Sweet Olive Press | Sneak Peek {3}

Pssssst... want to see the letterpress invitation for the party in Australia? You can, here on my Sweet Olive Press letterpress blog.

I also found a little window of history on the press!

Halfway there

Letterpress printing is always slow, but sometimes it's really slow. Especially when you create the design yourself, from scratch. I've been working on this project since early October, and I still only have one of the two colours printed.


These berries were pretty enough to be inspiring, so I made several sketches of them one sunny afternoon.


Berry helped by bringing out her crayons and working alongside me. "You drawing a plant, mum-mum? That pretty."

Several weeks passed while I refined the sketches, scanned them, created the final design in Illustrator, and sent the separations away to have plates made.


I needed the berries again to mix the right shade of ink. I got it, even though it looks orange on the press!


Each colour has to be printed separately on the press, with a complete cleaning in between runs. I've only printed the red berries so far, and I'm still looking for enough time to print the leaves – so I can't show you anything!


I promise when they're finished, I'll share.

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New life in the old press

The press is complete.

For the first time in... well, who knows how long... there are no pieces missing.

Thanks to Briar Press (where I found the parts) and Nathan's Dad (who fitted said parts), my 1902 Chandler & Price Old Style now runs like a dream.

The dramatically and dangerously worn lower roller saddles are gone, replaced with intact – and original – saddles and springs (below).


The lower bail, missing since long before I owned the press, has been replaced with an original bail from a parts press.

The 14-inch pulley, which previously had the press running at an alarming 18 impressions per minute, has been replaced with a 7-inch pulley plus a new A-belt. The press now gives a perfect 10 impressions per minute – much safer for my fingers and my jumpy nerves.

I actually sat down and did maths to figure out what size pulley we'd need to reduce the press speed enough to produce the desired number of impressions per minute. I mention this to illustrate my abiding devotion to this letterpress – mathematics and I are deeply suspicious of each other, and prefer not to mingle.

A final and wonderful touch: a really pretty hardwood platform for me to stand on while I'm working. My press is mounted on a platform seven inches high, which makes it very (well, comparatively) easy to move around using a pallet jack, but too high for me to operate. For a six-foot-two man it would be perfect. For five-foot-six me, the hardwood platform makes it perfect. Believe it or not, Dad didn't custom-build it for me. He built it as an absurdly attractive base for a dryer, but it didn't work out. When he brought it down from Dallas and put it next to the press, it was an exact fit. I can't believe my luck.

Of course, now that everything's peachy with the press, I've had no time to print. My very first photopolymer plate arrived today to great fanfare (from me), and even that is going to have to wait.

But when I find myself with three baby-free hours, believe me – I'm ready.

At last....

A vintage cut of a 1960 Cadillac, some blue and orange stock, a tiny bit of flame-red ink – and we're away! I was so happy to finally print my first "proper" notes on the Chandler and Price, I wanted to jump around.


Unlike last time, I made sure I actually had a good amount of baby-free time up my sleeve to do everything the right way. I even locked up the chase and oiled the press in advance. A note: you can't oil the press too far in advance or the oil will drip out before you get printing – and then you will have climb around the press to painstakingly drip oil into every one of the 30-something obscurely placed oil holes, all over again. You will call yourself bad names.


Here's what the press looks like in action, inking up the plate before the chase is inserted. Why is it a blur? Well, at this stage it was running 18 impressions per minute – too fast! Too fast! I've since fixed the speed issue ... but more on that later.


A first impression on the tympan (above), to help with alignment and placing the gauge pins. You rub that image back with solvent after this impression, otherwise it'll give you a (not-so-) nice reverse image on the back of your lovely cards. And you will cry.

I was completely precise and methodical in my placement of the gauge pins – again, unlike last time – and it made the world of difference. Imagine!


These first cards have gone to Nathan's Dad in Dallas and my Dad in Australia, in gratitude for the untold hours they've both spent working on the Chandler & Price (I owe them so much more, but this is symbolic!) and to Pauline, who's been cheering me on all the way from South Carolina.

Now we're rolling...

Underwear

When I got home from the gym today I did a little counting on my fingers and realised it's almost 16 months since I got my letterpress. Sixteen months, three moves, 4000 miles, endless research, oh-so-many new parts and enough father-hours to make me fairly guilty, and I still hadn't been able to print with the Chandler & Price.

