Cow Cards

Recently I took on a project for Ashley from Monster Bites (which featured Tweedle Press on their cool blog a few months back). Ashley wanted to send me some old programs and flyers from one of her college's alumni events, and have me hand recycle them into new sheets of purple paper for note cards. I added some purple flecks from my own stash of scrap paper, and letterpress printed cows on the fronts. We came up with a joint message that states how the note cards were made, and they'll be handed out to other alums at an event. What a great idea! Talk about sustainable. And bovine-chic.

I love how my hand recycled paper takes a letterpress impression - it's so squishy and absorbent, and prints beautifully with my vegetable based inks.





Ever sine Paul came down to give Leonard a once over, he's been behaving rather well. My previous inking issues have been almost completely solved by adding roll bearers to the forme, and now I know how to adjust platen pressure myself. Leonard still has a problem with maintaining consistent pressure, but at least I can achieve the prints I want eventually. At some point I'll need to invest in a Vandercook, but this is working for now! Leonard is just big with the makeready. Oh well.

So Speedy!

So I went in to print on my 8x12 last week, and I decided that with 300 prints at 3 passes each I absolutely HAD to get brave enough to use the motor. Pushing the wheel with every print for all 300 of the Empty Boxes teaser cards (and sometimes an extra push in between for more ink) nearly killed me - but really wouldn't have been possible to use the motor with. I had to firmly slide the inside fluting of the cardboard onto several gauge pins to keep them in place - something that took more time than a quick switching out would have allowed. So anyway, here are a few things I learned:

1. Ye who spends good time on makeready will be greatly rewarded.
I took my time measuring out sheet placement, gauge pin placement, and packing so that when it came time to actually run the (very nice & very expensive) paper through the press, the prints came out really nicely. That was pretty exciting.

2. Kort Adjustable Quad Guides are my friends.
Gauge pins and me, thus far, haven't really gotten along. I finally decided to try some of the ones that Boxcar Press recommends, and they really are pretty sweet. Expensive, and they take a little extra time to get into the tympan, but you really feel like they're going to stay put. Also, it's much easier to adjust them a little without having to unstick and restick little clampy feet that tear up your tympan. Hooray for Kort!

(image from NA Graphics, where I bought the pins)

3. Printing with the motor on, even at speed 3 out of 15, is way faster.
Once I was happy with the quad guides, feeding the paper in and out was a cinch. Occasionally I'd have to push the throwoff lever, whether for more inking or to just give myself a little more time to get the paper in, but I think in all those prints I did I only managed to accidentally print on the tympan once. Not bad. This really makes me feel like an order someday for 1000 of something would be totally doable.

(now available for purchase on Tweedle Press and Etsy)

4. With heavy coverage, even a powerful 8x12 can't get much impression.
Although the red bits of these cards created a good punch, the black printing area was just too heavy to really get into the paper. I suppose this is one of the limitations of a platen press. Maybe someday I'll have a bigger studio and can find myself a nice Vandercook for jobs with heavy coverage.

5. Yes, I use sweater drying racks to dry my prints. What? It works.


And now for few miscellaneous notes:

• Remember the cardboard postcards I printed the other week? Well, the website for Empty Boxes is finally up and you should check it out. This is a new company I'm part of that is trying to help companies reuse as many shipping boxes as possible before recycling or trashing. It's totally eco, and totally neat.
• Next week I'm participating in No Impact Week, which is a shortened version of Colin Beavan's "No Impact Man" experiment. During this week, participants will take a hard look at everything they do in their daily lives the negatively affects the environment, and try to curb as much of it as possible. Hopefully some of the things we learn will turn into habits. Check it out!
• I know I mention them frequently, but The Evanston Print and Paper Shop rocks! They routinely save my butt with last minute plates, paper cutting, and other things. In fact, I'm heading over there today to cut down the aforementioned Cheshire holiday cards.
• Yesterday I added a new product to the Tweedle Press Shop and Etsy Shop: Dead Things / Birdo Coasters. Cute and creepy, makes a great gift!
  
  

Pulp & Press Soundtrack 11/6/09 (when I was printing): "I Was Wrong" (Social Distortion). Mike Ness makes killer music to print by.

must. kill.

