Marbling Workshop

We had a group of five ladies in our shop today for a marbling workshop. It was not our usual marbling course because they were mainly interested in marbling fabric, rather than learning various marbling patterns. We started out on paper anyway to get them all used to the process and to familiarize them with handling the paints and how the different colours we had interacted with each other. We also show them how to manipulate the stone pattern with a stylus and also the basic use of a marbling comb. Here’s a sampling of what was made (the papers are 8×9″):

Marbled paper Marbled paper Marbled paper

After lunch, rather than going through all the traditional patterns as we would in our normal marbling class, the ladies spent the time marbling fabric. They had plain cotton and some organza, and some of the fabric already had a print design while other pieces were plain white. They kept track of whose piece were whose by snipping corners off the pieces; each lady had a different number of clipped corners. Here’s just a small sample of the marbled fabric, still wet:

Marbled fabric Marbled fabric

Here is most of the group concentrating on their work. Those are my hands in the lower right, adding paint to a larger tray to re-marble a sheet of paper where the first marbling attempt turned out a bit drab. Perhaps a second marbled pattern will improve it…

Marbling fabric

 

A Wedding Guestbook

This was a project we did about 12 years ago: a guestbook for a wedding. The overall size was about 10″ wide by 8½” high. The book was finished with a title plate pasted onto the cover (not shown), done on the same paper as the interior pages.

Interior pages

The textblock is 20 sheets of 8½×11” green handmade paper made from 1st cut cotton linters with chive flowers and asparagus needles as inclusions. The sheets were folded near their ends so the resulting book would have 20 leaves (40 pages) with guard strips in the spine area. This would allow items such as photos to be pasted into the book without causing too much bulging. The pages were trimmed at head and foot for easy turning but the raw deckle edge was left on the fore edge and the guard strips.

Cover

The book was casebound with marbled paper for the cover and white bookcloth on the spine. The marbling includes the colour of the interior pages.

Endpapers

The endpapers were also marbled using a palette that included the textblock paper colour, but in a different pattern than the outside covers.

Headbands

The textblock was finished off with handsewn headbands which pick up on the main colours of the marbling.

Completed book

The completed guestbook

 

Wedding Invitations

Wedding Invitation

One of the jobs we occasionally do is special announcements, including wedding invitations.

This spring, we did a collaborative job with a local couple who were getting married. The bride made the paper in our shop and we did the printing.

This was pretty much her first effort at making paper and it turned out great. The pulp was unbleached abaca beaten for an hour in our Valley Beater, with a small handful of flax noils fibre added in the last few minutes of beating. The noils had enough time to be dispersed through the pulp but were not substantially beaten or cut.

We got her started on how to form the sheets, and gave her the formula for topping up the vat (one scoop of pulp from the bucket for every three sheets made), then let her go at it while I set the type for the printing. The entire page was set in Lydian Cursive 18 point.

She made 8½×11″ sheets which we then cut into three pieces about 8½×3½” with cut long edges and deckle short edges. Needless to say, this paper size left no room for verbosity.

A few days later I did the printing on our C&P press and applied thermography powder to give the ink gloss and thickness.

The test print I made with black ink looked pretty good, but they opted for cocoa brown instead. When seen right off the press I don’t think they looked as good as with the black ink, but once the thermography was done the resulting glossy brown ink turned out to be a great match for the paper.

All in all it went well for both of us, since she found the papermaking very relaxing, and she was there to consult with regarding wording, spelling, and layout as I set the type.

Monotype Parts Stock

As part of fitting the pump latch mechanism onto my Monotype caster, there are a couple of missing parts that I might have to make. Making them should be easy since they are geometrically very simple, but I would have to do some estimating on some of the dimensions. Before going down that road I thought I should check my stock of parts to see if some previously unrecognized part turned out to be one of the ones I need.

I keep my parts stock in wooden crates I made special for the purpose from 7/16″ chipboard, and I keep them stacked on a pallet. The bottom of each crate is set into a dado in the sides so heavy loads won’t cave them in. There are two crate sizes, one exactly twice the height of the other.

Parts bins (front) Parts bins (rear)

The parts are roughly organized based on the functional group of the machine, and also on size so I don’t have a deep crate containing a big heavy casting along with a few small parts rattling around in the bottom. Sufficiently small parts are put in cardboard boxes and labelled on the box. Here are some sample bin contents:

Pump parts

This is the bin labelled “Pump & support & lift mechanism” and most of the parts appear to be the pump support mechanism, although you can also see some pump parts (a hat valve and an American-style piston)

Pump Operating Linkage

This is the “pump operating mechanism” bin. This contains several lower crossblocks, some parts for the levers that actually move the pump piston, and linkage parts all the way back to the catch that enables or disables pump operation. There are also a couple of release mechanisms for the pump latch.

