A Business Card for the Good Doctor

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This is a seven minute video showing highlights of the production of a two colour business card for the Doctor at our Dispensary. The video begins showing the cards with the first colour, black, already printed. They have been setting for forty-eight hours. Now we pick up with adding the blue American Optometric Association Logo and horizontal bar, printed in process blue. The logo was drawn on my PC's FreeHand IDE, and transfered to Adobe Illustrator CS4 for the addition of the Optima and Helvetica Neu fonts which reside on my Power Mac G-4.

This video shows the second (blue) dye, the process of make-ready, setting registration, and the actual running of the job. I suspect that the process shown will be somewhat obvious, so I did not feel the need for a boring and verbose narrative. Hence, I went with a sound track written specifically for this video.

The sound track you will hear is a song called "The Printer and His Devil". Each verse alludes to a historic event. Can you guess the sequence? I'll give you a hint, it starts with the closing of the Port of Boston, 1775. The vocal is by your's truly, and for those keeping count or are interested in technical aspects of the recording, it was cut on five tracks: Guitar 1, Guitar2, Harp ( Hohner Marine Band, G) , Synth pad bass line (Kurzweil PC-88) and vocal. Mastered at Q-5 on a Zoom MPS-1608CD 16ch. HD workstation, courtesy Josh Rustin. I play all instrumentals. Board time was six hours.

I will include the lyrics below.

I hope you enjoy "A Business Card for the Good Doctor" and the sound-track "The Printer & His Devil".

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The Printer and His Devil © 2009, G. Johanson

The Printer and his Devil – Are working late tonight
Word came not so very long ago
borne on ships by men in red, a’coming to our shores
. . . the Printer thought that you would like to know . . .

The Printer and his Devil – Are working late tonight
News had come not very long ago
That Washington is burned, but Dolly saved a memory
. . . the Printer thought that you would like to know . . .


So plane the Forme and cut the Frisket –
Pull the Devil’s Tail
For a Towne without a Printer
is like a ship without a sail
The Midnight Oil is burning in
the Printer’s Shop tonight
. . . the Printer thought that you would like to know . . .

The Printer and his Devil – Are working late tonight
A packet came not very long ago
A cannon shot in Charleston took Old Glory from the sky
. . . the Printer thought that you would like to know . . .

The Printer and his Devil – Are working late tonight
A dispatch had arrived not long ago
A pistol shot, a frantic chase – had brought the curtain down
. . . the Printer thought that you would like to know . . .


So plane the Forme and cut the Frisket –
Pull the Devil’s Tail
For a Towne without a Printer
is like a ship without a sail
The Midnight Oil is burning in
the Printer’s Shop tonight
. . . the Printer thought that you would like to know . . .

The Printer and his Devil – Are working late tonight
For a cable came not long ago
The S-O-S that went unheard and ice upon the sea
. . . the Printer thought that you would like to know

The Printer and his Devil – Are working late tonight
The Teleprinter spoke not long ago
A sudden shock, a sudden war, a Harbor known as Pearl
. . . the Printer thought that you would like to know


So plane the Forme and cut the Frisket –
Pull the Devil’s Tail
For a Towne without a Printer
is like a ship without a sail
The Midnight Oil is burning in
the Printer’s Shop tonight
. . . the Printer thought that you would like to know . . .

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Good Providence in all your Letterpress Endeavours!

-gary

G. Johanson, Printer

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Thoughts on Re-Publishing for Web Dissemination.

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This was written largely for members of the Regenerx Listgroup, which I believe to be the world's largest radio listgroup wholly dedicated to the use of the Regenerative Circuit for wireless reception. But some of the below comments may come in handy for other endeavours which involve the use of long out of print literature or published artwork (or music.)

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Ok, here's my novel-length thoughts on re-publishing articles and other parts of literature in whole or in part for web dissemination in a non-profit atmosphere. The Law calls it Re-Distribution, and cares not whether it is for profit or no. Get that straight off. The Judge will not care if you made or did not make any money. Rights of Copy deals with copy and dissemination, or distribution. Those civil issues enter into the settlement phase, IIRC. I've not had to go through this phase, so no first hand knowledge there.

