A Fine - Line Project.

It all started with these two, fairly common stamps, shown below. The first is the 1923 Harding Commemorative.  President Warren G. Harding died suddenly on his return from an Alaska Trip in 1923.  He made it as far as San Fransisco before he died.  Why did I select Warren Gameliel Harding as a subject?  Well . . . heck, is that portrait cool or what?  I mean, that's one awesome profile.  I wanna grow up to look like Warren G. Harding!  Ok, and another thing: Harding has a unique place in Broadcast History.  The very first broadcast from Westinghouse's 8XK / KDKA, Pittsburg Pennsylvania experimental radio station was the Harding-Cox election Returns.  Harding was the first president to have his election covered by the new medium of Wireless.  

The Project?  A special QSL Postal Label to commemorate the 100th anniversary of Ham Radio and the American Radio Relay League (1914 - 2014) and as well, a sort of head start on the 100th anniversary of Broadcast Radio, 1920 - 2020.

Another aspect of this project: to demonstrate the reproduction of fine detail via the medium of Letterpress.  Letterpress is not new to Postal Ephemera, of course.  Just after the 1840s, Great Britain turned from intaglio engraving of postage stamps, to surface printing.  Surface (Letterpress) printing carried the burden of postage stamp production for the most part, in Europe for about one hundred years.  There is no question that these stamps were designed with a high degree of detail.  Detail that I don't see very often in today's modern world of Letterpress.

Now, the United States continued it's practice of engraving of it's postal issues.  In fact, the only examples of surface printed postal ephemera from the States will be found in their Postal Stationery issues, and in their Postmaster Provisionals which were used prior to the issue of Government printed stamps in 1847, or the Postmaster Provisionals of the Confederate States.

The design for my Amateur Radio Postal / QSL labels would be derived from the profile portrait as seen in the above Harding stamp, and the frame of the stamp shown below, which is part of the 1923 regular postal issue.  All denominations shared the same frame and legend, featuring different presidents and personalities from American History, such as Nathan Hale, shown below.

I redrew the frame and acanthus leaves above the denomination.  I removed the legend, denomination, and "cents", leaving only a sort of brickwork pattern.  The challenge: can I hold these fine lines on a copper letterpress die, and further, can I print these fine lines?

I had a rough time finding a plater that really understood what I needed, which was intaglio engraved fine-ness on a copper relief die.  Compared to the printed work executed by Harpers Weekly, the GPO, the old Imperial Reichsdrukerei, Derbeney Paris, and other printers of the last century, mainstream Letterpress work today seems to be almost primitive.  Most of the platers that do copper work seem to have become accustomed to today's artwork, and "choke" on fine cross-hatch on images that measure less than six millimeters. I made no less than four separate dies before I found a company that did a job that approached what I was looking for.  When the above die arrived from Metal Magic, I was stoked!  The image measures 19mm high, the portrait of Harding measures 7mm.  This is truly a miniature work of art.

The registration marks were already on the paper, they had nothing to do with the printing of these labels.  The paper that I used was a polished adhesive with a peel-and-stick back.  Pulling an acceptable print was almost as hard a job as it was having the die made.  This was largely owing to my own acclimatization to Lettra and deep deboss design.  The first thing I did was over-ink the press. Using hard surface stock is necesary for fine detail designs, and very little ink is required.  Also, very little pressure is needed to transfer the image.  Since the die contains fine hatching, it is very easy to "plug" these fine lines on the die, so ink had to be applied by the littles, and brought up slowly.  Packing was hard, using Red-board just beneath the tympan sheet.  I did not want a 'spongey' packing.

It took me over an hour to level out the ink and adjust the packing.  The die would ghost annoyingly.  As it turned out, I had the rollers taped higher than usual for the last job I ran.  Finding the right roller height, the right packing depth, the right level of ink, I was finally ready to finally run.  The above image is the result.  Compare it with the Harding and Hale stamps above.  I was actually pretty pleased with the result.

I tried using Lettra and other types of Letterpress stock, just to see how it compared to the polished hard stock. I couldn't get nearly the detail.  If I were to add ink to darken the image,  I would sacrifice a lot of the detail.  Printing on open sized papers, and printing on hard and polished stock are two different worlds!  "Kiss impression" is imperative for really fine detail work. 

