From the 1897 British Printer by Mr James Trotter
B.P. readers are well aware, there is quite a variety of cylinder machines upon the market, and to describe the construction of all the different makes would occupy more space than would be allowed. At the same time, although there are so many different makes of machines, the real difference is very small, and as a rule it is merely in such details as a swinging cylinder, geared rollers, automatic feed-board, etc., and with a day or two’s experience any machineman used to one make is able to handle another. The mechanical motions, as applied to all machinery, are of two kinds: the motions which change the character of the action, and those which increase or diminish its force. Printers have most to do with the first, for from front to back the printing machine is one continual change of motion, and all who wish to be successful printers must not only know how to put a forme upon the machine, make it ready, and work off, but must obtain a practical acquaintance with the working of the different parts of the machine they may be in charge of. This is generally admitted, and yet how many members of the fraternity trouble about it? they drop the forme upon the bed, get the right pitch — and sometimes the wrong one — lock up, make ready, start the machine, and for the next hour or two are content with watching the colour—or the foreman, but never fora moment try to ascertain the mechanical movements of the different parts which constitute the machine under their care.
The first piece of mechanical power to be dealt with is the lever used for starting the machine. This is one of the simplest levers upon the machine, its work being to shift by means of a fork the belt from the loose to the fast pulley, and vice versa. In this connection it is well to remember that the strain upon a belt diminishes according to the speed it runs at, and the frequent breaking of belts is very often caused by running the machine at too low a speed. Another cause of breakage is the sudden striking on of the belt to the fast pulley, and this may occur should the belt be somewhat slack, the downward portion gripping the pulley while the loose section goes up with a jerk, thus — as might be expected — causing it to snap at its weakest part.
Next may be noticed the gearing necessary upon all machinery where the mechanical power of one part has to be transmitted to another. In this case we have the spur-wheels, which transmit their circular motion to the driving-wheels, and turn shafts upon which are the various cams and eccentrics. The eccentric is an appliance for obtaining the backward and forward motion of a crank, and is simply a circle revolving about a point away from its centre; as a rule it is surrounded by a ring or hoop, to which is attached the lever in a line with the centre of the circle, and as the shaft revolves it is thrown backward and forward. The cam — the action of which is to convert the circular motion of the shaft into a reciprocating motion — is a curved plate, which, by the action of its curved edge, communicates intermittent motion to another part of the machinery, its great advantage being the extreme accuracy with which it works.
Having viewed the mechanical power, let us for a moment view the construction. Take as a model a quad-crown built by Messrs. John Elliott, Son & Co. Upon looking beneath, this machine gives some the impression that various parts are missing, but such is not the case; the machine is built strongly without any elaborate detail, and is so arranged that should anything go wrong beneath it can be easily got at. This machine has two side frames and four cross frames; the cross frames are bolted and pinned to the side frames, so that if a bolt works loose the pin will prevent the stay from shifting when the frames are in position.
Next come the longitudinal stays, which are bolted to the cross stays. Attached to these stays are the racks in which run the rack-wheels. Then the shaft on the left side is placed through the bearings in the longitudinal stays, and carries the left-side driving-wheel, cam for double inking, ductor cam, and cam for automatic feed board. Upon the right-side shaft are the right-side driving-wheel, cams from which work the levers for opening grippers, lifting feed board, pushing back cylinder against the short stop, and upright lever for braking the cylinder. Following the process of construction, next are put in the rack-wheels, the crank, and the driving-wheels attached to them. Having got the necessary gearing in below, we come higher up and fasten on the bowl rails to the cross stays, put on the bowls or runners, and attach them to the levers working from the shaft of the rack-wheels. The main shafting is next put through its bearings, of which there are five; two are cast with the side frames, two with the end stay, and one is bolted to the end stay between the pinions. Besides the pinions, the main shaft carries the fly-wheel and fast and loose pulleys, with the driving-wheels full in. Then the bed of the machine is put upon the runners, the inking slab attached, and impression bearers and side racks screwed on. The heaviest part of the work — that of putting on the cylinder — follows. The cylinder is put on with the bed full in, the loose cog-wheel put in position upon the end of the cylinder shaft; the cylinder brackets and brasses are then put on and bolted to the side frames; these brackets also support the flying drum. Next are fastened on the roller brackets; and making a move to the back, put on ink brackets, ink cylinder and knife; upon the end of ink cylinder the catch and connecting rod are fastened to the cam already mentioned; an appliance for actuating the ink feeder is worked from the same cam. Turning to the other side of the machine, fix on the brake-wheel to the shaft end of the cylinder, put on the brake lever, and attach the brake and lever for pushing the cylinder against the short stop. All that now remains to be done is to put on the feed board brackets, attach the appliance for working the points, and place the feed board in position. This done, the machine is now ready for the putting on of the belt, which will convey to the machine the circular motion of the revolving shaft.
To complete the work, the printer then puts upon the cylinder the necessary sheets and calico corresponding with the depth of beard upon the cylinder, the larger the better, securing a forme of type. Then it is necessary to set the bearers and adjust the cylinder, which, after being properly set, should not again be altered only under very special circumstances. Making-ready may afterwards be undertaken.