When I started this group back in 2004, my intention was to seek permission for us to republish by re-posting old regenerative-based articles for our references from a number of publications, including the ARRL. Apparently some list-groups (I'll not mention who) either believe they have obtained - or have indeed secured - permission to re-publish and re-post to their respective groups articles from out of the 1920s, 1930s, etc. QSTs and Handbooks.

I attempted to secure such from the League: I was turned down flat, and rather unceremoniously. Since their description of us equates to every other radio newsgroup I've had party to, I wonder just who really has bonafide permission.

Anyway, I let it drop, no problem. And no insult taken, certainly. We were a small group at the time, about 20 members. I can't say I would have responded differently, in fact, had the shoe been on the other foot. I just concluded "We'll get by."

I got an entirely different response, however, from the editor of CQ as I asked permission to reprint articles from Ham Radio Horizons, a former HR publication absorbed by CQ. And here is where I got my first dose of the publishing world and copyrights.

His response went something like this: We (CQ) ourselves are not entirely clear what we can republish from our own [merged] archives. Many of the articles printed over the years, especially from those defunct publications such as HRH, had "One-Time" publishing rights, meaning that once the article was published, the rights of copy revert back to the author. Such is the case with anything ever published by Bill Orr. His Heirs and Assigns [or whomever currently holds rights of copy] perpetuate the W6SAI Industry, and keep close and jealous guard over everything Bill wrote as far back as the E&E handbooks of the late 1930s! These copyrights are renewable, **and are renewed**. Therefore you may find an Orr article from 1946. Leave it alone. Under discussion, specifically, was the use of those very insightful articles Bill wrote for Ham Radio Horizons, and later Ham Radio Report, "Those Old Radio Days", I believe they were entitled.

The Ed. perused our list and my personal site, and contacted me later saying that in his opinion, we are a non profit educational group, and I have a non profit education-drive website. Thus, if I wish to publish by posting an article from said archives, to contact him first, let them go over the story and the' legaleeze' - who possesses rights of copy - and wait for the green flag. And, of course, I honour that.

He also parted a few kind compliments, which I have kept with me.

An interesting article written by Nagel appeared in HRH sometime back in the mid 1970s, called "Those Great Old Radio Mags" or something like that. In this article, the author notes that many of those high profile authors wrote on the sly for other magazines. Same goes for the artists and artwork. This further confuses the landscape. Case in point: I believe ARRL owns rights of copy for all Phil Gildersleeve cartoons, which are absolute classics. (They or Gil's heirs and assigns own the copyrights. Somebody does.) Now, do they only own those printed in League Publications? Ahh, good question, for you see Gil also illustrated "Scratchi" for "Radio" magazine, a major and often antagonistic competitor to QST back in the day! (Vid "Scratchi". Radio, March 1937.)

Can I get my posterior parked in the dock over re-printing the 1929 article on the Bearcat Model B-3? (Vid QST, August, 1929) Yup. Not only can I, but if I persist, I SHALL.

Thus, when it comes to the world of publication, mergers, who purchased what company, etc., walk very carefully when it comes to republishing. Now, can you get in a jam over reprinting a SWC article on the Doerle? Will Fredrick Collins come after you for posting from his Handbook from 1933? Maybe not, but I'll bet Crowell Publications, NY, NY. will! As Regards Short Wave Craft, Hugo Gernsback has been out of business for years, and I don't know if anybody picked up the (c) on these articles or allowed them to lapse into Public Domain.

Best advice I can give in these cases is to follow all crediting protocol, make sure you give author, dates, when published, and the purpose of your publication. Cover yourself so if the day comes you face a judge, you can say that using accepted U&C (Usual and Customary Procedure) you, to the best of your resources and understanding, thought the article to be PD. I doubt malicious intent would be levied, more than likely a simple cessation of publication would be requested and complied with. I wish I could guarantee that. But I can't.