The smaller the die, the harder the lock-up. Care must be taken to arrange the furniture such that the pressure focuses from the inside out.  It is too easy to create a lock-up that bulges out the small center forme or die with too much pressure.  In this case, the answer lie in artificially "widening" the width of the die to create a larger area on the top and bottom, to spread out the pressure.

Above is a close-up of the lock-up.  The curving of the furniture is distortion from the camera's "taking" lense.

So, what I re-discovered was that Letterpress Printing with an eye for detail is an art unto itself, requiring not only a fine line quality die, but also paper suitable to transfer a fine line image upon, a carefully managed level of ink to adequately cover, but not plug the detail of the die, and proper packing.  All of which is considerably different than the prep work that goes into today's typical ink-and-punch work.  You, know, both have a place in the Letterpress Universe, to be sure.  I do a lot of  "ink-and-punch", taking care not to damage my equipment, of course.  But it is far more satisfying for a guy like me, who grew up with those beautifully detailed postal designs, to print images that simply speak "artisan".  But then again.....if you speak "photography"..... I am an ASA-20 medium format Pan-Atomic sort of guy who lived and died by Microdol!!

Oh, if you have not already, please check out our new "Paper Wren Press" web site!  It's still under construction, as is our business, but we are welcoming visitors.  Feel free to drop me a line, too, at gary@paperwrenpress.com

-gary, the Printer.

Paper Project: making Chris' Wedding Invitation Stock

This entry is a follow up from the Paper Wren Press Blog entry here.  I am placing this entry here on the Printer's Blog because this blog is where I keep educational and information oriented articles.  If you followed the link, you will have read Part 2, the printing of the Invitation.  This is Part 1, the making of the card stock used.  Chris is the Groom, and wanted maximum creative involvement in the creation of his and his Bride-to-be's wedding suite.  What better way than to make the paper?

Above is the home-made beater. The barrel is a sawed-off Jack Daniels Whiskey barrel, made waterproof by an inner liner.  The axle of the main pulley (bicycle wheel) holds about five sickle-like blades which rotate between fixed metal vanes attached to the inner lining of the bucket, with a few tenths of an inch clearing.  The paper fibers are not cut, but beaten, hydrating them.  The beater wheel is belted, as you can see, to a half horse motor.

Here is Chris feeding the beater.  The pulp contained burlap, cotton, and recycled printed paper, probably from an old Encyclopedia.  Not....too old, we're not ripping up collector items.  There was some plant clippings that found their way into the mix, plus some charred wood from the barrel itself.

This is Josh, pulling a home made mould through the mix.  Josh has been working on this paper system for better part of a year, now, beginning with a self-cycling garbage disposal system, and slowly honing his system to improve his results.  Chris and Josh both designed their latest beater, which actually resembles a Japanese design.  Oh, and Josh made the mould and deckle.

Josh inspecting the pull.  One of the challenges was to produce something like consistent thickness, since these sheets are slated for Letterpress Printing.  There is very little sizing in this mix, I think Josh mentioned adding some Calcium from charred bone.

Josh pulling the mould from the deckle.

Posing for the Camera.  A little James Dean action here.

Couching on the blanket.

A little forced-air help.

There ya go! A good release.

A few hours later, and we have a lay-out ready for pressing and drying.

Gathering the sheets from the blanket.

These sheets were pressed with metal interleaves, under the pressure of a hydraulic jack.

Chris is "candling" each sheet visually to determine which sheets to send off to Paper Wren Press for printing.

And finally, the finished product.  There are about one hundred 5x7" (approx) sheets here.  All told, Chris and Josh made about 200 sheets, 150 of which were selected for use.

So here ya go, the "behind the scenes" story. The Paper Wren Press blog entry describes the actual printing of these sheets.  

We hope you enjoyed reading this piece.  All photos were taken by Chris Rupp, the paper maker is Josh Rustin, one of our local DeLand resident artisan craftsmen and artist.

-gary.

More Kluge Information

I had committed to enter Kluge Information as I came upon it.  From Brandtje & Kluge's site, I submit some general model information.

The first of the Kluge Platen Presses were made in 1931.  Prior to this, B&K only made the feeder for other presses.  Their design goal was to build a heavy, durable, and very fast press.  The two models made through the 1930s, and through WW2 were the Model M (10x15) and the Model N (12x18)

From this point on, "M" designates the 10x15 sizes, and "N" designates the 12x18.

