Todd Thyberg of Angel Bomb Design: My most widely used and favorite press at Angel Bomb is a Heidelberg Windmill which I’ve named Kaiser. I purchased it in 2009 from a printer who had advertised it for sale on Craigslist. I wasn’t on the lookout for a particular press, but I had been using a Chandler and Price for all my printing and wanted to be able to produce higher quantities of printing at a faster pace so I was keeping my eyes open for a good production press. Kaiser is a rock solid workhorse and a marvel of German engineering with an almost Rube Goldbergian sense of complexity. Kaiser had been relatively well taken care of but was filthy and several pounds of oil soaked paper needed to be removed from his innards before being used. His serial number is 104012E, placing his build date at 1954. He bears a badge stating “Made in the U.S. Zone of Germany” which reminds me of the Cold War era where spies lurked in dark corners and the world was a very different place. I use Kaiser to print small and large runs as well as die cut and he is always a hit with open studio events; the chug of the air pump powering the suction is like a siren song to passersby who get drawn in and are amazed at this old equipment that is still being used. Considering that this press was designed around the time of World War II and is still working today creates in me a sense of awe of how things used to be built and joy that I get to use him most every day.

Michael Russem of Kat Ran Press: I’ve recently retired from printing, but the best press I ever ran was my Vandercook Universal IV (SN 21497). It took a sheet measuring 32-7/8 wide by 29-1/2 tall—which was just about large enough for the books I was printing. Not only did it seem to be free of the usual problems that often plague power Vandercooks, but the enormous size of the cylinder and bearers cut down makeready time. Whereas I would spend tons of time making complicated tissue makereadies on my SP-20 and Universal I, there was just no need to do so on this big press. In fact, once I installed this Universal IV, I rarely used the two smaller presses as they weren’t worth the bother. And as the Universal IV was a power press, I was able to print twice as many forms per day without being exhausted and in pain when I crawled into bed. Of course, it took much longer to clean up the Universal IV, so I suppose the press wasn’t perfect. It was close, though. Now it’s with Art Larson at Horton Tank Graphics, and I hope Art finds the press to be as life-improving as I did.

Thomas Leech of Palace of the Governors Press: It was a tough call, but out of loyalty I have to say that my favorite press is my own 8×12 Chandler & Price Old Style that I’ve had since 1979. It’s not the best press I’ve ever run, but it is like a member of my family. The serial number is 26099, which according to the APA website puts its year of manufacture as 1890 – old enough to be my grandfather. It is driven by a leather belt and ancient motor that hums like a lullaby. Its comforting hum and rhythmic clanks put my kids to sleep when it lived below their bedroom.

I’ve owned it now for a quarter of its lifetime. I bought it from a guy who bought it from his brother-in-law, who bought it from a deaf man who printed cards with the American Sign Language alphabet. I still have a photoengraving of the manual hand signs, and printed it again only last year.

On November 23, 2008 the automatic counter, which I’ve never set back to zero, and which only counts to 99,999, turned over for the tenth time, which means that it had printed one million hand-fed impressions: business cards, book covers, birth announcements, wedding invitations, change of address notices, broadsides, poems, keepsakes, memorials, graduation announcements, wedding and baby shower invitations, clothing tags, bar mitzvah invitations, tickets, Christmas cards, Rosh Hashanah cards, art show invitations, book plates, keepsakes, and facsimiles.

While in my possession the press has printed under the names of The Fine Mess Press, the San Miguel Paper Workshop, the Smokebrush Press, and most recently, the Press at the Palace of the Governors. When a major building repair was required here at the Palace the press came back to my house, which felt something like having a grown child move back home. I regret I don’t have a photo to share of this press.

