Springs have sprung

Last year at the American Typecasting Fellowshsip Conference Jason Dewinetz mentioned that he had a Ludlow Supersurfacer with a broken clamp spring.

The Supersurfacer is used to smooth off the surface of slugs cast on a Ludlow, which is essentially a manual linecaster: You put together a row of mats and cast an entire line of type as a single piece. If you are casting large sizes the cooling and hardening of the metal produces faint lines on the face of the type, which in turn show up on the printed page particularly if you are using kiss impression. The Supersurfacer is essentially a surface mill with a carriage specially made for holding the Ludlow slugs and removing a tiny amount of metal, leaving a perfectly smooth surface.

There is a torsion spring which helps hold the slug clamped in the carriage, and the one on Jason’s machine was broken. I have a Supersurfacer (even though I have no Ludlow) so I offered to try to make him some replacement springs using the spring from mine as a model.

Original spring

This is the spring from my Supersurfacer with most of the grease and grime cleaned off. Overall the spring is about 1” diameter by 3.5” long.

After some experimentation I made an arbor and determined a winding pitch that would produce a similar spring. I wound them on my Myford ML7 lathe and had to play some tricks with the carriage feed gearing to get the pitch I needed. A wire bending jig was used to form the eyes at each end of the spring. Finally I plated the springs with nickel to match the apparent finish on the original spring.

Three home-made springs

The bottom one was the first try. Some hesitation in winding made the spacing come out uneven.

They don`t look identical to the original but they fit and work in my Supersurfacer, and I`ll be sending them off to Jason in the next few days.

Cleaning the Thompson ink fountain

Most of the dirt on our Thompson platen press is a mix of dust, lint, and oil which can be removed with a soft brush and a vacuum cleaner.

However, the ink fountain suffers from years of encrustation of dried ink. Although in normal operation the ink should stay in its reservoir, sometimes some of it creeps over the edge of the doctor blade and gets on the adjusting screws, where it eventually hardens making it next to impossible to adjust the screws to get the desired ink flow rate. It does not help that they have knurled heads with no provision for using any sort of wrench on them.

Thompson ink fountain in piecesI have disassembled most of the ink fountain as much as I can, but was only able to remove one of the adjusting screws. I will now soak the body and adjusting screws in paint remover, which I have also found to be very effective on dried ink. I will have to repaint the fountain when I am done but it should not be difficult to match the rest of the press, which is pretty much a flat black.

I find it interesting that a press made so soon after WWII should have the occasional aluminum part in it. In particular, the delivery table (but not the feed table) and the cover for the ink fountain are aluminum. I would have expected aluminum to be in short supply compared to cast iron…

Our contribution to the Wayzgoose Anthology

Now that the Anthology is out I can show you our contribution without spoiling the surprise. Overall it turned out nice, although I have 3 or 4 private critiques of my work. There were 135 copies of the Anthology produced, and each one would have unique marbled paper and various colours of paper for the inner leaf. By the way, the page size is 5.5×8.5”.

Front pageEndpaper and page 1Pages 2 & 3Page 4 and endpapercolophon

E-mail woes

Over the weekend and up until sometime today we have been having trouble with the e-mail server that handles @papertrail.ca and @thinkage.ca e-mail addresses. Anyone who tried to e-mail us might have received a warning about delayed delivery or a rejection due to failed delivery. Things should be fixed now, so if you got a rejected mail message, please try sending it again.

Wayzgoose 2013

We had great weather and a good crowd showing up, so altogether it was a wonderful day.

We actually drove to Grimsby the afternoon before the show, and stayed at the Beamer Falls B&B so we could be fresh and rested for the show. Before dinner we took a walk along a branch of the Bruce Trail which leads to the edge of the Niagara Escarpment overlooking the entire town of Grimsby. I finally identified a bird call I had been hearing for years as a type of woodpecker. We drove back into town to an excellent dinner at the Elm Street Café, after which I retired for the evening while Audrey lounged in the hot tub for a while. Lily, who finds Wayzgoose “boring,” stayed for a sleepover at a friend’s.

After a good breakfast at the B&B we drove to the Grimsby Public Library and Art Gallery to get our stuff set up. Unfortunately we were in the Carnegie Commons building (Grimsby’s original Carnegie Library) so we had to drag all our stuff up a flight of stairs, but the fair had plenty of volunteers to help. We got things set up and then the crowds came; business was pretty steady through most of the day, tapering off in the last hour.

After packing up, we had appetizers and a dinner as part of the fair, drove home, picked up Lily, and finally got some rest after a long day.

Our sale table at Wayzgoose

Audrey watching over our table at Wayzgoose.

Paper for sale

The hot seller this year was our paper, particularly the marbled paper.

Packing for Wayzgoose

This is a slightly belated post, since Wayzgoose was yesterday, but I was missing one piece of electronica and could not retrieve the photos I had.

partly filled crates

Starting to fill the crates. Each one contains a photo of what should be there.

For most of what we bring, we pack it in flip-top plastic crates. We chose these ones because they are the ideal height to fit the back of the pickup truck under the tonneau cover, and they stack well. The heaviest things we bring are books, and in order to avoid having one hernia-inducing crate we spread these out amongst all the crates, mixing them with other lighter items. To keep things organized, we took photos of a well-packed set of crates, and now use these as guides when packing.

We still have some optimizing to do, particularly regarding the books, as these fall into three categories. There are the used books for sale, new books for sale, and well-thumbed display copies of the new books for sale. The former and latter are placed in display racks on the sale table, while the stock of new books stays in the crate until someone buys one.

filled crates

The crates are all filled now, ready to be closed up and put in the truck.