"The Model M and N presses proved an overnight success. During the balance of the thirties, the company was producing 50 to 60 presses per month, and opened branch offices in many cities including New York, Los Angeles, Chicago, San Francisco and Detroit, also taking their first venture into the foreign market with exports of KLUGE presses to India, the Philippines and Australia"

During the post WW2 boom, B&K improved their presses:

"Following the war, the booming economy created an unprecedented demand for KLUGE Automatic Presses that was met by assembly line production of over 300 feeders per month from the St. Paul facility. By 1946, significant improvements in inking and registration led to the development of "MA" and "NA" models, which were in turn replaced by the enhanced "MB" and "NB" models just two years later." 

Thus, we find the "MA" and "NA" series presses dating between 1946 through 1948.

The "MB" and "NB" series presses begin manufacture in 1948.  

Apparently, the "B" series enjoyed a span of eleven years, from 1948 - 1959.  Then, from the Kluge History page we read:

"The decision to focus on its existing platen press knowledge and expand the product's potential energized the company with a keen sense of direction, and by 1959, Brandtjen & Kluge introduced the Model "C" Automatic with innovative sealed ball bearings that increased maintenance intervals and a constant speed motor drive system."

Thus, the "MC" and "NC" models find their origins in 1959.

What is not clear is when the "C" series ended and the "D" series of the mid 1960s begins.  Again, reading from the Kluge History page:

"This was the forerunner of KLUGE's most popular presses-the 11 X 17 and 13 X 19 "D" Series sheetfed printing presses."

The "EHD" was developed in 1967, so it might be safe to put the "C" series in the early 1960s, and the "D" series in the middle 1960s, up until 1967.

The entire Kluge Story can be found here.

-gary.

 

 

The Kluge "Open" Press

Our newest press is a 10x15  "Open" Kluge Letterpress,  Attempting to find information on the "Open" variety of the Kluge line of platen job presses has proven quite difficult.  Canvasing printers on the various Letterpress web and listgroups proved just about as futile.  In the past I've heard many an old hand - at - the - board comment about this very unique press.  Oddly enough, when approached individually, these printers had to confess they no longer had theirs, and all admitted they regretted not keeping them.  The comment most heard was "wow, you found one??"

In other words, this press is very elusive.  And fairly rare.

So, I thought that I might do with my Open Kluge what I did with my Pearl OS Model 3: post a continuum of articles and photos dedicated to the Open Kluge, if no other reason than to provide at least something for the next fella that wants to find out any sort of definitive information about it.

First of all, my Kluge bears the serial number of MD 105649, which places it's date of manufacture at 1965.  In terms of Letterpress years, this press is just a baby.  In terms of the Kluge (Brandtjen & Kluge began life as the manufacture of platen press automatic feeders in 1919, introducing their first models M and N sheet fed automatic feed letterpresses in 1931), it's a mere adolescent.  By far, most Kluges out there seem to predominate in the 1940s and 1950s vintage.  

Probably the best way to describe the Open - is to talk a little about Kluge's primary "Automatic" platen press  first.

The "Automatic" Kluge

Kluge Platen Job Presses were manufactured to be automatic-feed presses, the ubiquitous compressed air feeder being a signature example of early 20th century 'robotics'.  Because Kluges were manufactured to be automatically / "robotically" fed, certain unique features were built into these presses.  Unlike their hand-fed C&P, Colt Armory or Golding cousins,  The automatics were equipped with a self registering side gauge that slid about half an inch out, so that when the feeder placed the paper on the tympan, it could slide in, pushing the paper a half inch to the right, making positive contact with the left sliding gauge and bottom gauges.  It was a clever system that yielded tremendous consistency.  Also, because the automatic Kluge is fed by a mechanical air-suction feeder, not by hand, the platen could close quickly.  This speeds up the impression rate, making for a very fast press, with a high IPH [ 4000 impressions per hour!] rate.  Of course, having an automatic feeder, the Kluges came equipped with an elevator, mounted where a feed-board would otherwise be mounted for any hand fed press.  These elevators are belt controlled, the elevators lifting the feed stack for the feeder, the receiving elevator lowering for the retrieved print.  The elevator mechanics are sequenced with the feeder, although from time to time I have had to manually lower and raise the elevators.  Even though the Automatic Kluge is . . . automatic, an operator must supervise the process, and from time to time intervene with the process.