Tools

This is the “Tools” bin which contains an assortment of Monotype (and other brand) tools for working on the caster. Some of the smaller tools in in the boxes labelled with their part numbers.

Unfortunately I did not find either of the parts I was looking for, but I did stumble across some parts in the “unknown” bin that turned out to be the eye at the bottom of the piston spring rod (a20H2).

That’s just a sampling of the bin contents, so if you’re looking for a part check with me. I might just have one (possibly brand new) in one of these bins. I even have some keyboard and Giant Caster parts even though I own neither.

Cleaning the Thompson ink fountain (Part 2)

After spending a few hours across several evenings, I have the ink fountain from our Thompson press cleaned off and fully disassembled.

Paint stripper applied

It took several treatments with the paint stripper to get everything clean. There was no way to distinguish dried ink from paint so I stripped everything clean and will repaint.

The adjustment screws eventually came out after the paint stripper had softened the ink on them and they now operate fairly smoothly, considering that I have not oiled them (I want to avoid oil until I have repainted the parts).

Ink Fountain Parts—All Clean

My next step will be to repaint the parts. Only the lid and part of the main body are painted; the rest is bare metal protected from rust by a film of oil. The rest of the press seems to be finished with a semi-gloss black so I will be using that as well. I will probably also use some contrasting paint to bring out the raised lettering on the lid.

Thompson Press in motion

This post is a bit of a cheat; I currently can’t upload still photos (WordPress is not generating the reduced-size versions of the images), so I’m basing today’s post on a video.

After getting my Thompson press in January, we had finally moved it close enough to the 220V outlet that I could plug it in and spin it up. Later that day I had it feeding paper and printing, but, silly me, I only took video of the press moving with no paper, no forme, and no ink. So here’s that video:

The first part of the video just shows the overall motion of the parts. The second part shows the feed mechanism: a sucker arm lifts a sheet off the feed table (to the left in the video) and draws it down onto the platen. The third part shows the delivery: a gripper arm grabs the edge of the paper and pulls it sideways, laying it down onto the delivery table where a puff of air from a nozzle flattens down the sheet. By the way, the video shows the press running at its lowest speed.

Fixing a Vandercook SP-15 washup unit

The Vandercook SP-15 proof press at the Book Arts Guild of Richmond Hill is equipped with a washup unit. This is essentially a blade that wipes the ink off one of the rollers in the ink train and a tray to catch the ink that comes off. The original blade on this washup unit was badly chipped and as a result did not work effectively, so a couple of years ago I replaced it. The old blade was a fairly stiff plastic (I suspect it was nylon) and I could not find 1/16″-thick nylon anywhere so I had to use PTFE (“Teflon”) instead. I cut a bevel on the edge of the strip and put in place of the original one. It worked a lot better but still not as well as it should so this week I took another look at the situation:

Washup Tray (idle)Washup Unit (engaged)

The first photo shows the washup unit in its idle position below the powered ink drum. The blade (white) is not quite touching the drum. Engaging the washup unit (second photo) raises the right side of the tray causing the blade to press against the drum and wipe off its ink film. Ink on the rest of the ink train gradually transfers to this drum so eventually all the ink should be wiped off. If you look closely, however you can see that the PTFE blade is flexing so much that its edge is not contacting the drum; instead the heel of the bevel is on the drum. This makes the wiping much less effective and causes some of the wiped ink to run off the upper side of the blade and thus not get caught in the tray.

I took out the washup unit and cleaned most of the dried ink off it, and tried the simplest solution: I reversed the PTFE blade so the bevel would face down. This would mean the blade would have to flex quite a bit more before its edge was lifted off the drum surface. Here are the same photos after reversing the blade:

Washup Unit with blade reversed (idle)Washup Unit with blade reversed (engaged)

The blade is still flexing when engaged, but now at least its edge is still the part doing the wiping. This has improved its effectiveness but it is still not ideal. I would like to increase its pressure against the drum by raising the tray more but this would only flex the blade more.

My next try will be to make the PTFE blade narrower and adjust its metal holder up to compensate. This will reduce the width of the unsupported PTFE and thus reduce the flexing. If this still fails to give good results I may try a brass blade instead.

Tagged with:

Making Washi in 2010

Back in June 2010, we all headed out to Prince Edward Island for the first East Coast Gathering of members of the Yahoo Papermaking group. Our gracious hostess was Linda McCausland who runs Heron Cove rental vacation house, where the Gathering was held.