OK, this blog entry is being posted a bit late - I wrote most of it, then went on vacation, yadda yadda. So I'm actually referring here to some printing I did a few weeks back:

I've had a frustrating couple of days in letterpress world. You might remember these calling cards I printed a few weeks ago, which came out decently but overall I wasn't thrilled with the level of impression the paper took. So, I decided to order in some 134# Aqua Cranes Palette paper, since the 100% cotton is supposed to do really nicely with letterpress. It really is tasty paper, and I was excited to try it out. So on Friday I prepped my Pilot with the same calling card plate and mixed a nice deep green color. I pretty much ran into every problem across the board: not enough impression, uneven inking, un-crisp printing, too much ink, not enough ink, etc. It was just one of those days. So, I decided to just pretend it didn't happen and instead try again on my big 8 x 12 tonight.

Unfortunately, things didn't go much better. I'll start with Problem #1: Uneven Print, and excuse the crap photo but I'm too tired to do any better:

See how the print is heavier on either side, like the "www" and "m"s in "com"? It gets lighter/crisper in the middle, but the edges just look really...squishy. I thought maybe it was just an uneven impression problem, so I spent a long time doing some serious makeready - cutting out individual letters from packing to try and compensate. The weird thing is, this exact same problem was happening in the exact same places on the plate when I tried the print on my Pilot at home.
Question: Could this mean that the plate itself is uneven?

As soon as it started to look okay, I ran into Problem #2: Uneven Inking. Basically it seemed like a lot more ink was being laid down on one side of the plate than the other. There's a circular graphic at the top of the card, and it was really apparent that one side of the circle was printing more heavily than the other. Looking at the back of the cards, it didn't seem like the impression itself was uneven (indicating uneven platen pressure), so I thought it must have been the roller just laying down more ink on one side. I tried taping up the rails to raise the rollers on just the bottom of the chase, which only sort of worked. Since I don't have a picture, I'll do my best approximation via Illustrator:


Question: Is it common for uneven inking to occur vertically like this? How can I compensate for this?

This brings me to Problem #3: Un-Crisp Printing. Once again, I'll do my best to illustrate this problem without a photo. The left side is what the graphic should look like, and the right side is how it has been coming out:


As you can see, there are some fine details in the flowers that should remain unprinted. Instead, the flowers are completely filling in with ink. I noticed that the problem got worse the longer I printed, so I'm wondering if maybe the ink was heating up and getting too squishy. I thought maybe the problem was simply too much ink, but when I removed some from the press all I got was a mottled print - incomplete coverage indicating too little ink but the lines were STILL filling in. The only thing I can think here is that I need to dry up the ink a little. I ordered some drier from Braden Sutphin the other day and will give it a try - but does anyone know if I'm on the right track here? I'm pretty out of ideas, and I know that a crisp print CAN happen along with a deep impression.
Question: Is ink consistency to blame when ink amount has been ruled out and fine details are still filling in?

::sigh::

Page's #10 Cards

Note To Self: When you proclaim "I think I'm getting the hang of this," the letterpress gods shall show you otherwise, and chuckle to themselves.
After Friday's successful prints, I went in to work on the big press on Saturday. I mixed a nice orange, I taped the rails, I took some ink off after getting a little slather happy, I got a good impression, and I thought everything was swell. After a few prints I started to notice the tiniest dusting of orange bits on the prints in areas the plate didn't touch. I wiped off the plate and the speckles moved. I taped the rails, I untaped the rails, I adjusted the packing, all the while becoming increasingly frustrated with the tiny speckles plaguing me. Finally, I decided to call it a day with not a lot to show for it. As I began cleaning the press, I noticed that the handy cheapo shop rag I had used to wipe some of the ink off the press mid way through the print tests was leaving little bits of fiber on the platen, which were then transferred to the rollers. The bits were then stuck to the ink on the rollers, picked up more ink from the platen as they rolled, trailed across the plate, and voila - orangey snow effect on the prints.