There might come a time when the operator must hand feed the Kluge Automatic: that is done by opening up the feeder, which can be swung like a door to the right, exposing the elevators.  The press is slowed down to it's lowest speed, and if the operator is careful, the press can be hand fed, but since the Automatic is not geared or cammed for long dwell time (the time the platen is open so the operator can feed and draw, and still pull hands and fingers out before the platen closes), this can be a tenuous maneuver.  I've done it many times, but most of the time I would "double roll" the press, throwing the impression lever off for the feed, on for the impression, and off for the pull, which means the die gets two passes of the rollers. Once I get my cadence, then I can feed each impression without manipulating the throw-off lever.  To make up for the lack of a feed board, the elevators are cranked up as high as they will go.  All this to say, the Automatic Kluge is a clumsy hand feeder.  And a dangerous one at that.  You can see me hand feeding the 12x18 Kluge Automatic at Mama's Sauce here.

Probably the most reputable feature of the Automatic Kluge is it's ink distribution system.  At first glance, one might think it's really no different than any other rotating disk platen press.  And up front, it is basically the same.  What Kluge did was keep four form rollers on all their models (the M models correspond to 10x15, N corresponds to 12x18).  That alone makes for a superiour inking system, but added to these are two 'vibrator', or oscillating ink rollers, which fit atop each pair of form rollers (see photo of saddle, above).  The purpose of these oscillating 'vibrator' rollers is to spread out the ink directly upon the rollers themselves.  In action, the form rollers slide over the disk.  As they pick up ink, each roller pair transfers the ink to their respective vibrator rollers, which oscillate from side to side, further dispersing the ink over each roller that comes into contact with them.

The Automatic Kluge is a heavy, stout framed press with a very heavy platen that is designed to make linear contact with the type bed.  Unlike the Goldings or the Heidelberg platen presses, which have a platen that opens and shuts like a door, or "clam shell", via a 'rocker' upon a stationery type bed, the Kluge shares the same basic design concept as the Chandler and Price presses, where the platen rotates to meet the type bed.  The rear of the press whereupon is the type bed, is hinged at the bottom of the press, and is pulled toward the platen which is positioned to receive it.  The Kluge, being a heavier press, is capable of bringing  much more impression pressure to bear owing to its casting size. 

Mind!  No letterpress is designed with deep punching or debossing!  But since today's letterpress is almost defined by deep deboss, it is good to have a heavy machine.  But even with the Colts Armory presses or the heavy duty Kluge, deboss must be judiciously executed.  No casting is impervious.

There is more detail, but I think you have a pretty good picture of the standard Kluge Automatic. Heavy press, great inking, and fast.  The feeder, with the air valves alternately opening and closing, sound not unlike a locomotive.  Lots of levers and cams and gears going.  Vintage robotics. A veritable mechanical Smorgasbord!

The frame of the Kluge changed with the newer "D"  models, going from an open frame to an enclosed steel frame.  This is not just a sheet metal covering: the body you see in the above photo IS the frame, and is quite thick.  I did not mic the thickness, but it "eyeballs" at about half an inch.  This harkens to the old Laureate and Half Laureate Colt Armory presses, which were also heavy bodied, not open framed.  My suspicion is that Kluge saw this organization called "OSHA" on the horizon, and saw the handwriting on the wall: get those gears and cams and levers covered!  Hence, the latter-day Kluges came with fendered flywheel/ motor assemblies, solid-hubbed flywheels (no spokes), skirted bull gears, enclosed bodies, oil ports circled in red, warning labels, &c.

The Open Kluge

  There were, and still are, circumstances where an automatically fed press is not practical.  In cases like these, Brandtjen & Kluge provided a hand-fed version of their standard automatics.  I believe these "open" presses were not considered a standard line item, but were special order factory custom machines.  A number of features were required to change, to accommodate hand-feeding.  This is where information was hard to find.  I discovered from my press' prior owner,  the late John Moran, that Kluge did not, apparently, print an "Open" Kluge manual.  The "manual" supplied with my press by Kluge is the Automatic manual, and it is not really a service manual so much as an inventory list.  None of the printers I spoke or wrote to recall seeing a specific Open Kluge manual, neither have I found one in my research (which is ongoing, btw.)  I believe that if this is the case, the owner of the custom ordered "Open" simply used the Automatic manual as far as the press systems and process went, disregarded the part of the manual regarding the feeder, and went from there.  This is purely my speculation in the absence of documentation or other authorative information.