Eileen Madden of Evanston Print and Paper: That’s kind of like asking which of your children you like best. I’d have to say my favorite press to print on is the one I get to print on the least. Our big Vandercook 325 – serial number 6086. It’s my very first press. I bought it in 2007 from Columbia College. That’s where I learned to print, and I never saw anyone use it while it was there. It was mostly used as storage, I’m sorry to say. I guess I’d say it’s my favorite, because it’s the one I do projects of my own on – bigger posters or wood type collages. If I’m on that press it means I’m doing something just because I want to. As nice as it is to print with and for other people, it’s a treat to just play, too. After I acquired the press I found a metal tag on it indicating that it was owned at one time by the Cuneo Press – their press number 1024. The Cuneo Press was one of the large printing companies here in Chicago, and also had a fine book press that created some lovely and amazing work. Bill Anthony, who was a fine bookbinder who came out of the apprentice tradition in Ireland, worked at that press. I love having the connection with that history.

So. That’s my answer. In general I feel luck to be printing on any of our presses. I’m lucky to have this job, but I can say that the 325 is the one I’m the most personally pleased with.

John Barrett of Letterpress Things: The press that’s special to myself and the Barrett’s is B 57516, a new style C & P hand-fed with a Horton variable speed clutch. Manufactured circa 1920, Horace Moses purchased it in 1922 from an envelope company in Springfield, Massachusetts. Mr. Moses, a local philanthropist who founded Junior Achievement, Strathmore Paper Company and numerous other businesses, moved it to a building in Westfield, Massachusetts (formerly owned by the Westfield Whip Co.). There it was installed on the fourth floor as the first printing press owned and operated at Mr. Moses’ newest endeavor: The Old Colony Envelope Company. [The press still carries the original machine tag; a brass plate deep stamped with the number “1”.] It was removed from operations in 1967, about the time my interest in letterpress began to develop. Several years later, for the sum of $50, it was mine. Took it home and therein began my “second” career, Letterpress Services Co. From the beginning my interest was not so much in printing but in perfing, scoring, die cutting and imprinting; a trade service for offset printers, quick copy centers and in-plant printing departments. Old number 1 and me spent many, many hours together cranking out the impressions. Presently, “No. 1’ is semi-retired; eight Heidelberg Windmills carry the work load. But once in a while there’s a job best done by hand. And we step up, wipe the dust off, flip the on switch, coax the hand lever up to engage the clutch. And get goose bumps listening to the clack, clack, clack of the spliced leather belt. B 57516. . . ninety plus years and still pressing the letters.

Mark McMurray of Caliban Press: Well… my favorite press is really my first press, the one I bought with a deep breath, thinking: “in for a penny, in for a pound” after finishing just a week or two of letterpress classes at Red Ozier Press in lower Manhattan in 1985. It’s a 1947 Vandercook model 4T, serial number 10903, which is now tattooed over my heart. It came out of a commercial printer’s shop in New York that I was doing other business with at the time. Although it had been pushed to a corner and was not in use it had been well maintained over the years—which I’ve tried to continue. I remember my horror when suddenly one day one of the inking rollers started to wobble, then shock when I discovered that this was caused by a cracked bushing that was made out of wood (!), then relief to find that I could actually get a replacement (also wood) and fix it myself. (Thank you, Fritz, at NA Graphics).

But my other favorite press (come on, life is too short for only one love) is a R. Hoe Washington. As I recall, Hoe began making these in the early 1830’s when he somewhat unscrupulously appropriated the famous “figure 4” toggle joint from another manufacturer. Most of the Washingtons that I’ve come across have had serial numbers cast on them. Mine does not. Therefore I’m assuming it’s early in their production cycle and I date it somewhere around 1835. I suspect press historians may have some views on this matter. I acquired mine from the late wood engraver Frank C. Eckmair who got it not far from his home in Gilbertsville, New York. A local Northern New York printer, Jim Benvenuto, helped me set it up and adjust the platen height and I’m always surprised at how well it prints, given its age and technology. So there… my two favorite presses.