Do not copy a previously republished article. If someone has already done that, and it's seen print, you can bet there's a (c) somewhere. Unless you know that it's definately Public Domain, and it should say so somewhere on the reprint.

As a printer and publisher myself (G. Johanson, Letterpress) I deal with this issue fairly often. I reprint old designs and philatelic art from the 1930s and prior for custom stationery. I locate my own designs from original 19th and early 20th century publications, or base designs from them.

It's an eggwalk! Would you believe a 90-year old Red Cross Christmas Seal may still have copyright protection?? Whoo, yeah boy! I even had to investigate Emily Bissel's 1907 design for our 100th anniversary reprint of the first American Red Cross Christmas Seal (1907 - 2007) The Delaware Valley chapter of the American Red Cross chose not to - or neglected to - renew their rights of copy. Slipped into PD. Yay!! Heh, but my re-design of the original for the centenial IS under (c). Not that anyone is losing sleep over it.

Oh, reprints are available for collectors, btw.

Even some of those classic old QSL card designs have a (c) hovering over them! (Most, fortunately, do not or can be sufficiently modified so as to retain their vintageness and still look very 1920-ish.)

The above is not intended to scare anyone out of trying to preserve those great articles by sharing them - which I consider a worthy endeavour, but to caution that much of what you read
about copyrights can be over generalised and over simplified. Proceed, but with wisdom and caution.

And remember, under law, anything posted to any website, blog or list group is considered publication.

-gary // wd4nka
Listowner, Regenrx.

G. Johanson, Letterpress.

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"E-Bay Knights"

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As we go about our Holiday shopping, many will be hitting the on-line auctions. Here is a bit of advice from the Once and Future King Himself, Arthur Pendragon, King of the Britons.

I wrote this for a magazine about six years ago, and since I hold rights of copy, I thought I might republish it here, to help the weary warrior in search of his or her own "Holy Graille" this Christmas, battling lines, bidding on auctions, etc.

Hence: "Ebay Knights", by Gary Johanson.

I wonder how King Arthur, son of Uther Pendragon would challenge his knights of the Round in his appraisal of eBay?

"Fellow knights, might I suggest a frame of mind when it comes to eBay?

'Tis a game. The object is to achieve thine personal "Holy Graille." Thou art given a choice of weapons with which thou mightest overcome strong competitors, hack thru dense forest, and defeat various vile dragons along the way. The brave knight that best, and most wisely uses the weapons at his disposal, wins the "Graille"

Ahh, but ye must first know thyself! Upon whence ye profess this Graille to be worth a certain amount, and ye bid accordingly, and another fellow bids thus greater, and ye become steamed, wert thou honest in thine evaluation of this Graille? Or thyself? Then wherefore art thou steamed?

Ye must also be privy to the tools at hand. Ye must develop some level of skill to be an effective competitor! Know how to launch a javelin, to wield the mace, to block a halbred blow from a snipe by faith in thine appraisal of this Graille: for why shalt thou have this treasure when another fellow values it more? Or art thou greedier than first apprehended?

There is no chivalry, fellow knights, in defeat by the use of superior weaponry, when said weapons were at thine own disposal, and used not: tis a pity to take a blow from cannonage, combatting with thine "traditional" pikes and arrows! Only in the name of "tradition" and yet ye lose the Graille!

Aye, 'tis a fair game. A noble fight, but ye must be in possession of thy weapons, thy skills, and thyself. And most importantly, thy Goal must be worth the price. Godspeed, fellow knights!"

-gary

G. Johanson, Settlement Printer

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Yeah, I can do this stuff for other folks, too!

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One of my College dept. guys asked me if I ever print stuff for other folks, like, as a business thing. It suddenly hit me: I just assumed folks understood that. I guess not! Colour me "business-stupid". In fact, over the past year I have been asked a number of questions about what I do with these old Presses and Typographs and copper and mag plates, etc. So here we go with my official "G. Johanson, Printer Frequently Asked Questions List (FAQs)

Q: Can, or Do you print stuff for other folks?
A: Yes. I do.