The systemic differences between the Open and the Automatic Kluges are really few, and obvious.  The first difference is the dwell of the platen.  It stays open about twice as long as it's automatic counterpart, at least as long as a standard NS or OS C&P.  The second difference is the absence of the sliding side gauge, which would be superfluous, really.  After all, when we make ready with a hand-feeder, we set our side gauge pins, right?.  The other obvious differences are, of course, the swivel and front feed boards.  There is also a bracket beneath the main feed board which holds a utility table for oil cans, solvents, &c. 

What is retained are the high rails which extend to the top of the ink disk, the ability to carry an ink fountain, the ink disk engage/ disengage lever, and that tremendous roller/ vibrator system.  The same positive-grip flywheel belting system (the flywheel is grooved to receive the drive belt, which sinks into the groove and becomes flush with the flat edge of the flywheel) and braking system is employed (see below).

The Flywheel is grooved to receive the drive belt.

The brake shoe makes contact with the inside edge of the flywheel.

 From what I can tell, the remainder of the press is the same as the Kluge Automatics.  Newer model Kluges have some design changes over the older Kluges, but these changes correspond to the Open Kluges as well.  Below are some features of the "new" Kluges of the 1960s, which differ from the '40s era Kluges I have known.  These are all photographed from my Open Kluge.

The photo above shows the ink disk cam lever, which rocks the lever you see at the end back and forth which alternately lifts the ink disk to make contact with the rollers - or allows it to rest against its bottom retainer, which causes the ink disk to lower, so the rollers do not contact the disk.  The adjustable ink disk is a standard feature on all Kluge Platen Job presses.

The newer Kluges went to Delrin cam rollers. One explanation was that it lessens wear, and also quiets the press considerably.  I can't argue: just cycling the press by hand shows this press to be virtually noise-less.  I might point out the oil port.  All ports and wicks are marked in red.  I might also point out that the main bearing (flywheel shaft), which my paperwork calls a "Dodge" bearing, is actually greased, as is the Bull Gear. This shaft incorporates pin bearings through the journals. The journals are oiled, as are the wicks (large oil ports containing a cotton-like fiber which serves as an oil regulator of a sort.  Instead of just globing oil in the large port, the wick absorbs the oil, which eventually drains through the wick, and into the port.  Clever, no?  This is a feature on all Kluges of any vintage I have had party with, and I suspect the Heidelbergs and Craftsman presses have a similarl feature.

This is an interesting bit of engineering. At least, to me.  I am used to the pawl and ratchet method of advancing, or rotating the ink disk. The Kluge, at least of the latter era, uses a cam and roller system, shown above.  The cam is attached to the roller harness, or bracket which swings up and down, causing the rollers to roll correspondingly. As the rollers move, the cam slides up and back against the cam roller, which toggles the lever arm it is connected to from one side to the other, left to right to left..  The end of the lever (which has the oil port marked in red) makes contact with the base of the ink disk.

You can see the thumbscrew adjustment screw to the right of the bracket.  I am not sure, but I believe this controls the advance, or degree of rotation of the disk.

It looks like the toggle lever is in contact with a rotating bracket, which rests upon a set screw, which, in turn,  seems to determine the drop of the ink disk.  The ink disk itself appears to rest inside this rotating bracket, more than likely held in place by a key and slot.

Here you can see the toggle moved from left to right, advancing the rotation about two degrees or so.  There is also a spring retainer which appears to provide counter pressure, so the disk cannot free-wheel. 

The motor has yet to be mounted.  I have to wait for the doctor to give me an "all clear" to lift anything over ten pounds.  I am still recovering from surgery.  But hey, I can still press the button of a camera!  Here, the motor is mounted on top of the assembly (1 hp), and is belted to the lower shaft which holds the pulley bearing.  The base contains a threaded journal which, when turned, slides the assembly back and forth. This, in turn, is connected to a long rod with a crank handle on the end, which protrudes under the feed-board.  This is the speed control.