Historical Article: An 1897 account of the Bremner Machine Company — makers of letterpress machines — in Otley, Yorkshire
When writing of matters appertaining to Otley it is quite orthodox to bring in something about — now where’s our scrap-book? here you are — “the quaintly picturesque home of a sturdy race charmingly nestling (that is the home, not the race) in an embowered nook of the fearsome and wild Yorkshire hills, the dazzling rays from the golden orb of day shimmering o’er heather-capped purple mo’orland on to a centre of horrid commercialism so wofully at variance with its poetical environment,” and so on, and so on. Something of the kind is possible, first when the climate is in order, and next when Otley’s engineers manage to spare but a moment from the labours of fortune hunting to give us a nod or maybe a word — the shekels flowing in too quickly to waste any time. Under such desperate conditions of course the descriptive faculty is called upon, and one can freely “pad” with the beautiful scenery sort of thing.
On a late visit, however, we incautiously called on a typical March day, the real unadulterated article, a perfect hurricane of wind materially assisting to point out the beauties of the valley. Not that we would for a moment alarm the printer intending to take an order to the Otley machine shops, oh dear no, for all and sundry are solemnly assured the inhabitants invariably set the weather in perfect order for the man who arrives with a fat pocketful of orders.
Borne by the gentle breeze we traversed the length of the town devoted to printing machinery, and whilst all hands held on to top hamper, eventually reached the near outskirts of this boisterous corner of the West Riding, and finally arrived in “full blow” — literally — at the works of The Bremner Machine Co. Ltd.
Veritable “household names” in the realms of printing, “Harrild,” “Watkinson,” and “Bremner” indicate a make of machines and appliances to be found probably throughout British printerdom and in very many centres abroad. The business of manufacturing the machinery and plant variously known by these distinctive appellations is of no mushroom growth, but is long established, firmly set, and probably at the present time even more progressive than ever.
Believing that printers generally would be interested in knowing something concerning the methods of production, and incidentally of the management responsible for the class of machines just referred to, we approached the directors, and eventually succeeded in penetrating the reserve which right up to the present has absolutely forbidden this kind of publicity being given to the firm interested. We are thus enabled to give the result of our gleanings, gained by poking here and there like the Ingoldsby dog in a fair, not to mention using the mark of interrogation until we all but ran out of sorts.
In common with the majority of engineering establishments, The Wharfedale Iron Works, as the Company’s premises are called, consist of a series of single-storey structures, communicating one with another, only in this instance everything is on an extensive scale; enormous places — what are technically called “shells,” for they are scarcely rooms — lighted both from the roof and sides, and withal substantial convenient structures, house the various departments going to make up the many-sided business under notice.
The proprietors of the establishment evidently intended not only to have room enough for current requirements, but to allow for breathing space, light to any amount, and extension whenever necessary, with the result that even in a district where establishments are almost invariably situated away from closely populated residential centres, and light and air are plentiful, the various premises are noticeably excellently lighted and ventilated. The available ground for enlargement has also proved so useful as to amply justify the wisdom of the far-seeing pioneers who bought a whole orchard and set of fields and dumped down— so to speak — their buildings in the centre. Such a prospect is calculated to turn the employer in crowded-out populous centres positively green with envy. Distinction apart, this is merely mentioned as indicating the favourable conditions under which work is carried on — a consideration our friends will appreciate.
The present business was founded in 1863, and occupied premises in another part of Otley. In 1870 a removal was made, the present site being acquired, and the whole of the premises specially erected with a view to the production of printing machinery of the best class and plenty of it. A total area of one and a half acres of what is practically freehold land was purchased, and erection followed erection until the area of floorage now actually occupied amounts to the not inconsiderable total of some 3,000 square yards, whilst so far as such a business can be maintained in close compass, it is certainly remarkably compact, the floors being literally filled with plant, grouped with the skill only obtained by long experience.
A Personally Conducted Tour
Even if it were desirable it would be impossible in the space at our disposal to give full details of this fine establishment, so that we must perforce be content with a general descriptive reference to the facilities it possesses and which may be of most interest to printers. After a preliminary chat in the private office with two of the directors and the secretary of the company, we armed for a tour conducted by Mr. Musgrave, the youngest director, whose qualifications for his responsible position with the company not only include a regular apprenticeship and a thoroughly practical training at Otley, but a valuable experience acquired in American establishments. This latter information may interest printers noting the “American invasion” of new machinery into this country.
Brass Foundry
Electing to start at the beginning of things, the alpha of our progress was therefore the compact Brass Foundry where the brass bearings and fittings so noticeable in the finished products of the firm are primarily produced. Here is seen the sunk furnace with flames at white heat, into the warm embrace of which the earthenware crucibles containing the constituents of the mould are sunk, and around are the accessory appliances for casting and for treating the metal prepared. Leaving the brass foundry, a peep at the adjacent boiler house shews that a magnificent new boiler has evidently been recently acquired, the whole house with its piled up coal reserves and general Saturday afternoon appearance bespeaking the care one always appreciates in this primary source of the moving power of the works.