Q: Do you market yourself?
A: Apparently not. At least, not beyond this Blog.

Q: What sort of printing do you do?

A: Whatever floats my boat. I have a huge history streak, so I gravitate heavily toward handset type, line cuts, laid papers, traditional colours, and presses that run slow. If so inclined, I'll wear silver buckled shoes, knee britches and a powdered wig on St. Bartholemew's Day. Oh, and my trusty German Tricorn.

Q: Do you ever do any Digital Design, Mr. Franklin?
A: Very funny. . . yes, I use two different Digital IDEs, one a PC based system once an industry standard: FreeHand MX4, and also a Mac based system running Adobe Creative Ste 4 (Illustrator) I use Freehand to restore and vectorise antiquated faces from various sources such as the 1000 page ATF sample book of 1915, or woodcut specimens as I happen upon them and they grab my fancy. Beyond that, I also use traditional india ink and Bristol board, scratchboard and cut Linoleum & Wood. Even Plexiglass. I like to use my hands moreso than technology.


Q: Do you do what all the other Letterpresses out there do, like Wedding Stationery, Cute little note cards with fuzzy animals on them, blind embossing, and scanning old Victorian Catalogues into Photoshop, editing out any incriminating evidences of plagiarism, vectorising them and sending off for a polymer plate and call your stuff "original"?
A: No. I don't use Polymer.

Q: Ok, Dr. House. Do you work with other persons designs?
A: Only if the other persons work with me. (yes, I do.)

Q: Do you drink coffee while you print?
A: Are you OSHA or something?

Q: Are you associated with any museums or printing organisations?
A: Yes, NAPA & the Pioneer Settlement for the Creative Arts, Barberville, Florida. I'm the 19th century printer.

Q: What sort of things can you print on your vintage presses?
A: Just about anything that can be reproduced by "Line" art or Text. "Line Art" means high contrast images - as opposed to continuous tone shades. Those continuous tone images, such as photographs must first be converted into a fine screen half-tone image in order to print. That is more the domain of Offset Printing. Letterpress can do it . . . but the best way is to do photos via photo offset. Line images, pen and ink renderings, cross hatch and stipple shading do quite well rendered via Letterpress Typography. Spot Colour images do well via Letterpress. And, of course, the best text printing ever rendered in the past 550 years of printing has been done so by Letterpress, still the unassailable champion of text and book printing!

Q: What are the different Price Points you offer when printing commision work?
A: Business Card pricing, Post Card/ QSL card pricing, Wedding/ Announcement Card pricing/ General Card/Menu pricing - might be considered price points. I try to keep the current economic climate in mind. Letterpress Printing is literally a hand-produced product, and production thereof is usually considered "Limited Edition". Skill and techniques are ages old and often cannot be taught in schools, but only by experience. For instance, Platen Presses of the type normally used in boutique Letterpress Shops today are not even allowed in Colleges and Universities because of OSHA restraints! Thus, we have all these college degreed Book Arts majors who have never touched a Kluge, a C&P, or a Heidelberg Windmill! They learn on Vandercook Cylinder presses - not a production machine - which is fine (especially for Posters!), but in the "work-a-day" world, most of the typical typographic work is done by the Platen Presses, which offer a different printing dynamic. Yes, there are large shops that use Miehle, Little Giants and other high production cylinder machines - most of us cottage industry printers don't use those, and again, colleges do not use them either. Many grads have never touched a Composition Stick, or have never packed a platen for makeready. All this to say, the time and work involved in learning the process, gaining proficiency, obtaining the tools, the stock, the inks, the type, or doing the design work, having the plating done - results in a fairly high price for Letterpress work. Oh, did I mention quality papers? Paper alone accounts for 30 - 50% of pricing! And proper choice of papers can make - or break - any printing job or project!