A closer look at the pulley section of the drive box.  This unit is bolted to the front left foot of the press.  I will learn more about how this system actually changes speed when I bolt it up.

Here is another close up of the bottom bracket

As you can see, the motor rests on a hinge which raises and lowers via a set screw.

Well, folks, this is all I have for now on the Open Kluge.  I hope this provides at least a little information and insight into this rare but exceptional press.  And thanks to Mr. John Moran, who spent a life as an exceptional printer of note, well known among the printers of Michigan, for enabling me to "pass the torch", with this press.  I will endeavor to take as good care of it as you did, John.  And thanks for the kind words from Mary Amy, who might be sending a photo of John, so I can have it in the shop as a memorial.  I must say, Dave Seat mentioned to me that a member of the family commented that one of the last things John did in this life was finish up the inventory list of this press and associated apparatus for me.  Thanks also to Dave and Beth Seat for rigging and hauling this press down for me.  Wow, we have a great bunch of folks in the Letterpress community!

Good Providence in all your Letterpress Endeavors!

-gary.

Introducing Paper Wren Press!

You may have noticed the new tab.  That's because G. Johanson Letterpress now has a production and business name under which our products will now be sold, Paper Wren Press.  It's still me, only now my daughter and my sweet wife (who has a bit more sense than your's truly!) are officially part of the warp and woof of our operation.

So, even though it's in it early development, hop on over to Paper Wren Press and check it out.  It's got pretty much the same feel as this blog, only it will be more product oriented.

I will continue to maintain this blog (G. Johanson, Letterpress) as an educational and letterpress activities site, only without the emphasis on product and pricing, although I always share what's hot off the press, or any activities or organizational things that may be happening.

So, that's about it for now, folks.  New Company, Paper Wren Press, and keeping the old Blog as it is.  I hope it won't be too confusing.  Feedback is always welcome, btw.

Oh, one more thing: G. Johanson will be maintaining the Etsy Shop under the name G. Johanson, Letterpress.  Paper Wren Press will be marketing in other venues.

Good Providence to you all.

-gary, the Printer.

The Florida Letterpress Inaugural Wayzgoose!

Well, it came quick, and ended all too soon!

It began as an idea that I posted on the Florida Letterpress Yahoo Group's list page.  Gosh, there really are no Letterpress Wayzgoose events happening down in the Deep South.  Why not put one together here in the Sunshine State?  TBAS Letterpress Coordinator Carl Nudi and Director Prof. Richard Mathews agreed!  That's what started the ball rolling.  Carl and Richard run the University of Tampa's Tampa Book Arts Studio, or "TBAS".  Thus, the show was on.  We were privileged to have many guest speakers, demonstrators, artisans of several disciplines which find commonality in what we call the "Black Arts".  There were about thirty in attendance, beside the speakers and feature demonstrators.

It was a full Saturday, and for my daughter (Anna Coleman) and me, it started Friday morning at 9 am.  We arrived to help Carl set up, get things into register, and on my part, to get the platen press ready to print, and compose something to print with.  Finally, after a long day, Anna and I drove up to New Port Richey to stay with some good friends, who came to the Wayzgoose with us on the following day, Rebekah and Alton  Shady. (In on of my Fall entries, there is a video of Alton is running his own wedding stationery on one of my presses.)

Here is how Saturday went: 

We convened at 10am for coffee, cookies, and introductions.  This was our "Chappel Meeting".  

From 10:30 - 11am,, we featured:

-Intertype typesetting, with Henry Wehle and Don Black, offering a neat souvenir line with a penny cast inside!  Hey, Don!  That's what I call "Heavy Metal", wot?

-a Bookbinding Demo, with our new resident artist from Asheville NC, Bridget Elmer.

-C&P Platen Press Printing with your's truly.

-Handpress Printing on the 1848 Hoe & Co. Washington press, which belonged to woodcut artist and illustrator J.J. Lankes, printing a keepsake from an original Lankes cut.

From 11 - 11:30 we featured:

-Letterpress at the Peter Pauper Press, a presentations created by J.B. Dobkin and Sean Donnelly, covering the early printing at Peter Pauper Press, utilizing editions from the TBAS Special Collections, and presenting a new book on the subject printed by the University of Tampa Press.  This was the official release, and copies sold were signed by the authors.