The Foundry
Iron Foundry
Near by is an entrance to that important part of the engineer’s establishment, The Foundry, a large, roomy, lofty building of considerable accommodation, lighted on three sides. All over the floorage are dotted “promiscuous like” mouldings of many kinds, with numerous doublefold “moulders” engaged in making up moulds, or carefully putting in the last half grain of dust to give a perfect surface to the casting. Only those who have had experience of a typical foundry can properly appreciate the charms of the dust to be found everywhere. The floor is thick with the dry mould — it shades on the walls, comes in clouds from the rafters at every opportunity, coats every tool in the place, and insidiously works its way in and about everything and everybody in the place. The scope of the foundry may be understood when it is learnt that it occupies a floorage of 5,880 square feet. No less than five powerful cranes are included in the complete equipment, and at various positions along the sides are placed the powerful and truly labour-saving moulding machines, the all-important furnace occupying a position near the centre of the building, as shewn in the illustration. The lofty furnace is built into the wall, fed of course from outside. As we were watching the various foundry operations, a casting of molten metal was run off, the rush of air giving quite a pyrotechnic display, sparks shooting out right across the building and falling in golden showers on all around. It is not every firm which gives a firework display in our honour!
Near the foundry is the well-equipped smiths’ shop, to reach which we pass through the engine-room, where a fine Robey horizontal is at work. The smiths are at work on various forgings, but especially is to be noted the use made of a powerful steam hammer, although here, as with all departments, the adoption of modern labour-saving plant and all manner of useful appliances is apparent to even the casual observer.
Gear Cutting
A feature of all the best classes of printing machines is the use of cut gearing as opposed to cast. Here we find all gearing cut — in fact, a special department is running regularly on this very important work. Before entering upon the fitting shops we were shewn into the room thus adapted — a particularly interesting department — and were soon keenly attentive to the working of a series of truly wonderful machines. The automatic rack-cutting machines cut the teeth out of the solid; tests amply demonstrating the extreme accuracy of the work. An automatic screw-cutting machine positively fascinated us in its almost human handling of the metal. It is odd to see cold metal grip, gauge, plane, cut, worm, and generally finish the necessary work of making a large screw wholly automatically and without any outside attention. These machines are here referred to as being tangible proofs of the care of the firm to have everything of value and importance in the way of plant.
Turning Department
Entering now upon the sections concerned with the fitting of the machines and their erection, we first cross the Turning Department, where an almost unlimited number of machines of various sizes worked by shafting carried from overhead, are ranged along the walls and in parallel rows down the stone-paved floor. Here the various parts of the coming machines are “turned” and otherwise prepared, as for instance in one section, fly-wheels, ink-rollers, and brake-wheels, and stepping amongst them, we find lathes of many kinds, with shaping, slotting, and surfacing machinery. It is opportune here to step into the fitters’ store-rooms communicating with the department we are in. Here is found generous accommodation in the form of lofty shelves furnished with lockers running in parallel alleys, each numbered, named, and filled with the nut, bolt, or other of the multifarious parts going to make up the well-equipped printing machine. This is eminently business-like in its arrangement, a commendation we find ourselves further endorsing on noting the check system applied to the giving out of tools, ensuring a safe check upon all tools in use. Other store accommodation contains the heavier parts, and as might be expected in an establishment of such dimensions, the wooden models or patterns claim considerable space, some 2,625 square feet being occupied. So great is the work of providing such that a joiner’s shop of large extent is included on the premises.
The Planing Department
Large Planing Machine with Portion of Forge
Turning now to The Planing Department, or rather to the section where most of the planing machines are grouped, for we seemed to meet enormous planing machines in most parts of the works, here is found noteworthy evidence of the exactitude obtained in uniformity of surface in castings. These machines are the giants of the printing machine engineering plant, and have a special attraction of their own. You see the long heavy table slowly bear the metal against the short stubby planing tool, automatically stop at the end of its traverse, canter back, and again take up the slow grind, adjusting itself at each action. On some of these planing machines, the shape of which may be gathered from one of the cuts, single sides and rails were being planed, and on others the whole framework of side and end castings bolted together was being planed as a whole, thus ensuring perfectly true surfaces. Alongside the large planes are machines for boring and milling, and a series of the vertical roller-mould borers attract attention.
Planing Department
A detail noticed here is the particular care given to the grinding of the impression cylinders — a feature the printer can appreciate.
Fitting
Portion of the Fitting Shop
Coming now to the couple of large bays devoted to the Fitting, we find space allowed on the floor, between rows of benches bearing machines, for the final putting together or fitting of the printing machines, the whole commanded — as indeed are the rooms generally — by extensive crane power, enabling parts to be easily moved into position.
When one has already seen the parts of the machines take shape from crude iron and assume a more or less tangible form, it becomes doubly interesting to see these parts brought together and gradually made to form a homogeneous whole in perfect harmony the one with the other.