Q: Ok, Whatever. So, lets have an example of a price.
A: Jeeesh, wake up, you're snorring. You asked the question, dude! Here we go with an example:

Single colour business card (American Standard Size)
Typeset or Digital die
Crane Lettra, Really white, sorta white or that eggshell coloured thing:
200 cards: $99.00

Two colour or blind emboss (or any other thing that makes me pass the cards through the press twice ) on the above stock 200 cards:
$150.00

You can see an example of a blind emboss diamond logo card I ran on an earlier posting if you peruse back on my blog a few months.

That's just a sample. I price each job individually. I usually do not charge extra for hand-setting of type - it goes into my design fee, which is included in the finish price. Such as the above Business Cards: I include typesetting or digital designing in that number. Add shipping charges, of course.

Q: So, any last comments or remarks?
A: Yes, In due time I intend to set up a regular web site for G. Johanson, Printer, which will have more "marketing" information. Understand, I am really more a tradesman-artist than I'll ever be a businessman. I have had a bad experience with sales guys and marketers which really do not tell either the complete truth or flat out overblow their products. I am obsessed with any client of mine being absolutely satisfied with what they purchase from me, and I'll go to great lengths to keep things affordable as possible. For instance, not every job has to be printed on four-hundred dollar per parent-sheet ream handmade cotton wove stock! In fact, historically, Letterpress can print on darned near anything!! One of my best projects was printed on brown paper wrapper from Wal-Mart!!

Letterpress is a premium venue, and you pay a premium price. But it does not have to wipe out your budget.

Feel free to talk to me, e-mail me, whatever, for more information. I do think it is necessary to work as close to the client as possible, and communication is key. E-mail me at either:

Wd4nka@aim.com
or
Wd4nka@bellsouth.net

Ok, you've just witnessed a guy almost getting into an arguement with himself.
Are artists strange or what?

Printing has been a lifelong passion for me, and it would be a great and fulfilling thing to share it with others, so if you find yourself in the market for specialty printing, and the idea of traditional letterpress typography and hand-wrought design -whether digital or hand-cut - strikes your fancy, look me up.

I promise I'll leave the tricorn in the shop.

-gary

G. Johanson, Printer

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Two Videos and Narration describing a Ludlow which I May be Taking On as a Project

These videos are investigative. I have taken these for Dave Seat, who has been kind enough to give me some pointers in getting started on what may be a complete rehab of a Ludlow Linecaster.

This device creates type by-the-line. Rather than pegging foundry type one letter at a time, with this machine you set matrices, or "mats", which are actually moulds. These mats are set in specially designed "sticks", not unlike Composition sticks in basic principle, but nothing like them in appearance.

Lead chemistry is introduced to the mats, and immediately cooled, producing a line of type, a sentence.

There are other machines that do similarly. These machines automatically set lines, words, sentences, by use of a keyboard. The mats are intricately arranged, selected, set, injected, and redistributed into their magazines waiting for next useage. These machines were known as "Line-o-type", "Intertype", etc. But the Ludlow used hand set mats to accomplish the same thing in a far less complex manner. Which is the draw to them for me.

In these videos, narrated after the videos were taken, I am directing commentary to Dave. I might point out that the power to the building went out after I was there just ten minutes. That is why the room seems a bit dark.

You are welcome to join in the investigation of the Settlement's Ludlow.

Video One: Cycling the drive mechanism

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Video Two: Checking the gas lines, table top, general appearance.

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That's it for now. Thanks for viewing, and thanks, Dave, for helping me out.

-g.

G. Johanson, Settlement Printer
Florida Pioneer Settlement for the Creative Arts

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Setting Up at Mama's Sauce

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Letterpress hits Orlando/Winter Park with a vengeance! Here is a brief video peek inside Nick's new location. The presses you will see in relative order: the Heidelberg Windmill, 12x18 Kluge (which appeared in a prior Vimeo video and is currently making the rounds in the LP community), the latest acquisition of a second 12x18 Kluge, and the 12x18 C&P recently liberated from the Barn at the Pioneer Settlement.