So I had a bit of a rant in my head about I'll never get enough time to give it a first run. Ever ever ever.

And suddenly I realised: hey, Kickbaby is still asleep in his carseat and hey, I'm already not-particularly-clean in my gym gear. So – why not now?

I ran upstairs for the tin of black ink.


I already had the press oiled (thanks to Nathan's dad, who did a lot of work on it while he was here) and I'd locked the chase up more than a week ago – but I'd stalled, then, after packing the press. The replacement bail wasn't fitting right so I couldn't get the tympan to lie flat over the packing, and that seemed an insurmountable problem. I'd also decided it would take forever to ink the rollers evenly and figure out the whole positioning guides/setting gauge pins deal.

But in this morning's burst of optimism I thought: I'll just start. I'll start, and I'll iron out the problems as I go along. It has to be better than doing nothing.


First I went back and forth between Cleeton's General Printing and a very old copy of Graphic Arts to figure out how to ink up the press. I got ink evenly distributed on the ink disk, and the rollers, and my fingers too but not on my shirt – so I counted that as a success. Then I ruled some lines, placed the gauge pins (very haphazardly, I hardly need to point out), positioned the card and started the press.

This is what my very first impression looked like:


Right. Not enough packing. Messing around with extra sheets of the professional packing would've been a waste of precious baby-free-time, but I remembered a couple of the old hands on Briar Press mentioning that they'd used brochures, butcher's paper and even flattened cereal boxes to pack their presses, so.... Out of the newspaper stack I grabbed a Belk catalogue and pushed it under the rest of the packing to print this:


Better... but still patchy. Back to the newspaper stack. After adding a JC Penney catalogue to the mix, I got a slightly better impression. But it was the addition of the Sun-Herald sports pages that really did the trick. See:


Mr Underwear here is a vintage cut that my brother Aaron picked up for me at a swap meet back home in Australia, and I love it. This is clearly a man on a deeply noble mission – for underwear. You have to respect that.

I printed quite a few more of him, messing around with the gauge pins and realising (repeatedly) that positioning the paper for letterpress printing is a bit like backing up a boat trailer: figure out where you need to be, then do the opposite. When you haven't done the groundwork, it messes with your head.

I didn't spend any time positioning the guides properly so I never did get the image in quite the right place, and I absolutely butchered the tympan by chunking the gauge pins around so much.


It was quick-and-dirty and went against every meticulous fibre of my being. But who cares. I printed.

Now.... let's do it again.

Letterpress: Evolution

Above: my 1902 Chandler & Price Old Style 8x12 letterpress "in the wild" in a little town outside Yakima, Washington, when I bought it on April 28 last year. Even before it got outside (it was only in the elements for about a week) it had accumulated a substantial coat of dirt, oil and grime, and was showing its age.


Ten months and 4000-odd miles later, the letterpress emerges from climate-controlled storage and undergoes the "Dad treatment". My dad used 'down time' during his visit from Australia to whip the press into shape: new motor, new pulley, new belt, gear rebuild, comprehensive oiling, and more cleaning than it had probably seen in decades. The photo above shows it without its upper feed table (which tends to obscure some of the work). The photo below shows what it looked like before Dad came along.

See? It was a bit scary. And deeply dirty.

The picture below shows the press after Nathan's Dad got going on it last week. Among other things, he cleaned and shined the ink disk, fitted a kill switch (which my Dad lamented not having time to do before he left) and attached the upper feed table after a minor repair.

You'll notice two of the three rollers are missing in the photo above. The previous owner had apparently been getting by on two rollers, but I've ordered three new vinylith rollers from NA Graphics in Colorado, along with trucks, California wash, tympan and packing.

Above: another "before" photo, showing years of accumulated grime.

Now that's better... lots of olive oil, fine-grade steel wool, 3-in-1, marine grease, compressed air, fine-grade sandpaper, kerosene, WD-40, and two Dads later – I have a letterpress to be proud of.

I still need to order grippers (just last week I realised they were missing, not just packed elsewhere) and a new bail to replace one that looks like it broke off years ago... but I'm getting scarily close to having no excuses not to use this monster! It's exciting and daunting.

But mostly exciting.

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