Brooks Chambers of Mamas Sauce: My main squeeze is an Original Heidelberg. Serial # 49582.
We adopted our Windmill from her original owner a couple of years ago. “Heidi,” as we’ve come to call her, was the workhorse of a family-owned basement print shop in Buffalo from the day she rolled off the line. We found her lovingly entombed with a host of tools, spare parts, and other presses that had been with Heidi since day one. The whole gang came with us to Orlando (no toy gets left behind) and Heidi still sits at the heart of this menagerie. Every time we give a tour, people react to her the same way that I did at our first meeting: they stop, stare, and smile. At that point in the tour, I’ve learned to shut up and get out of the way.

She isn’t the first Windmill I’ve had the pleasure of running, but she’s the best. If I had to put words to it, I’d say she’s delightfully invisible. She’s invisible in the way that every good interpreter ought to be. Other presses often interject, leaving the marks of their own idiosyncrasies throughout the run (even if their operator is the only one who knows). Heidi does exactly what I ask her to. Every. Single. Time. That kind of control gives you the freedom to defer to the artwork for inspiration. That kind of control forces you to become a better printer. Before we got Heidi, I could blame a lot my shortcomings on the press. Not anymore. Now the press gets all the blame for my success. She’s teaching me a lot about knowing when to shut up and get out of the way.

Brad Ewing of Marginal Editions: My favorite press is the  Vandercook Uni III.  It has an adjustable bed and its rollers are super dialed in!! The serial number is #26318.  It’s currently located on 6th avenue and 29th street in Manhattan.

Leslie Miller from Grenfell Press told me that the press came from Middletown, New York about 20-25 years ago. It was large enough that it was taken apart and brought up to the 7th floor by placing the press on top of the elevator.

I have been printing lead and polymer plates on the press since 2005. I have also printed laser cut plexi, etched copper plates, leather, and even potatoes on this press. The ink splatters that have built up over the years on my Vandercook serve as a happy reminder of many beautiful print projects accumulated.

Is it any surprise that we love our presses? All of these presses have earned our love and loyalty and even a name or two. Now it’s your turn to tell us about the one that grabbed your heart and makes you a better printer. If you’ve got photos online of your press and you’d like to share them, please include a link to the photos in your comment!

This looks promising. And on the hour, a skateboarder arrives, unlocks the door, rolls up the metal rolling cover to show a big picture window and its welcome to The Arm.  Here there are the presses, the notices on the window. The activity begins as many more printers arrive in succession.

Daniel Morris of The Arm describes what’s inside.

THE PRESSES: I am a bit of a freak for late model Vandercooks. I have two SP-15s, two Universal Is and two Universal IIIs. For smaller work there are a couple of C&P Pilots and a Kwikprint 86 foil stamping press. Because I also recondition presses there are often one or two others in some state of restoration at any given time. The equipment has been chosen very carefully to be safe and suitable for a shared work environment.

SIZE OF PRINTSHOP: 1500 square feet

THE LOCATION:  The Arm is on the ground floor of a renovated nineteenth century stables building in Williamsburg, Brooklyn. The studio takes up the bulk of the ground floor. I built the glass shopfront so that it opens 8 feet wide — getting equipment in and out is a breeze.

FAVORITE THING ABOUT THE SHOP: The way I have laid out the space, the press room is visible from the street, but the type room is tucked away. This was to make sure that passers-by could see what was going on from the street, but also to make sure that people weren’t too distracted when composing type forms.

TYPE OF SHOP: Community + educational. I set it up specifically to be able to share it, my presses and my knowledge of printing. I teach classes from the space almost every week and make the presses available for people to use for their own projects. We’ve got quite a community of printers here in NYC. It is far more fun in the space when there are a few people in working.

MOST VALUABLE SHOP TOOL: The trusty .918 roller setting gauge.

FAVORITE INK: We use the Van Son Rubber Base Plus system and maintain an inventory of all the base colors for the Pantone mixing system. With these inks, a Pantone book and a scale you can’t go wrong.

