Experiment with Gold

Today I experimented with printing with Gold Metallic ink on new, metallic paper stock. I normally use Van Son Gold 871, which is somewhat of a flat, dirty gold. You can tell a little from this pic:

I am also printing on very absorbent 100% cotton fiber paper, white. This doesn't exactly show off the "metallic" in the gold very well. I came across another letterpress printer who used another brand of ink by Accent Ink. I was able to get a more metallic gold instead of a flat gold. Here are my results. I tested this ink on the house Crane's Lettra stock as well as Curious  #111 paper line "Metallics" in nude, red lacquer, ink, and shadow. I am pleased with the results! It's a lighter but more metallic gold that shimmers in the light. My next experiment is to see how this ink works mixed with other ink colors. AND this ink is made of vegetable oil and is environmentally friend and is easy to wipe off the press. Sweet!

How Sweet It is

I read somewhere that a "calling card" is the new "business card". What is the difference? Calling cards usually have a phone number, usually informal and more personal. Business cards have a more professional display of information, with all the forms of contact information needed (email, phone, fax, etc.) With the demands of social networking, it is very important to include an email address along with a contact phone number. I guess "calling cards" have an air of elegance where as "business cards" sound very...business? Any thoughts?

This calling card, printed for Sweet Anonymity Designs, was printed on 220# 100% cotton paper that is about 1/4" thick. It has a 1 color front print and a blind printed back design. What is a "blind print"? It is simply an impression made onto paper without the use of ink. This type of method can make a print look delicate and feel tactile. An issue I came across when printing 2 sided is one impression can push the other. I would have liked to have kept the back impression deep, but as I printed the front design, the two pushed against each other. I would not recommend a 2 sided print on anything less than 220# paper. If you missed the previous post with background on this design, click here.

 

Interested in calling cards of your own? Contact Blushing Pearl to discuss design and print options.

I have also created a few business card or calling card designs. It's easy- just pick a design layout option, color, and convo-mail me via Etsy the details. In a few weeks you will be getting your snazzy, letterpress printed cards, ready for you to distribute!

Sophia Postcards::Printed!

Freshed Pressed-The Sophia Postcard. I posted the proof earlier if you missed it. I loved printing on the Crane's Lettra 220# in pearl white. I did not need so much soft packing, but for those areas of fine-lined text, I needed more hard packing. I'm getting the gist of it! I'll be giving these to Jaime tonight in class. (In case you missed the blog, Jaime is in my Capoeira class. A few of us creative gals are using the "bartering" system to exchange handmade goods.) These postcards were kind of a puzzle to figure out, when it came to printing... as I needed to register the front AND the back of the card. I think I am going to put these up on Etsy for those who want to send a more personal note about their move. Or contact me if you would like to custom order these beautiful postcards. I may just use these for my own personal move I will be making within the next few months!

Straight Lines Please

I have been printing consistently for 5 months now. There is such a huge difference in my prints from when I first started! I am still a novice compared with those who have mastered the letterpress trade, and I can only become better. The hardest technique for me, is knowing how and when to adjust packing for an even, relatively deep impression. There are discussions on Briarpress about how deep an impression should be- just a "kiss" to the paper or an obvious indentation. A veteran printer will tell you that one should not even see an indentation in the paper. Modern letterpress junkies will tell you their clients want to see and feel the texture on the paper, and that is what they are paying for. If they wanted offset printing they could have paid for that, but they want letterpress and would like to see that it is indeed, pressed into the paper.

A few things I need to play around with:

* Registering a straight line to be straight. Ever draw a line with a ruler and it ends up not straight? Sometimes I feel like my eyes are playing tricks on me and my print looks straight, but to the graphic eye, it's not. What is the best method of measuring and registering a straight line? Any tips on technique are welcome.

* Cutting a straight line. If you look at the posting of my newly acquired Challenge 19" Guillotine, you can see that this is one serious paper cutter. My only issue is, when I cut down, the cut line shifts and ends up crooked. I put about 25 sheets of 110# paper, maybe I need to decrease the amount per cut? Or maybe I need to tighten the grip on the paper before cutting? If I can master the art of cutting paper, I can do more cut downs on my own instead of sourcing it out and paying a fee.

If you have any tricks of the trade, please leave me a comment. I could use some advice on these!

The Solution!