At this point I was already halfway done cleaning, and didn't fancy a run to Home Depot for lint free cloths, another inking, another printing, and another cleaning. So, I came back today to finish the job. I was very careful this time to make sure there was hardly any dust or rag lint on the platen or rollers before inking, and sure enough my friendly orange bits disappeared. I suppose that's one more thing to add to my ever growing mental list of letterpress troubleshooting tidbits. Man, by the time I'm 80 I'm going to rock at this! Here are the results of my 2 days' labor:


Some beautiful #10 note cards in chartreuse and pool, with a nice deep orange print color, for Page. Next purchase - a print drying rack to prevent ink transfer onto the backs of the cards. Blah! Other than that, they're gorgeous.

I just realized that I've now printed for 3 days in a row. Holy crap. And I'm not even remotely joking about letterpress being a workout. Since I continue to be timid about using the motor or my 8 x 12, there is a lot of wheel pushing and foot planting that goes on in addition to the cleaning. You know those little diagrams on the weight machines at the gym showing you "muscles trained"? Here's what one would look like if they had a platen press at the gym, based on where I'm currently feeling the most pain. 200 reps!


Pulp & Press Soundtrack 6/21/09: "Freetime" (Kenna), "Map Of The Problematique" (Muse), "Feiticeira" (Deftones).

First Custom Job

As I mentioned last post, I'm currently working on several custom jobs. Today I set about printing, and I'm pretty happy with the results of this calling card:

It's referred to as a "calling card" both because of the simple amount of information, and because it's slightly bigger than a regular business card at 2.5" x 3.5". I had been wanting to try out French Paper's Muscleonte paper (140#), and since Barbara wanted an aqua color this seemed like the perfect opportunity. I was curious to see if the extra heavy weight would take an impression well, but it seems it was a little too "muscular." I finally got a decent impression after adding a lot of packing, but I probably won't use this paper again.

As for ink, I finally dove in and bought some Earth Pride from Braden Sutphin last week on a recommendation from a fellow letterpresser. It's vegetable based, contains less than 5% V.O.C.s, and comes in all the regular Pantone colors, unlike Van Son's VS Zero which I was previously excited about. I decided it would just be too difficult to try and mix colors using only the CMYK of VS Zero, but since I bought some I may test out some of the solid colors at some point. Overall, I'm really happy with the Earth Pride. It doesn't really smell like much, which makes my headache-prone sinuses very happy. It's a little on the soft side, but not unworkable. It definitely forms a crust in the can and isn't meant to be left "open" on the press for extended periods of time, but neither of those things really bother me. Cleanup was really quite easy using only vegetable oil. I'll probably continue to experiment with other inks, but for now I'm pretty happy with what I've got.

As long as I had all the packing and everything set up on the press, I decided to go ahead and test print using some of my hand made papers recycled from junk mail. At some point I'd love to be using all my own paper, and after this exciting test I think it will just be a matter of figuring out how to produce sheets with consistent thickness. My various papers took impression much better than the French Paper, and I think the textural elements look really snazzy:

I was a little afraid of ink bleed on the hand made papers, but as you can see the print stayed really crisp. This means that either the papers rock, the inks rock, or the combination of the two rocks! I'm really excited to see that it worked, because I was starting to think that printing on my own papers wouldn't be feasible. WOO!!

Note to self: Rubber bands are your friends, until they're not.
I've realized that it's pretty necessary to use a rubber band across the grippers of the Pilot, because I rarely use a sheet of paper big enough to be held on by the grippers. This was working well, as I had the rubber band positioned perfectly across the middle of the card where there was no printing. Until about the last 25 cards or so, I was getting pretty frustrated by an indentation in the cards I was sure was due to some uneven packing under the tmypan. Then the rubber band slipped a little and actually blocked out part of the print, and I realized it had been sitting right where the impression was happening.

I moved said rubber band higher up on the card so it just barely hit some of the crop marks, and all of my problems were solved. No more random impression, no more uneven print. I got a decent amount of prints done once I had fixed the problem, but I wish I had noticed it sooner. I can't wait until I've been doing this for a bit longer and I have all these things stored up in my brain. Someday my prints will be perfect...or closer anyway. I find that in general, letterpress is a really good lesson in imperfection for me. And with that - I'm off...maybe more printing this weekend!

Pulp & Press Soundtrack 6/5/09: Depeche Mode (Hole To Feed).