Most printers have seen a machine in pieces, and can thus obtain some idea of the wilderness of parts presented by a row of Wharfedales during process of erection. We were fortunate in seeing quite a variety of machines being built up preparatory to filling orders — various sizes of letterpress cylinders, several “Fleets,” guillotines, litho tin-printing machines, etc.
Erection
Discussing the methods adopted of sending machines out, more especially to quarters where fitters are not sent, we were interested in finding that besides the usual consecutive numbering of parts, blue prints of the machine from various points of view and in separate parts are also supplied. This led to the discovery that photography was largely in evidence on the premises, negatives being regularly taken as machines are erected before sending out. If this system were universally adopted we should hear less of the troubles of the printerman abroad who has received a machine and has to fit it up as best he may.
Amongst the chief lines of the Bremner Printing Machines may be mentioned first the “Fine Art” cylinder machine, constructed for producing high-class cut work at a high speed. The massive foundation frame is noticeable, and the machine has all the advantages of cut gearing and the acme of accurate planing. A novel cylindrical inking apparatus, movable for access to forme, is one of its most important features. Other Wharfedale types —single and two-colour — made by the firm are all classed as of “Bremner” make, amongst the features of which may be mentioned the strength of frame, cross rail under cylinder, three bowl rails in larger sizes, double-driving and traverse wheels, an automatic cylinder check stopping- feed-board, flyers, grippers, points, and push-bar at one and the same time. Everybody has of course heard of the “Fleet” machines, the “New Fleet” being- a development of the deservedly popular high speed machine. This machine is built for a high rate of speed, 2,500 per hour, close register being guaranteed, with sloping board and automatic side lays, and possesses a popularity of its own. The “Fleet” has all the characteristics of the “Bremner” as regards strength and fitting. Another important “Bremner” is the chromo-lithographic machine, which is in all respects exceedingly well equipped for best work. In build these machines are massive, very strong, and mounted on a cast-iron bedplate, to which shafts, racks, runners, spur wheels, etc., are fitted, thereby securing strength and rigidity, whilst double-driving wheels, double-traverse wheels, double-inking motion, and arrangement for continuous or intermittent inking are amongst its further features.
This variety of machines indicates that the Bremner Company is not confined to a single specialty, but has a somewhat wide range of production. Other directions of the firm’s industry are represented by the manufacture of a special line of guillotines, paper cutters, card cutters, rolling machines, presses, imposing surfaces, and large quantities of cast-iron chases.
In going; through one of the fitting shops we noticed a couple of fine tin-printing machines, which on enquiry turned out to be a repeat order for a well-known house. As they stood partly erected, the massive build, the “direct process” idea, and certain novel features of attachments were noticeable. By the way, printers out of this class of work have in all probability very little idea of the extent to which tin-printing is becoming; popular. Chromo-lithographed tins are now adopted for all manner of trades,and some most excellent results are obtained.
The Management
It is perhaps an open secret, but the firm officially known as the “Bremner” Machine Co., Ltd., is a private company consisting practically of the two houses so well known in the trade — the Harrilds and the Watkinsons. The connection between the Bremner Co.. and Messrs. Harrild & Sons, of the “Fleet” Works, London, is as close now as before the incorporation of the Company, Messrs. Harrild & Sons being chiefly responsible for sales of the “Bremner” products. The Company is controlled by the four directors, Mr. Richard Watkinson, Mr. Horton Harrild, Mr. Fredk. Harrild, and Mr. Fredk. W. Musgrave, with Mr. W. Watkinson as secretary. All these gentlemen are practical in all senses of the word, and it is to their skill and industry that the business under notice owes its importance, growth and prosperity.
Progress in the improvement of printers’ materials is nowadays so rapid that it is highly important for the printer to keep in touch with modern developments in the basic materials of the trade. The main advances in printing ink technology have been the progressive improvement of colours, varnishes, grinding methods, etc.; the introduction of outstanding properties in commonly used inks; and the discovery of entirely new types of inks. These notes are intended to give a few modern lines.
Blacks
The aim of the ink maker is to produce inks which can be used straight from the tin without having to be doped by the addition of boiled oil, driers or similar materials. A first-class black should, without incorporation of any other material, possess the following properties:
High density and brilliance of colour.
Sufficient softness and freedom from tack to prevent plucking and picking of the paper.
Rapid drying on the paper but slow drying on the machine, so that the ink remains wet for 24 hours, or preferably 50 hours, on the rollers.
Such consistency and texture that it feeds well without hanging back in the duct, and does not fill up half-tones.
Speed of penetration so that the print does not set-off, even under the pressure of a considerable pile of superimposed sheets.
Quick hard setting, enabling backing up to be done soon after printing.
Freedom from spray, even on high-speed presses.
Applicability to a wide variety of different papers.
With regard to the last point, we all know that different classes of paper behave differently with the same ink. It is easy to formulate an ink which does not set off on one paper yet sets off markedly on another. Realizing that the printer’s choice of paper is often limited by practical considerations, the ink maker so formulates his standard lines that they are usable on as many different papers as possible.