What you are seeing is the very first fire-up of the Windmill after a few preliminary checks. We had to set the grippers to hold throughout their respective cycles, level the pitch of the suckers, and reposition the feed and delivery stacks. There are a few things we still need to obtain and wire in for "Wagner", as Nick christened it - or rather, him ( I opted for "Bismark", the Iron Chancellor) - but very soon the WM will be 100%.

The first Kluge is the original, from the original Winter Park location. The second Kluge is quite similar except for some of the electrics. The first has a mechanical speed control, the second has an electrical/ resistance speed control using a type of high current rheostat. It also has an auto-throw-out for mis-feeds. It needs to be re-habbed just a bit. It's my latest project.

The last press is being used for hand-fed items, from printing to die cutting. It's a solid "little" C&P, motorised with the option to treadle.

The audio track is from Praetorius' Terpsichore Dances.

Enjoy.

-gary

G. Johanson, Settlement Printer

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A Small "Broadside" for the Florida Pioneer Settlement for the Creative Arts

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So, what's been happening at G. Johanson, Settlement Printer lately?

This year's Fall Country Jamboree, held annually at the Florida Pioneer Settlement for the Creative Arts falls across the weekend of the November 7 & 8th. Unfortunately, I have to work this particular weekend, so as to provide something to give to visitors, I produced a small "Broadside" - it can be debated if any "side" of this print can be considered "broad", but since presswise I am confined to a total print area of 8 x 12, which being translated means 7 x 11 max areacoverage, we are working under some design size limits.

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I decided to employ a fortunate find, of all things, a vintage zinc cut of . . . a piney-wood cabin in what is most definately a deep southern wood! What are the chances of finding something like this? It could have been one of our cabins on the campus! I've lived in Florida long enough to remember the hunting cabins that dotted the Forests and streams of our fair State, many of which were constructed during the Depression by the WPA.

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I chose a monotype border, some of which I supplimented with new castings from Quaker City. The title fonts are Old Style Caslon 24pt, a vintage sort over a century old obtained from an estate at Dunedin in 1991, and Litho Shaded 18pt., which has suffered some damage over the years. The slight damage was taken advantage of to lend a sort of "distressed" rural/ primative aire to the piece.

I intend the main portion of the Forme to constitute a "shell", with a broad opening below the cabin cut to insert other events. The "Broadside" described here will contain the insert "33rd Annual Fall Country Jamboree, Nov. 7 & 8", set in Caslon Open Face 24pt.


The press used is my '36 "New Series" Chandler & Price 8x12, the workhorse of my home shop. It is motorised and belted down to around one impression every three seconds. I can go much faster, but what's the hurry?


I found some 67 lb cover stock that looked fairly vintage, 100% rag from what the wrapping said, and I already had some 110 lb Crane Lettra from a prior job. The 67 lb cover will be used for a souveneir hand-out, and the Lettra will be used for the limited-edition print version held in reserve for Settlement Staff, Volunteers, Board members, etc. These will be signed and numbered.

The overall size is 5-1/2 x 8 inches, not exactly your 18 x 24" Broadside, but it will suffice for now.

I took some shots of the two sheets, with some close-ups on the Lettra. The other paper, the 67 lb stock, is much harder, of course, and no deboss was attempted. The Crane Lettra debosses quite naturally, rendering a pleasing effect upon the overall look of the piece.

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Here is a close-up of the Litho Shaded font.

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This is the souvenir sheet we will be handing out during the Jamboree.

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These are the limited edition on handmade Crane Lettra 110 lb. Ecru stock

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Here is a close-up of the Cabin zinc cut.

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I ran 496 of the souvenir hand-out broadsides, and 25 of the "limited edition" versions, which will be signed and numbered.

The overall appearance reminds me of the front of an old Almanac from the early 19th century, honestly. Which may spark another idea down the road.

Well, that's it for now. Hope you've enjoyed looking at the photos and reading the descripions. Even more, I hope you can make it to the Florida Pioneer Settlement's Jamboree, always the first full weekend of November. Later, in December, we celebrate a "Florida Christmas", another peek at Florida's pioneer roots.

Good Providence in all your endeavours!

-gary

G. Johanson, Settlement Printer

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