Success!

The first website I ever designed was for my band in New York, and on it I created little animated dancing bodies with photos of our heads grafted on. That's how I'm really feeling right now after the first successful print on my big letterpress - like a silly, giddy, repetitively dancing cartoon character with my head on top. YES!!!


The throw-off arm is still a little sticky, but workable after I loosened the bolt holding the throw off pin circle. I sprayed a little WD-40 in there, and now at least the pulling of the throw-off arm forward (to print) is relatively smooth. I still need to work on what's making the pushing of the arm backward (trip) stick, but this is great progress.

As for the throw-off arm in "print" position making the press stop (see the video from last week), this time I tried running the press without the chase in first. No problem! Luckily, as I was wandering around inspecting the grippers before putting the chase in I noticed just a bit of ink on one of the grippers. It would appear that one of the gripper arms had been nicking just the very end of my Boxcar base, thus preventing a print and the press from moving further. So, this will officially be my:

moment for the week. After all the lovely advice I received from Rich at Front Room Press, I guess at least I'm glad I didn't have to try and start adjusting all those things.

I got to do a bunch of exciting makeready, cutting out various shapes to put behind my little dead things on the stationery. The finished pieces probably have a little too much impression and have a few breaks in the lines, but the ink coverage is pretty perfect if I do say so myself. I'm considering naming my presses after various characters from Alice In Wonderland, given that the name of my shop is Tweedle Press. Cheshire? Jabberwocky? Mad Hatter? I'll have to see what of their personalities begins to shine through.

Finally, I would like to say that in the future I intend for not all of my posts to be quite so technical and letterpress geek. I'd like to post about some stuff that would be of interest to others as well, so look for entries on the following topics in the near future:

• Starting A Small Business
• The Creative Process
• Finding A Niche
• Work/Creative Environment

Pulp & Press Soundtrack 4/10/09: Life In Technicolor ii (Coldplay). You must check out this video - it's hysterical.

Letterpresser or...mechanic?

Today was my first attempt at getting my C&P 8 x 12 New Style up and running. To refresh your memory, here's a video of it running with the motor from a few weeks ago. So obviously it goes, now I've just got to get it printing well. The newly re-ground rollers looked beautiful when I first put them on:


After inking up, here was what I worked through today:

1. Problem: Too much ink on the plates.

Solution: You guessed it...taping the rails. I started with many, MANY layers of Scotch before I found some of that nifty strapping tape like the guy uses in the Boxcar video. I was being super anal about making sure I had the same number of layers on each side, until I realized it was OK that the right rail was more worn down than the left one. Must...learn...to be OK with unevenness. It's not like I give away my last one in a handful of M&Ms if it turns out to be an odd number. What??

2. Problem: Rollers popping out due to the grabber shaft sticking.

Solution: OK, "grabber shaft" isn't really the technical term...but I've searched the C&P parts diagram and can't find the piece I'm talking about. It may be the roller frame or roller arm. Here's the wonkiness that was occurring:


Basically, the sliding shaft that allows the roller frame to go up and down as the rollers make their way across the ink disc and down over the plate was getting stuck in the up position. This led to rollers flying everywhere and totally bizarre ink patterns. I oiled every conceivable hole to no avail...then finally realized that the large spring under the shaft had a piece of metal sticking out of the end that was getting caught. A little twist, and all was well again.

3. Problem: Throw-off arm stops the machine dead in its tracks, instead of switching from "trip" to "print."

Solution: This one stumped me. Once again, this probably shows my lack of experience with platen presses...but I was pretty sure that pulling the throw-off arm towards me was what was supposed to make it print instead of just inking the plates with no platen contact. Instead, pulling the arm towards me caused the press to stop being able to move all together. Since it's a little noisy in the warehouse with the heater going, please enjoy my Marcel Marceau demonstration of the problem:

It doesn't seem like a part is sticky or not sliding properly - it really seems like pulling the throw-off lever is supposed to put the brakes on the machine instead of allow it to print. Do I have the wrong idea here? What am I doing wrong? How do I switch from "trip" to "print"?

In better news, a friend commented that I looked like a mechanic with shop rags and WD-40 in my hands. Hot.