The modern introduction of high-speed presses has led to the making of special inks for these machines. An ink which has given excellent results on a comparatively slow machine may spray badly when it is tried out on a fast-running one.
During the past year or two, much attention has been paid to improving the setting of blacks and preventing set-off. There are now obtainable some new blacks, the physical properties of which are such that there is a very rapid and firm set on the paper, allowing of quick backing up, while set-off* is eliminated.
Non-skinning Bronze Blues
It is rarely indeed that the ink maker puts into his bronze blue inks any driers such as cobalt, manganese or lead. This is because the bronze blue pigment is itself a powerful drier, and being, of course, present in very high proportion, causes rapid drying and skinning.
Expressed differently, bronze blue, like cobalt, manganese and lead driers, is a catalyst for the reaction between linseed oil varnish and oxygen—that is, bronze blue is a substance which increases the rate at which the linseed oil varnish, which is present in the ink, combines with the oxygen in the air to produce a dry film. Catalysts are used for quickening up many chemical processes.
When the printer requires a bronze blue ink which will not skin on the rollers in, say, two days, the ink maker is faced with a problem of a different type from the usual problem of driers. It is, of course, impossible to reduce effectively the bronze blue which is at once the pigment and the drier. Tiie problem is best solved by using a substance, known as a “negative catalyst,” which behaves in the opposite way to an ordinary catalyst; the negative catalyst reduces the rate at which the ink skins. By using the right negative catalyst in suitable proportion (only a very little is required), it is possible to produce a bronze blue of brilliant lustre which will not skin or dry on the rollers even in two days and yet will dry satisfactorily on the paper.
Coloured News Inks Although coloured news inks are by no means new, it is only in recent times that they have been used to any large extent for advertising purposes. Good quality coloured news inks, which work well and do not fill up even on long runs, are now obtainable at a price suited to newspaper work, and it is probable that the near future will see a considerable increase in the amount of coloured advertisements.
Aniline Inks and Syrups
Aniline inks are being widely employed nowadays with good results. These inks consist essentially of dyes dissolved in methylated spirit, while other ingredients are added to impart fastness to water, brightness, etc., and to prevent excessive drying on the rollers.
Aniline inks are much used in paper bag and similar manufacture. The drying of the inks is mainly dependent on the rate of absorption and evaporation of the volatile spirit, and since this is very fast, the printed sheet can pass directly from the rubber stereo to be processed into the completed bag.
Generally, a good aniline ink will be found suitable for most papers, but there are a few exceptions. For printing on kraft paper, for instance, special anilines are generally required in order to obtain the maximum brightness of colour. Special surfaces like tinfoil and cellophane also require special inks for best results.
Where transport charges become considerable, as is the case with exported inks, aniline syrups may be used instead of aniline inks. These syrups are so made that when one part of the syrup is mixed with two (sometimes three) parts of methylated spirit, the resultis an aniline ink. The stronger syrups (those to be mixed with three parts of spirit per one part syrup) are so concentrated that, in the case of some (not all) colours, the syrup may be rather too viscous and may not immediately mix with the spirit. It is, therefore, recommended that those syrups, which are convertible by adding two parts of spirit to one of syrup, should be used, as these never give trouble on mixing. These latter syrups are of course cheaper.
Special syrups are obtainable for use on kraft papers.
Letterpress Inks for Non-absorbent Surfaces
A little may perhaps be said about letterpress printing of black and coloured inks on surfaces such as cellophane, celluloid and glassine. Inks for these materials dry almost entirely by oxidation—there is practically no drying by absorption or evaporation. Consequently special quick-drying varnishes are used.
The printer should carefully avoid the introduction of any non-drying ingredients into such inks. For instance, in washing up previous to a run, particular .care should be taken to remove traces of wash-up liquid from the rollers and the forme. If the printing were done on ordinary papers, the presence of a little non-drying liquid would not matter so much— although here, too, there is an element of danger. On non-absorbent papers, however, the danger is considerably increased, because the non-drying liquid remains with the ink on the surface and may seriously hamper the hardening of the print.
Gold and Silver Letterpress and Photogravure Inks
When the first experiments were made towards producing metallic letterpress inks, the main difficulty was to combine the desirable properties of resistance to rubbing, extremely high lustre, and non-drying on the machine during printing. A very large amount of work was in fact done on this problem, with the result that exceptionally brilliant inks which do not wipe off, or otherwise misbehave, are on the market.
More recently, metallic photogravures have been introduced, and the efforts of ink makers’ laboratories have resulted in the availability of very bright, firmly-adhering metallic gravures which work well on the machine.
Overprinting Varnishes
As is well known, there are two main types of overprinting varnishes, one containing a proportion of volatile liquid such as methylated spirit or turpentine, and the other composed entirely of non-volatile ingredients. Although the former type is excellent as far as it goes, it is probable that it will be increasingly displaced by the non-volatile varnishes. These latter are easy of application, being printable in much the same way as ordinary letterpress inks; they can also be safely used to overprint many colours which would bleed in a methylated spirit varnish.