After much trial, error, and various techniques, I found a solution to getting smooth, consistent prints on Lettra paper! I bought another humidifier, this time with warm mist instead of a cool mist. I ran the paper, front and back, through the steam, then printed. It worked! Of course, I still had to adjust the packing and sometimes my truck rails. Depending on the image. I printed these today and was VERY satisfied with the results. They are already up on etsy for purchase.

The French Collection

 Today was 90 degrees! It was hot in my garage, but the heat worked in my favor. My inks were nice with a good consistency, drying quick so I was able to do a 2 color job in one day. I attempted to figure out how to make a solid print with a large solid area by adding tape to the rails of my trucks. It worked.. better than last time. BUT the same issue remains, the shape is still not completely solid, though the coverage is even.

 I am having trouble getting full coverage of a solid shape, small or large, with Crane’s Lettra 110#. I have adjusted my rollers, added tape to my truck rails, played with packing, etc. I have a relatively good print, but I can still see some splotches, areas of the Lettra showing through. I followed the advice of others and dampened my paper. This technique worked and gave me full coverage.. now to do the 95 other sheets.

I posted to Briarpress for some advice. There has to be a way. People with C&Ps get great prints all the time!

QOTD(quote of the day): People too weak to follow their dreams, will always find a way to discourage yours.

Almost There

I have a few more pieces I would like to get printed before I launch my Etsy store. I finished printing "Waves"  blank notecards and decided to do another set called "Simplicity" to match the group. Colors are raspberry, bark, and violet. I am still in the process of coming up with my color palette.

The past few months have been experimental. I now know what paper stock works good with my designs/press. Crane's Smooth Cover 110# is thinner than the Neenah Classic Crest 110#. I am also going to stick with the Crane's Lettra 110#. 

Coming up next: The "French Collection" 

I am also looking for some instruction on how to set up my C&P to score. I hear scoring can eventually damage your platen and most people have one press set up for scoring, another for printing. In my letterpress world, I would LOVE to have multiple presses. For now, if anyone knows of a good scoring technique other than hand scoring each paper, please leave a comment!

Textile Texture

I have been using Crane's Lettra 110# cotton paper because of the good impression I get with this paper stock. There is one problem that needs troubleshooting- larger, solid areas printing a little distressed or splotchy. Some may like this effect, but I am aiming for a more clean, crisp look. I posted a discussion on Briarpress.org and got really helpful tips.  

•  dampen the paper before printing to open up the fibers
• adjusting ink levels
• multiple hits to get more ink on the paper and fill in the empty areas
• changing my stock  

Mable from Lalapress suggested I call Bill Berkuta. He specializes in troubleshooting presses. He owns his own print shop and gets great prints, including large, solid areas, on his C&P. This is what he suggested I do:

• take off the trucks and rollers and place them on a table. Make sure there is no light/space showing through. (I need a visual demonstration for this)
• using a roller gauge, ink up and test the spacing of your rollers. The stripe on your roller gauge should be about 1/16th-1/8th wide (nickel or dime sized). Any bigger of a stripe on your roller gauge, you need add some masking tape to your truck rails to raise your rollers a little a time. Keep adding more strips until you get the print quality you want. I was able to get a relatively good print this way. I have yet to try dampening my paper before printing.

I have tried looking for an alternative to Crane's Lettra. One being Canaletto, which is about $2 cheaper, but ended up too stiff and rough. Lettra seems to be the one to go with. I did hear that Neenah Papers and Crane Paper Companies have merged.

Here is the Textile Texture gift tag set. I was disappointed with the results- printing larger, solid areas on textured paper. But it has a distinct feel to it. 

Life Saver

My press came with a set of gauge pins I thought were in good condition. My first few projects were so frustrating because with every feed, my registration would be off. I would have to re-register, resulting in a disastrous press run. Not to mention expensive because I would waste so much paper!

Alex from Dolce Press was kind enough to help me. She aptly responded to a comment I left on her blog and suggested I use the Megill heavy duty gauge pins sold by American Printing Equipment and Supply. I had just purchased a set of Kort gauge pins, as I saw on a video from Swayspace letterpress. Everyone has their own preference of gauge pins and registering techniques. These little guys are pretty pricey, so I decided to try out the Korts and if that did not work, test out the Megills.
I found the Kort pins to take a LONG time to set up (Alex also had this issue). I ended up slicing up my tympan paper from trying to insert the gauge pins in numerous places. My first attempt took me about 30 minutes! Once they were secure, I had the best press run I have had since I bought my press.