Pulp & Press Soundtrack 4/3/09: Sadly, Jizz In My Pants (The Lonely Island) was the only thing trapped in my head all day. Next time I'm bringing my Tivoli and iPod.

N.I.B., Production Technician

I think I can safely say that this was my first "official" day of letterpress production. Even though I'm still in the test phase with the water-based inks, if these notecards turn out well and not too smudgerific I'll probably put them up for sale.


These would work as a great all purpose stash if you just want to tell someone "crap, I'm an asshole" or even "sorry your dog died." I have some more handy lessons I've learned from today's printing on the Pilot:

Lesson #1: Don't clean the Boxcar base with oil.

After my last printing session, I guess I got a little carried away with the canola and wiped down my Boxcar base to get the last traces of ink away. In my letterpress classes they always warned me not to be tempted to wipe down the base with anything really, even mineral spirits. Sure enough, when I went to stick the plate back on today it went sliding around, totally unsticky. So I had to use some serious elbow grease to um, de-grease the base before the plate would stick again.

Lesson #2: Distribute the ink on the disc and rollers BEFORE putting the chase in.

This probably seems obvious, but is a small breakthrough for me because I had been cranking away on the arm to distribute the ink after putting the chase in. This meant I had to be very careful not to let the rollers ALL the way down or I'd ink the tympan. If you work it out before putting the chase in, it's a lot easier. Duh.

Lesson #3: Slow pressure yields better ink coverage.

I went through a lot of test prints before arriving at the method that ended up working pretty consistently, and found that a slow OOOOOMPH on the print yielded better results than a quick SNAP. Not really sure why.

Lesson #4: Rubber bands are your friends.

It took some practice, but finally I got the rubber bands across the grippers in a place that was helpful and not in the way of the print. The only problem I ended up having was that the rubber bands I found were old and a little sticky, and the paper kept glomming onto them as I pulled it away from the plate, whacking out and creating interesting random ink stripes from hitting the rollers. Eventually (as in, after I took this picture) I ended up taping a piece of paper to the top rubber band so my cards slid free more easily.


I'm still not ready to discuss gauge pins, but clearly I had a bit more success with them today as I was at least able to produce consistent prints. I probably just need to investigate some pins that are easier to work with - perhaps the ones I have are particularly irritating.

Pulp & Press Soundtrack 3/27/09: Talons (Bloc Party). We're going to see them tomorrow night at the Aragon. YES!

Lessons From The First Day of (Attempted) Printing

Wearing my trusty Friday overalls and acceptably indie/chic This American Life tee, I set about my first real day of letterpress troubleshooting on the Pilot.

Lesson #1: Me and gauge pins? Not friends. I'm assuming that since we don't know each other very well our relationship can only improve. But right now we're not really speaking to each other.

I'm super paranoid about denting my Boxcar base, and I'm not really sure which parts of the pins should absolutely NOT contact the base. I'm also not 100% sure about which parts are supposed to hold the paper, and they just never seem particularly secure to me. I'll probably do a whole post specifically about these little fuckers, but right now we need some space.

Lesson #2: Taping the rails is fairly painless, and has fast results.

When I first started inking the plate for my "shit / i'm sorry" notecard, ink was getting all over the place. In the Boxcar video on taping the rails, the guy uses some fancy nylon strapping tape, which I don't have at the moment but may look into. Instead I added about 4 layers of scotch tape to the rails to raise the rollers a bit. This improved things dramatically, but there were still some places being inked that shouldn't have been. Another layer or two, and the plate was inking perfectly.


Lesson #3: I have a lot to learn about packing a platen press.

The first couple of prints I pulled, there seemed to be good ink coverage around the edges but not in the middle. So, I kept adding more and more packing thinking it must be the problem. However, the more packing I added the less even the print was. After a few hours, only about the bottom half of the print was coming through clearly. What the hell? I even tried using makeready buried under the tympan just under the top half of the print, but then things got even screwier. Finally, I thought "this can't be right" as my packing bulged and there was barely any OOMPH when I pulled the arm to print.