Research has been in the direction of increasing the gloss and improving the working qualities of the overprinting varnish. Some modern preparations are quite soft and easily workable, and yield a hard, smooth film of extremely high gloss, not only when applied to a dry non-absorbent ink layer, but also when printed directly on to the paper. Coloured overprinting varnishes are also available.
Odourless Inks and Varnishes
For some purposes, particularly for printing on food wrappers, it is sometimes advisable to use an ink having as little odour as possible. Varnishes made in the ordinary way possess a slight smell which is imparted to inks made from them.
There are two methods of producing an ink which does not possess the smell of ordinary varnish. Either there can be incorporated with the ink a small quantity of a perfume which satisfactorily masks the other smells, or odourless varnishes (made by special processes) can be used. Both methods can be combined.
Offset and Litho Inks
Improvements in offset and litho inks have included the increasing of the water resistance and the strength of colour. For—good quality offset work, particularly where in competition with photogravure processes, great colour intensity of the ink is, of course, highly desirable, since the film of ink in the offset print is so thin.
One type of modern offset ink contains special water-insoluble dyestuffs in addition to the usual pigments, a device which results in great colour strength and quite satisfactory resistance to water.
Washing Up—Ink Removers
A variety of good ink removers have been in use for a long time and are well known, but a point of which many are unaware is that there are special removers for dry ink. A roller or type face which contains patches of dry ink will require a considerable amount of laborious scrubbing with an ordinary ink remover before it is clean, but with special solvents or solvent mixtures, it is only necessary to moisten the surface. After a few minutes the powerful action of the solvent uproots the dry film. Sometimes it may be preferable to remove the worst of the dry film with the special solvent and then to finish off with an ordinary ink remover. In this way, the cleaning of dry ink can be done in a tenth of the time usually employed. Of course, the solvent does not injure the roller or type face in any way.
With regard to the cleaning of ordinary aniline inks from the machine, methylated spirit is the standard medium for this purpose. The best anilines do not dry on the rollers too quickly, but if the rollers or other parts have been left inky overnight, it may be desirable to wet the surface with a special aniline ink remover before finishing off the cleaning with methylated spirit.
Progress in the improvement of printers’ materials is nowadays so rapid that it is highly important for the printer to keep in touch with modern developments in the basic materials of the trade. The main advances in printing ink technology have been the progressive improvement of colours, varnishes, grinding methods, etc.; the introduction of outstanding properties in commonly used inks; and the discovery of entirely new types of inks. These notes are intended to give a few modern lines,
Blacks
The aim of the ink maker is to produce inks which can be used straight from the tin without having to be doped by the addition of boiled oil, driers or similar materials. A first-class black should, without incorporation of any other material, possess the following properties:
High density and brilliance of colour.
Sufficient softness and freedom from tack to prevent plucking and picking of the paper.
Rapid drying on the paper but slow drying on the machine, so that the ink remains wet for 24 hours, or preferably 50 hours, on the rollers.
Such consistency and texture that it feeds well without hanging back in the duct, and does not fill up half-tones.
Speed of penetration so that the print does not set-off, even under the pressure of a considerable pile of superimposed sheets.
Quick hard setting, enabling backing up to be done soon after printing.
Freedom from spray, even on high-speed presses.
Applicability to a wide variety of different papers.
With regard to the last point, we all know that different classes of paper behave differently with the same ink. It is easy to formulate an ink which does not set off on one paper yet sets off markedly on another. Realizing that the printer’s choice of paper is often limited by practical considerations, the ink maker so formulates his standard lines that they are usable on as many different papers as possible.
The modern introduction of high-speed presses has led to the making of special inks for these machines. An ink which has given excellent results on a comparatively slow machine may spray badly when it is tried out on a fast-running one.
During the past year or two, much attention has been paid to improving the setting of blacks and preventing set-off. There are now obtainable some new blacks, the physical properties of which are such that there is a very rapid and firm set on the paper, allowing of quick backing up, while set-off* is eliminated.
Non-skinning Bronze Blues
It is rarely indeed that the ink maker puts into his bronze blue inks any driers such as cobalt, manganese or lead. This is because the bronze blue pigment is itself a powerful drier, and being, of course, present in very high proportion, causes rapid drying and skinning.
Expressed differently, bronze blue, like cobalt, manganese and lead driers, is a catalyst for the reaction between linseed oil varnish and oxygen—that is, bronze blue is a substance which increases the rate at which the linseed oil varnish, which is present in the ink, combines with the oxygen in the air to produce a dry film. Catalysts are used for quickening up many chemical processes.