SOLVENT OF CHOICE: I use Gamsol for washup. It is an artist’s grade mineral spirits. We keep it in Justrite plunger cans and make sure all waste rags end up in our sealed Justrite waste cans. I’m a bit militant about shop safety protocol, MSDS sheets, etc.

PLATES AND BASE OF CHOICE: I am very fond of the standard base and the KF95 plates. I don’t like the deep relief plates, but do have a couple of small deep relief bases for people that bring them in. There must be nearly a dozen Boxcar bases here at The Arm.

FLOOR PLAN TIPS: Make sure your press is situated where you feel comfortable and have good light. Get yourself a good anti-fatigue mat (I love the 2×6 Uline Cadillac mats for Vandercooks) and your feet, legs and back will thank you.

PIED TYPE:  I am proud to say my shop has no pied type. As one of the owners of The Dale Guild Type Foundry, I love to work with metal type, but my policy is to sort the good stuff and melt the bad. May as well turn it back into something useful- we can smelt old foundry type to make new type and Linotype metal, Monotype, etc. we give to our machinist to melt down to make fishing sinkers. You’ve got to keep your machinist happy.

ORGANIZATION ADVICE: Down time is critical. Sometimes you just need to take everything apart, clean like crazy, and put it all back together.

PRINTING ADVICE: Coffee and good records are key [to making the space feel creative and comfortable]. But it is important that the music isn’t too loud that you can’t hear when the press is trying to tell you something.

Big round of thanks to Dan Morris for letting us get the grand tour of The Arm!

Since November of 2011, Nico has undergone 2 bone marrow biopsies, over a dozen transfusions and is still undiagnosed with a blood disorder that leaves him with very low platelet counts.  Prints for Platelets will give you a 20% discount off all Santo Press Prints with 100% of the proceeds going to Nico’s medical expenses through the month of May.

Santo Press Prints offers high quality relief prints, monoprints and monotypes from 16 regionally and nationally recognized artists. Shown above is a photopolymer and reduction linocut from Veronica called Nicolas’ Odyssey.  Veronica tells us this about the creation of this print.

Getting pregnant wasn’t easy and the pregnancy was a high risk one.  I made this print when I was pregnant with Nicolás.  It seemed that even before birth Nico has gone through a whole odyssey.  And it seems that his odyssey continues… The key image was created digitally and relief printed from a Boxcar polymer plate, colors were developed via a reduction linocut.  The print was from an edition of 50 which was donated to Mesa Contemporary Arts at Mesa Arts Center for their annual fine art print calender fund raiser.

Click here to go to the Santo Press website and choose one or more signed, numbered, and titled prints from the artists and receive the 20% discount through the month of May.   The prices are very competitive and with an additional 20% off, it’s an easy but meaningful way to help this little boy and his parents while supporting fine art printmaking.

Photography courtesy of Patrick Cruzan

Letterpress artist Rob LoMascolo of Upstate New York talks about the traditional craft of letterpress printing in a recent collaborative effort known as Fortnight. Fortnight is an online multi-media and documentary project that’s been put together by a group of 20-somethings to recognize different disciplines that honor the past while defining the path of the future.

LoMascolo is one of Fortnight’s fourteen contributors, and he talks about the traditional craft of printing that has exploded again in the digital age.  He is featured with his Challenge Proof Press in this instructional video as he provides a lesson in Letterpress 101.

Fortnight Journal traveled to the Finger Lakes in New York to interview and film Rob in his studio.  We are pleased that not only is Rob showcased for his printing prowess but he’s a neighbor of ours and prints right down the highway from Syracuse.

To find out more about this project, visit fortnightjournal.com/about.