So, I went backwards about 11 steps and left only a small amount of packing. This did the trick for the most part, and I didn't even have to use any additional sheeting under a specific section of the print. I'm sure all of this has some very technical explanation to do with pressue distribution, but I'm just not used to such things yet having mainly worked on flatbed presses. Exhausted but somewhat accomplished, I finally produced a mostly acceptable print:


Lesson #4: The jury is still out on print quality and smudginess, but water-based ink cleanup sure is a breeze.

Seriously, 90% of the ink came off using no solvent whatsoever. I used a small amount of vegetable oil towards the end just to make sure everything was ship shape, and no stinky mineral spirits (which I'd like to avoid in the interest of preventing future flipper babies). I'll have to wait for the test prints to dry before I can really speak to the smudginess factor, and I'm not 100% thrilled with the ink coverage. However, the colors are nice and I think it's worth continued testing.

Lesson #5: My neck hurts.

Pulp & Press Soundtrack 3/20/09: Take Back The City (Snow Patrol), Don't Drag Me Down (Social Distortion). Yeah, Mike Ness rocks balls. I wonder if he needs anything letterpressed.

A Sticky Situation...

Anyone have any suggestions?

Don't worry, this isn't turning into a "vlog" or whatever the term is - I just thought this problem would be best illustrated by moving images.

And now I proudly introduce a new blog feature, The Pulp & Press Soundtrack. Otherwise known as what's occurring in the room or in my head during today's work and/or blog post, maybe this will help to get my dear readers in the mood.

Pulp & Press Soundtrack 3/18/09: Rock and Roll Ain't Noise Pollution (AC/DC)

And So It Begins...

The water based inks don't come in Pantone mixable colors, so I decided just to pick 4 basic colors to test with. There could be some issues with post-drying smearage, if the prints are handled by anyone with "sweaty hands," so I didn't want to invest too much in a lot of the stuff just yet.





I finally sent in my Dead Things artwork for film and plates, and picked it all up from The Evanston Print & Paper Shop today! They look great of course. I cut up one of the beast bones stationery for test printing on my Pilot, and stuck it to my brand new Boxcar base. I did a quick first lockup in the chase, but realized after it was in the press that it needed to be shifted so that the base and plate were in the upper right hand corner. I'm still not quite used to the idea of printing with a platen press where I'll need to use gague pins to hold my paper in place, as I've got much more "real" experience on a Vandercook. I'm taking things really slowly because I do NOT want to dent my base.

Anyway, so finally I got the lock looking good so that the gague pins could sit in the lower left hand corner of the tympan paper and not hit the base, which is in the upper right hand corner of the chase. I started to realize it was going to be hard to get everything exact with this particular print because I've only got about 1/4" between the print end and the edge of the page. Also at 5.5" x 8.5", this size paper is really pushing what the Pilot can do - so this stationery might be better left for my 8 x 12.

Regardless of whether I continue with this big print or test something smaller, I've still got to figure out how to prevent my grippers from smashing into the base. Supposedly I ought to be able to turn the little cranks to loosen the gripper arms and adjust them, but they're in a really awkward position and extremely tight. I'm having a hard time figuring out how to loosen them, so I posted on Briar Press and will hopefully get some suggestions.

Brad suggested that it also seems like my new rollers may be a bit oversized. They're even being lifted off the rails as they pass over the chase, so I may have to investigate taping up the rails to prevent over-inking and roller sticking. Oh, the troubleshooting begins!

In more successful news, the other day I went about trying to make some paper that remained consistent in color and thickness. I decided to stick with mostly black and white junk mail like credit card offers (though they are fewer these days...), and it actually tured out pretty well. After following some drying advice from a group of paper makers, my press bar / sponge time was greatly reduced and I came out with fairly flat, nice sheets.

My favorite thing about recycling paper is that if you don't blend it up TOO much, you're left with a few letters scattered here and there.

A Fresh Start

Today I spent most of my time cleaning and reorganizing my office/studio, which really needed to be done. I've been attempting a massive purge of unused craft supplies in order to create more empty surfaces upon which to work. I'm pretty much done, and as you can see my closet now closely resembles the one in The Berenstein Bears And The Messy Room. This book clearly marked me as a child, and I blame all my perfectionist tendencies on it.