When the printer requires a bronze blue ink which will not skin on the rollers in, say, two days, the ink maker is faced with a problem of a different type from the usual problem of driers. It is, of course, impossible to reduce effectively the bronze blue which is at once the pigment and the drier. Tiie problem is best solved by using a substance, known as a “negative catalyst,” which behaves in the opposite way to an ordinary catalyst; the negative catalyst reduces the rate at which the ink skins. By using the right negative catalyst in suitable proportion (only a very little is required), it is possible to produce a bronze blue of brilliant lustre which will not skin or dry on the rollers even in two days and yet will dry satisfactorily on the paper.
Coloured News Inks Although coloured news inks are by no means new, it is only in recent times that they have been used to any large extent for advertising purposes. Good quality coloured news inks, which work well and do not fill up even on long runs, are now obtainable at a price suited to newspaper work, and it is probable that the near future will see a considerable increase in the amount of coloured advertisements.
Aniline Inks and Syrups
Aniline inks are being widely employed nowadays with good results. These inks consist essentially of dyes dissolved in methylated spirit, while other ingredients are added to impart fastness to water, brightness, etc., and to prevent excessive drying on the rollers.
Aniline inks are much used in paper bag and similar manufacture. The drying of the inks is mainly dependent on the rate of absorption and evaporation of the volatile spirit, and since this is very fast, the printed sheet can pass directly from the rubber stereo to be processed into the completed bag.
Generally, a good aniline ink will be found suitable for most papers, but there are a few exceptions. For printing on kraft paper, for instance, special anilines are generally required in order to obtain the maximum brightness of colour. Special surfaces like tinfoil and cellophane also require special inks for best results.
Where transport charges become considerable, as is the case with exported inks, aniline syrups may be used instead of aniline inks. These syrups are so made that when one part of the syrup is mixed with two (sometimes three) parts of methylated spirit, the result
This article from the British Printer, 1934 and written by J. D. Cohen, BSc, AIC
This article is from the British Printer magazine of 1961. The research was conducted for PATRA: The Printing and Allied Trades’ Research Association.
The proportions of characters making up a fount of type should be such that by the time one character is exhausted as little as possible of the others remains in the case. A further requirement is that any character in the fount has the same chance of being exhausted first and still leave a nearly empty case. If this is achieved then the printer will effect savings in the amount of type stocked in the cases and also in the expensive reordering of individual characters to make up his deficiencies. This article presents the results of the first systematic study of type fount proportions and a new scheme is proposed which it is believed will fulfil the above requirements, as far as it is practicable.
Such a study may seem a little belated, but hand-set work still remains an important part of printing. It is estimated, for example, that the fount schemes proposed in this article will effect at least a 10 per cent saving of dead metal in the case which to the industry represents many thousands of tons of type metal. Furthermore, as the kind of work which is now hand-set has become somewhat stabilised the fount proportions proposed should remain effective for many years to come.
The origin of type fount proportions, even in recent times, is rather obscure and this seems largely because the responsibility for supply is confined to relatively few people. It is certain, however, that as early as the beginning of the sixteenth century some account was being taken of the variation in usage of the various characters since the most frequently used characters were placed at the front of the case. A more positive example is given by Moxon’s lowercase, which appeared in 1683, and which has remained virtually unchanged to this day. The lay of this case is such that the volume of the type compartments is roughly proportional to the frequency of usage.
Some of the books on printing which were produced in the nineteenth century contain tables of bills of founts, but unfortunately they rarely mention how these proportions were determined. It is true that the only satisfactory way in which to arrive at suitable proportions is to count the frequency of occurrence of characters in a piece of work that has been hand-set. Presumably most of them were determined in this way but without a knowledge of the nature of the work chosen, the validity of the results cannot be judged. One of the few records that do exist of a count illustrates this point. The count, which is attributed to the Caslon Foundry, was made by enumerating the number of letters used in setting a lengthy debate in the House of Commons where it was assumed that ‘the best and most comprehensive English would be spoken’. The validity of this count can be questioned on two points, firstly that the frequencies of the spoken word vary from the written word and, secondly, the sample was not typical of the English being set at that time.
It is recorded that ‘the proportions of almost every typefounder failed lamentably to give satisfaction’. Such failures seem partly due to the use of biased samples on which to base the proportions and partly to the fact that, at a time when all the work was hand-set, small variations in the style of the work would have a large effect on the characters required. The work of Dickens, for example, would quickly empty the case of vowels, whereas Macaulay’s style had a similar effect on consonants. No fount proportion scheme could reasonably be expected to cope with that type of variation.
At the present time the copy that is hand-set from roman and italic types may be broadly classed as jobbing work, and it gives rise to rather different problems than those facing the old typefounder. This change in the character of the work, which was brought about by the widespread use of typesetting machines, has led typefounders to modify the old proportions by ‘experience’ in order ‘to meet the needs of the customer’. It might be expected that since most typefounders are catering for the same type of work their experience would have led them to the same proportions. In fact, for some characters there are wide variations between the various proportion schemes in use today.
It should be noted at this stage that the present work was not undertaken as an academic exercise but the need for it was suggested by a typefounder. Subsequent enquiries amongst printers confirmed this and their main complaint was that currently used proportions gave rise to shortages of the most commonly used characters (in particular, e, r, s and t) while the least used characters built-up in the case. The reason for this happening will become apparent later.