Similarly other goods we bring are only partly on display with the remainder used to replenish the table after a sale. As a result some crates have to stay open and accessible while other empty ones can be stacked to save space. By better arranging the books we would like to minimize the number of crates that have to stay open.

In addition to all these crates, we also have several boxes of paper and a couple other odd items, including a free-standing gridwall display stand.

Since we have another show next weekend, on our return home we will only be unpacking these enough to replenish what was sold.

Waterloo Mini Maker Faire

P0001563CroppedWe’re applying to demonstrate papermaking at the Waterloo Mini Maker Faire coming up June 15th at Kitchener City Hall. While writing up the application we found this photo of a sheet of paper being formed. You can see the waves from shaking the mould to even out the sheet, and the camera flash does some neat things to the dripping water and its shadow.

I can’t say we’re a shoe-in to be accepted, but we’ve been asked by at least two people organizing the Faire to apply.

Our Valley Beater

For beating some papermaking fibres, a Hollander beater is essential. One of the brands preferred by hand papermakers is the Valley Beater, originally made by Valley Iron Works, but still available new from Voith-Sulzer (last time I checked). They are generally available used for 2 or 3 thousand dollars, but new ones are over $10,000. They were originally designed for use in the laboratories of commercial paper mills for testing pulp and determining how the main batch should be processed in the large production equipment. Because they were intended as a lab instrument they can essentially be kept running forever, although parts are becoming more expensive as well.

Most of these beaters have a painted cast iron tub, but ours has a bronze tub and the naked metal to show it off. We have it on casters so we can roll it out of the way when not needed.

Beater—Infeed end

From this end you can see the roll which drags the pulp under itself to bruise and scuff the fibres with minimal cutting.

Motor Side view

Projecting from this side just a bit to the left of the main frame of the beater is a garden hose quick-connect with a valve to allow the beater to be filled though its flushing ports near the diaphragm

Controls side

This side of the table has a metal box below containing the contactor (in a waterproof case) to operate the motor. Eventually the water connection will be here too with the control valve and a hose with sprayer will be coiled up, ready to help rinse out the tank at cleanup time.

Diaphragm and supply lines

This shows the diaphragm (which allows the gap the fibres run through to vary) along with the white plastic water lines connecting to the two flushing connections. The red bands are link belting running from the motor to the beater rather than a regular V belt.

Because the water supply lines go up to the tabletop, the area around the diaphragm cannot easily be emptied. I eventually plan to run the water line down into the box that already contains the motor switch and have the hose connection there. In this way one can disconnect the hose and drain the beater a little more fully. I will also add a short hose with a sprayer to help with rinsing out the beater tank when the time comes to clean up.

Monotype pump head disassembled

As part of my project to add a pump latch to my Monotype Composition Caster to allow casting of larger type, I decided to take apart the pump head so all the parts could be cleaned properly of decades of accumulated crud.

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As it turns out I did more disassembly than I should have. In particular, the 19H family of parts contains a footnote in the parts manual:

The fitting of this part requires special skill and/or tools not normally in the possession of an operator. It is recommended that the ‘Monotype’ Area Technical Representative is contacted before ordering

The two heads a19H3 and 31H2, in addition to be held on by large nuts, are also press fits onto the ends of their respective shafts 19H and 31H1. Reassembling the 31H family is a simple matter of pressing the parts back together, but in the case of 19H, the head must be in the correct rotational alignment with the hole in 19H that holds the taper pin a19H2. I expect that in the factory, they press the head onto the shaft, slide on the lower crossblock (not shown, but it is that the taper pin holds in place), put everything in a fixture to hold the two crossblocks in proper alignment, and drill and fit the taper pin. I think the proper disassembly procedure is just to remove the taper pin, and remove 19H and a19H3 as an assembly.

I actually tried to remove the lower crossblock (the one held by the taper pin) but with the melting pot still in place it seemed impossible. At times I had it rotated in all directions but could not remove it. It was very reminiscent of the sofa stuck in the stairwell in Dirk Gently’s Holistic Detective Agency by Douglas Adams.

Other than getting that reassembled in proper alignment, I have to shorten a19H5 (which is already a home-made part), make a new spacer tube (b20H7) to raise the spring seat a20H12, and make a new c20H1 to replace b20H1, the new part being longer by the amount a20H12 is raised, so the spring length is unaltered. I will be estimating the dimensions of b20H7 from the illustration in the parts manual, although I will also search my parts collection for some mysterious tube that actually turns out to be the correct part.

Don’t worry, it all makes sense once it is assembled…

Guillotine knives for sale

I have four guillotine knives, but I’m not even sure what brand or model they are for, nor whether they have been sharpened so much they aren’t useful any more. They are actually two pairs of essentially identical knives.

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The first pair of knives is 28.3125” long by ⅜” thick by about 3” wide, and according to one of the carriers is ground to 22°. They are both branded “FASSCO Made in Germany F220 Schwedenstahl.” The 6 pairs of holes appear to be for ⅜” bolts and are 4.1375” apart with the first hole about 4½” from the left end and the last hole 3” from the right end.

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The second pair of knives is 35” long by 7/16” thick by about 3¾” wide. There is no branding on these. The 7 pairs of holes appear to be for ½” bolts and are 5.521” apart with the first hole about ¾” from the left end and the last hole 1¼” from the right end. One of them has quite a bit of surface rust on its face but the back and bevel are fine.

All four of them probably need sharpening.

I’m asking $50 per pair for these, plus shipping. If you are interested, or even if you can identify what model of guillotine they are for, please e-mail me.

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