My letterpress and paper making studio area is small, but working for now. I've got the most basic (and cheapest) table from Ikea holding the Pilot, drying rack, and composing area. Below is boxey storage for paper, furniture, paper making supplies, and other stuff. Above I've just installed a nifty wall shelf unit that's very functional but also cool looking. I use it to store design related books, letterpress bits and bobs, and a few objets d'art.

On another side of the room I've got another desk (this one nicer, from Crate and Barrel) that holds my paper drying press and paper cutter. I intended for the Ikea table to also be where I could make paper, but now that I see the arrangement I might be a little nervous about getting so much water so close to my cast iron press. So, actual paper making may be relegated to the dining room until I can get a "real" studio.

And speaking of other spaces, today I received a text message picture of my 8 x 12 C&P, which has now been officially moved into it's "home" in the warehouse at my design job. It looks like from the picture that it's near a big window, which will be nice and maybe not make me feel too "warehoused." Storage above and to the sides - now I've just got to get Paul Aken to come help me get it up and running. Very exciting!!



Next order of business: I got my new rollers in from Roll Crafters. They were very nice and helpful on the phone, and a few weeks back I shipped them my existing rollers so they could use the cores and see the trucks before making new rollers. They finally arrived this week, and boy did they do a job with the shipping packaging! It took me a solid 10 minutes to unwrap the layers of cardboard, which were literally screwed into end blocks of wood, which themselves had holes drilled in them to keep the rollers steady. I certainly appreciate them making sure they wouldn't get damaged during shipping. The first picture is what the rollers looked like when I finally got them out of the box, with my trucks taped to the ends. Next is after I popped them out of the wood blocks, and finally after I unwrapped the paper around them. Beauties!

I did a quick ink and print just to test them out, with the same type I had locked up earlier. I'll definitely have to do a bit of troubleshooting - there were a few issues with the rollers inking the furniture in the chase, and the whole process being a little sticky. I think I initially may have had the rollers in the wrong graboids (technical term) so after switching them things seemed a little smoother. This was after I had already cleaned the press, though, so I didn't test them again yet.

I can't remember if this was happening with the old rollers, but they seem to get stuck at the bottom of the chase before the arm is all the way back up. I can push the arm up, but I feel like they should be able to continue all the way to the bottom by themselves. I'll probably ask Paul when I see him.



Here's right where they get stuck:

And here's where they end up when the arm is all the way up:

The trucks appear to be mostly in line with the pieces they roll against, though slightly off. I wonder if this has something to do with it.




All in all, a very productive day...and I can't wait to start pressing my "Dead Things" onto these nifty coasters I just received. I'm waiting on my Akua water based inks to arrive to test those out - though they mentioned there could be some concern with the inks smearing from "sweaty hands." Obviously not the best choice for coasters, but I'll try them on some note cards and gift tags. I've also recently been told that rubber inks can be cleaned with crisco and vegetable oil, so that might be an option too. WOO!

A Quick Note

My new base from Boxcar arrived! Man, they did it fast too. I went with the size they recommended for Pilot presses - 8.5" x 5". However, now that I'm looking at it with my press I realize I probably should have measured the distance between my grippers because it's only 8". Maybe there's something I'm missing here and it will work out - but I do NOT want to dent my base. Oh well...I suppose if it doesn't fit in the Pilot I can always use it with the big C&P.

Actually, now that I'm looking more closely at the grippers it looks like they're probably adjustable - just held on by bolts. Hopefully I can move them so I can use this size base! It would be just perfect for a flattened out A2 size card (4-1/4" x 11"), provided I don't do a full vertical bleed on both sides at once. Most of my cards just have the Tweedle Press logo centered on the back anyway.

Tomorrow I'm planning to call Roll Crafters to see about getting some new rollers for both the Pilot and the 8 x 12. I've pretty much decided on rubber, on advice both from some folks at Briar Press and Akua Water Based Inks . These inks are supposedly non toxic, and can apparently be cleaned off using vegetable oil (instead of water which could rust the press). I'm going to give them a try to see if they work well. This Friday will be my first official day that I begin taking off from my "real job" (aka the one that pays me) to work on Tweedle Press and Chicago Locavores, so I'm psyched!