A delightful surprise awaited us in the pre-press department of Boxcar Press two mornings ago, bearing sweet tidings (and cookies!) from the baker/printer extraordinaire behind Igloo Letterpress, Allison Chapman. The last of the delicious cookies have mysteriously vanished but in its place is a big thank you going out to Allison for the wonderful present!

Job title: Pre-Press

Describe what you do at Boxcar Press in 10 words: Prepare press-friendly layouts and illuminate design, technical, and printing solutions.

My super power is: Making people feel at ease.

Hometown: Sault Ste. Marie, Michigan (pronounced “SOO”)

My favorite printing equipment: Heidelbergs!

What three places do you want out-of-towners to visit in Central New York?
1. Boxcar Press of course!
2. The Oncenter Arena to catch a Syracuse Crunch game
3. Fillmore Glen in Moravia, NY

Music that inspires me: MIDI music from old video games

The greenest thing I do: Recycle old clothes into nifty pillows and throws

Besides letterpress, I am passionate about: Typography, illustration, and hockey!

My favorite Pantone: 368: A green you can count on.

Most memorable meal: Bear jerky and deep fried smelt. Delicious!

What book do you think everyone should read? The Jungle by Upton Sinclair

What’s on your nightstand right now? The Prince by Machiavelli, ink pens, and a digital clock in 24-hour time.

Something about the Boxcar Press crew our customers don’t know: How extraordinary and cheerful we are… even under pressure or the weather. Such gifted talent in this group!

PERFECT PRINTING PARTNERS We are two long time friends who share a love of typography, paper, and letterpress printing. Although we both have full time jobs, we love printing every chance we get.

LETTERPRESS LUCK We had been watching, looking, hoping… for just a table top hobby press – when an opportunity came along to buy a complete letterpress shop. We learned to print by taking classes, personal instruction, and good old fashioned trial and error.

AWESOME ARIZONA Our shop is in a completely renovated garage – complete with cabinets, sink, insulation and flooring. Not sure if you can call it ‘decor’ – but, we definitely have a turn of the century industrial feel. Since there are no curtains on the windows,  we would have to call it a shop, not a studio. We have a new style Chandler & Price 10×15 named Beauty and a Windmill named Baby. We also have a Potter #2 named Beatrix at our gallery in downtown Phoenix. Our favorite thing about our shop is that we get to print there.

PRINTING LEGACIES Ladies of Letterpress has been a great mentor for us. The team at our first NSS was just great and has led to many new friends. Many of our mentors we haven’t even met. They are the guys on Letpress.

PRINTER’S PARADISE We do not print full time – but that is really our goal!

PRINTING FEATS That our first job was a 3 color wedding invitation and we didn’t kill each other. Also being selected Best Letterpress of Phoenix 2011 by New Times.

BOXCAR’S ROLE Great patience and so much help from Cathy when we first started ordering plates. Even now Boxcar is so helpful when we call with stupid questions.

PRESS HISTORY Well…we saw an ad on Craig’s List for an entire shop for sale and we just jumped in. It took every friend we have and a horse trailer to get it to our shop.

SHOP TIPS  Our favorite business advice – don’t break out the wine until you finished cutting the job.

WHAT’S NEXT While we are still printing our retail stationery, we are well on our way to growing our commercial letterpress business. We are really enjoying working with designers on their projects, and we are starting letterpress classes later this summer.

Big round of thanks to Nancy Hill for letting us get the full story on Hazel & Violet Press!

Letterpress love is in the air! Or at least that’s the case of this soon-to-be-hitched Central New York couple, Douglas Trojan and Erin Reynolds. The pair printed custom letterpress invitations for their upcoming Big Day, and the experience has brought them closer by means of laughs, inks, and whole lot of printing fun!

The couple caught up with us first with a nifty visit last month to get the full tour of Boxcar Press (as well as to get a few pointers on their project). Armed with good advice, Douglas and Erin purchased their custom made plates and the rest is history.

Check out their printing adventure from start to finish here and get a sneak peak at the finished invitation!