One thing I did was make a batch of washi using traditional techniques. Because the weather was a bit unreliable, I set things up in a garden shed.

Garden Shed

This is the interior of the shed, with Lily having just discovered a bag of beach toys.

Vat and sugeta

This is the knock-down vat I had brought along. The four sides are held together by loose-pin hinges and sit on a base of 2×6 planks on sawhorses. A liner of 6 mil polyethylene with neatly-folded corners is held on by bulldog clips. The clips also act as stops for the two support sticks both for pushing them apart to form a sheet and also for pushing them together to support the sugeta. The sugeta itself consists of a home-made keta (frame) and a su (screen) from Magnolia Editions.

Post

This is the post of formed sheets. There are no felts separating them, but fishing line is run between the sheets along the near edge to help separate them after pressing.

After poor results using the plain bamboo su on the previous day, this time there was a layer of fine screening attached to the su, and as a result I got reliable couching of the sheets. We had made a run into town to a sporting goods store to buy a fine mesh bug jacket, which was then cut up and pieces distributed to attendees as needed. I used a large piece from the back of the jacket cut to match the size of the su, and attached it with the sort of bright red tape that is used in construction to seal vapour barrier and insulation board seams. It was only attached to the near edge of the su, and surface tension kept the rest of it in place.

Audrey took the following short video of me making a couple of sheets, with Lily (3 years old at the time) adding some background sound effects and music.

Although the paper couched fine, after pressing I was unable to separate individual sheets so instead I peeled off double sheets. Although I didn’t get the nice fine paper I was hoping for I still consider this a success since it was only my second or third try at making washi.

Tagged with:

Lassco Spinnit LBM-2.1 Paper Drill For Sale

We have a Lassco Spinnit LBM-2.1 paper drill for sale. This is a tabletop machine which operates similarly to the Challenge paper drills and in fact uses the same drill bits.

The bit is a sharpened hollow tube which is spun by a motor as it is driven through the stack of paper. The cutouts push up through the hollow drill and come out a chute at the back where they can be collected for disposal. The drill plugs into a regular 3-prong wall outlet.

This machine is in excellent condition and comes with two bits (9/32” and 5/16”), the original instructions spiral-bound with all pages laminated, a new cutting stick, and a non-original bit removal tool. The table slides from side to side to drill multiple holes and there is a template to put holes at specific positions. The template included with the drill produces 3 holes 4.5” apart, the pattern for standard 3-ring binders. Parts that would have come with the drill when new but which are now missing include 3 other hole spacing templates, a bag to catch the chaff, a bit cleaning tool, a bit lubricant stick, and a couple of Allen wrenches.

The bits could probably stand some sharpening; combined bit cleaning tool/sharpeners are sometimes available from Don Black Linecasting for about $75.

These drills are still available new for about US$1300. We are offering this one for $500 plus delivery and taxes.

Paper Drill Front

Paper Drill Side

Nameplate

The Book Arts Guild of Richmond Hill

This group of about 20 people runs a cooperative shared letterpress shop in Richmond Hill, just North of Toronto. Members have access to use the shop during daytime hours and there are a couple of keys available for after-hours access. We also hold meetings more or less every second Thursday evening from 7:30pm until around 9 or 10. Anyone is welcome to come to the meetings but because they aren’t perfectly regular it would be a good idea to e-mail one of the members a day ahead to ascertain if there is indeed a meeting. There is no formal structure to the meetings; they are more of an agreed-upon time slot when you can show up and expect to find other members there to talk to.

The shop occupies about 400 square feet in the basement of the Vanderburgh House, the balance of which houses the Richmond Hill Chamber of Commerce. It is the CoC’s office hours which control when you can visit the shop without a key, and the CoC’s desire to keep a lid on the number of keys floating around which limits the Guild to holding only two keys for after-hours access.

The Vanderburgh House is a building of some historic importance in Richmond Hill which was actually moved from its original location to its current address of 376 Church Street, at the corner of Weldrick Avenue, just a short block off Yonge Street.

Equipment at the shop includes a Vandercook SP-15 proof press, a C&P Old Style 10×15 (I hope I have that right), and a tabletop Adana press. There are also a guillotine, a type saw, a 100-slot 12×18 galley cabinet, 6 cabinets of type along with all the odds & sods required for letterpress work: spacing, leading, chases, quoins, furniture, a small assortment of ink, etc.

There appears to be a meeting coming up this Thursday, May 16th, in case you want to drop in. If you want to find out about when other meetings are taking place, you should e-mail one of the members (the Guild does not have any Web presence of its own), including ourselves at info@papertrail.ca, Cam Knight, or Thomas Dannenberg.

 

Top