-Vandercook Press Printing demo, Bridget and Director Mathews producing a "duotone" print, a two colour key + colour (red) print from one of Donahue Publishers original childrens storybook publications from around 1914.  The story of the recovery of these Donahue Electrotypes by Les Feller is the stuff of Indiana Jones!  Traipsing through abandoned buildings being demolished, finding at the last minute a vault, whoo man!  Grabbing all these priceless treasures under the shadow of a wrecking ball, who said Letterpress wasn't exciting?

-Intertype typesetting, again with Henry and Don.

-Ludlow typesetting, with Carl Nudio. I got a crash course on this the day before, and was able to cast my mini-broadside for the Platen Press, take off the spurs, true up the lines on a Hammond Glide Saw, and spoil myself rotton doing my very first line cast lock-up!  Man, I wanna Ludlow!  Oh, and a Hammond Glider.  Oh, and hey, a Supersurfacer might come in handy.  Just sayin' . . . 

We had lunch from noon till one, with several eateries to choose from in the local area.

From 1-2pm we spotlighted:

-Papermaking & Bookarts, with artists Peter and Donna Thomas.  I wish I had time to photograph the 'gypsy wagon' they came with!  Here we got to see the Holland Beater in action, as Peter made a sheep of paper before our eyes!  On display as well were the samples of work done by Peter and Donna, who have been book artists for over 30 years.

-Paste Paper with Kendra Frorup of the University of Tampa Art Deptartment.  This was an interactive demo.

-C&P Platen Press Printing, me again!

-Monotype casting, featuring Rich Hopkins, casting ornaments from "Orphan Annie", TBAS's Monotype caster.

-Vandercook Press Printing, With Bridget Elmer and Richard Mathews

From 2-2:30, Rich Hopkins gave an excellent talk on Tolbert Lanston and the Monotype, the Origins of Digital Type Setting.  An amazing insight into an amazing machine constructed in an amazing era of iron and steam.  Richard featured materials from his book which bears the above title.  Richard autographed copies for us here at the Wayzgoose!

The rest of the day interleaved various portions of the above features, so everyone had a chance to see just about everything we offered.  We adjourned at 4pm, however, afterward we who staffed the event were treated to a mini concert by Peter Thomas, featuring Letterpress Folk-songs That Few If Any Really Know.  

And now, the photos!

Carl Nudi showing how to set mats in a Ludlow self centering stick.

Bridget Elmer's Book Binding demo table.

Anna helps Carl set up and proof with the shop's 1947 Vandercook.

Henry Wehle, and part of Don Black's arm.  I think they were describing the same thing.

Whew! I finally got the mini-broadside straight! 

Don, Henry, and Rich chat with Matthew, one of our Letterpress guests, while he looks at an Intertype-set type line.

Peter Thomas feeds the Holland Beater at the paper making demo.  This was an awesome highlight.  Thanks, Peter and Donna!!  Next time, I'll get some shots of the Gypsy Wagon!

Did I wear my pants inside out?  Alton and Rebekah are not sure....

Anna caught me at the Paper Making demo with cap in "press position".

Peter opens the deckle to remove the paper

Which is then pressed (using a car jack!) The "paper press", essentially a heavy wire cage, a car jack and a board, is behind the beater.

Removing pellon and felt 

Helping things along for demo's sake with a hot iron.

 Voila'! The finished product!

Anna cast her and her husband's name on the Ludlow in condensed Bodoni Bold.

Bridget is here running the red Donahue electrotype on the smaller Vandy.

Hey, Alton! You seem rather absorbed in the Ludlow!

This is the souvenir sheet pulled from the 1848 "Lankes" Washington press.

This is the mini-broadside pulled from the C&P that I was running.

And this is the souvenir sheet Broadside from the two Vandercooks.  Originally, the other two colours, cyan and yellow would have been run for a four-colour print as it was done originally in 1914.  However for practicality's sake, we thought to limit it to two colours, key black and red.

At this point, let me sign off with a short video that Anna and I took at the Wayzgoose.  We could not cover everything because of my responsibilities that day, but between us, we at least caught the feel of the day.

That's it from the Florida Letterpress' Inaugural Wayzgoose. See what happens when you pop an idea?  It just might . . . . . happen!


-gary.