cast a line of non-justified em quads for reference. The justified ones were casting wider than the non-justified ones, but by adjusting the transfer wedge I got these to cast the same width.

Later that afternoon, with a bit of futzing about, adjusting line lengths as the caster was running, I got the ribbon to cast at one go with no freezes and no motor cutouts. I did have one line break not work, and by the time I noticed there was most of the next line in the type channel. I stopped the caster and carefully removed the first line and set it aside. Later I integrated it into its proper place in the form. There were a few small blobs of metal under some of the types in the earlier lines (near the bottom of the form). Perhaps these were caused by bleeding feet on the type. In any case, here is the result, with some of the spacing adjusted to fill the lines more or less:

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I made a list of all the errors, and reviewed the ribbon to see if they were keyboarding errors or casting errors. In the latter case I compared what was cast with what the ribbon called for to try to determine if the error was a hole not read, a hole read where there was none, or some other more complex error. Most were of the first type, which might be corrected by increasing the air pressure.

To address the problem of incorrect line lengths, I made up another Excel spreadsheet to calculate the proper justification codes for a line on the ribbon. You enter the set size and line length once, and for each line, you enter the number of S punches (which are adjustable-width characters), the number of 1 punches through 14 punches, and the number of rows on the ribbon with none of 1 through 14 punched (which selects row 15 in the mat case). The spreadsheet then calculates for each line the two justification codes required.

I found several of the lines were way off, usually due to some other mispunch on the line. For instance, there is one place where two letters were punched in the same row of the ribbon, because the ribbon did not advance in the keyboard. This will only cast one type (by 25% chance it is actually one of the punched letters), but the keyboard counted both of them when calculating its justification. I corrected these justification errors using tape and the hand punch.

In the evening I ran the ribbon again, with even better results. The line lengths were fairly even (though not perfect). Only one line ended up too long, due to one type casting as an em quad instead of a narrower letter. Other than that all the lines fed onto the galley with no problems. Turning up the air pressure a bit had reduced the number of miscasts.

IMG_6997I haven’t taken a proof of this yet. That loose “g” at the end of the fifth line actually belongs at the end of the third line on the word “pointing.” This is also the line that cast too long; you can see the rogue quad at the start of the line between the words “on” and “the.”

After checking the errors against the ribbon again, I tried to cast the form a second time, but started getting nozzle freezes. The clutch that drives my caster may be slipping a bit as it warms up, and as a result the RPMs drop and freezes can occur easier. I was also getting late so I quit for the evening.

March 1st Casting Session

This morning I checked the angular alignment of the nozzle on my caster and found that it was off a tiny bit, so I adjusted that. I also reset the nozzle to its proper center position on the assumption that the faulty alignment was causing the leakage.

I also took apart my mould again, including removing the two side blocks on the crossblock and the two type blocks on the main body of the mould. I cleaned off some accumulations of well-adhered type metal, and on reassembly I took great care to ensure that the mating surfaces were absolutely clean and free of oil.

I put everything back on the caster, and tried it out. It was casting beautiful quads with no sign of nozzle freeze. But looking at the nozzle area revealed why: The nozzle was leaking plenty of type metal, and all this extra flow was keeping the nozzle hot.

I lowered the pot and swung it out, and gave the outside of the nozzle a good cleaning and examination.

IMG_6985   IMG_6984

A close look revealed that there was something off-center or out of round, perhaps as a result of being used too much with the centering position out of adjustment.

IMG_6988   IMG_6986

Unfortunately the only spare I had (aside from the display casting nozzle) was in even worse shape. It looked like someone had pinched its tip with pliers!

I have a factory drawing of the dimensions of several nozzles so I knew what shape the tip should have. I didn’t have much to lose in trying to reshape these nozzles, so I started with the pinched one. I mounted it in my lathe, carefully centered it, and turned a thin cut off the conical end until the pinched area was gone. Then I cut the slight step in the shape and drilled out the hole to 0.070″ per the diagram. Finally I used a file to cut the tip down until there was a flat spot 0.093″ in diameter.

IMG_6990I put this on the caster and readjusted the nozzle height. This nozzle did not seem to screw in quite all the way so despite me shortening it, I actually had to lower the nozzle height so it would seat at the right time.

After casting a couple of lines of quads the mould was warmed up and ran with no freezes, and, even better, no nozzle leakage! Furthermore it was clear the mould was running tighter because the cast of the air vent on the jet had almost no flash on it, unlike previous times.

One other problem I had encountered last weekend was the casting of letters directly above the correct ones in the matcase (and also the line length being wrong as a result). I though it might be due to excessive air leakage between the pins, but reducing the air pressure had not helped. However, during the week, while I was working on one of the other problems I noticed that the front pin jaws were not closing fully around the air pin. In fact they stayed far enough open that the rack might be more than half a tooth out of position, so when the locking bar seats it actually pushes the rack to the next position from where it should have been. I traced the open jaws to the rod that connects the tongs spring box to the bell crank. A nut had come loose on this rod so the rod had some end play. When the rod was pushed by the spring box (which closes the pin jaws) it would not push far enough. I tightened the nut and thing were running properly again. Quieter too because the rack was not making any “clack” noises as it was snapped into position by the locking bar.

I tried casting the ribbon again. At first the galley was not operating when it should. It seemed that the air pins for the two justification lines had become a bit lazy so I turned up the air pressure a bit and they started working properly. I got through a run of the ribbon with only a few events: The line lengths are still all over the map so I had to stop to clear over-long lines and spend time dropping quads into the too-short lines. I had a couple of lines where the column pusher did not push far enough (instead compressing its spring box). There were also some miscasts too, often involving a position on the ribbon reading holes from adjacent positions. Perhaps I turned the pressure up too much in my effort to get the line breaks working.

Finally I still have the problem of the magnetic starter that supplies the VFD tripping its overload protection after casting 4 lines or so. The average current draw isn’t actually that high, but because the VFD is converting the supply to DC using a simple bridge rectifier and capacitors, the peak current is actually quite high but only occurs for a small fraction of each AC cycle. This spike current might be spoofing the overload sensing on the starter. Because the VFD itself provides overload protection for the motor, all I really need is a switch and over current protection (fuses or a circuit breaker) rather than the magnetic starter. For now I’ve turned up the overload limit on the starter so I hope this will stop these false trips.

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