Before the main results are discussed it is essential to realise the main types of variation that will affect the type proportions required to set a piece of jobbing work. There are three of these:
Work-type Variation Holiday brochures provide a good example of work-type variation since in these a consistent part of the hand-set work are the names of hotels. Consequently, the frequent occurrence of the word ‘HOTEL’ means that a higher proportion of the characters H, O, T, E, and L will be required than is normally found. This type of variation is inherent in the work.
Job Variation A parish magazine, for example, normally contains a large number of displayed advertisements for the particular town it serves. The frequent occurrence of the town’s name will again upset the normal proportions of characters. This variation is inherent in the job, rather than the type of work, as the characters most seriously affected will vary from town to town, ie from job to job. Furthermore, with this type of variation if a number of such jobs are undertaken for different towns then the likelihood of upsetting the normal proportions is reduced. On the other hand, with work-type variation the proportions become more seriously affected as more jobs of the same type are undertaken.
Sampling Variation The two types of variation denned above will upset any fount proportion scheme and this fact must be recognised by printers and catered for by separately ordering more of the characters affected. There is, however, a third type of variation which is always present and must be taken into account to the fount proportion scheme itself, This is called ‘sampling’ variation and because of its importance it is discussed in detail.
The foundation of any type fount scheme is that characters occur in fixed proportions, but the essential point is that the proportions can only be considered as fixed for a large number of characters.
To illustrate this statement, suppose that a piece of setting consists of 100 lines and each line has 50 lowercase letters. If there is no work-type or job variation present then about 200 d’s would be used in the setting. This is 4 per cent of the lowercase alphabet which is the normal proportion for d, that is, what is expected to occur in a large sample of characters such as the 5000 used in this supposed setting. If each of the 100 lines is now taken separately as small samples of 50 characters then there will not be 4 per cent, or two d’s in each line. There will be a number of lines that do not contain any d’s and it is quite possible that one line will contain as many as seven or eight. This illustrates sampling variation and shows that if only small amounts are set then a wide variation in usage is expected.
Referring still to the above example, if the occurrence of a d‑and the same can be argued for any character — is a purely random process then the probability of obtaining 0, 1, 2 etc of them in any of the lines is given by the 1st, 2nd, 3rd … terms of the binomial expansion (0.04+0.96)50. The results of this calculation are shown graphically by the full line in Figure 1, where it can be seen that with 100 lines some 13 would be expected to have no d’s, 27 have one d, 27 have two d’s and so on. The dotted line in Figure 1 shows the probabilities for samples of 25 characters, and the curve becomes more distorted and shows that the chance of getting a wider variation from the expected one d increases. Conversely, as the size of the sample is increased, so the curve becomes more symmetrical with its peak over the true proportion and the spread of the curve (the variation) getting smaller. A further fact, which is not Illustrated here, is that a character such as e, which has a higher proportional occurrence (13.4 per cent) will have a tower percentage variation for the same sample size. The value of these calculations to this study is that for a fount of a given size the number that is likely to occur for each be found.
The calculations are based, however, on the assumption that the occurrence of a character is a random process that is, its occurrence is independent of the characters previously set. This is clearly not the case when it is known that for 58 per cent of the times that d occurs r does so after n or e and that it does not normally follow letters such as c, h and j. In order to determine how this dependency would affect the calculations, a number of tests were carried out and it was found that for the present purpose of type fount proportions, the effect would be negligible. This means that the statistical model outlined above can be used to predict what variation is expected to occur under various circumstances and so place type fount proportions on a more precise basis than has hitherto been possible.
As mentioned earlier, the only way is which it is possible to determine the proportion of characters is by counting their occurrence and using this to predict future requirements. It is important when making a count to select samples of work which truly represent the type of work being hand-set at the present time and so reduce the number of characters to be counted to a reasonable level.
To develop the new scheme samples of hand-set work were obtained from twenty-five randomly-selected printing firms, which included jobbing printers, magazine printers and a provincial newspaper. In all, 92,000 characters (excluding spaces) were counted from 350 separate jobs. In order that job and work-type variations could be examined more closely these items of work were regrouped into eighty-eight classes containing jobs of a very similar nature and further regrouped into fifteen broad classes of work. These fifteen work-type groups included forms, entertainment handbills, and a variety of displayed advertisements specific to various subjects such as motoring, office equipment, chemical engineering and shop services. The characters were also subdivided into composition and display sizes, the latter being characters of 14 pt and above.
Clearly, if an examination of the various items of work showed great differences from one another, there would be no value in altering the currently used proportions. It so happened, however, that sampling variation was the variation of greatest importance. Other types of variation did occur infrequently as expected: for example, with lowercase a, two jobs that were found to show other variations were a dancing academy prospectus and a ballet programme. Some variations were not quite so obvious, such as the work-type variation shown by lowercase b which was not found so frequently as expected in displayed advertisements for shop services. The general remits of this work do show, however, that a type fount scheme which would suit most printers is entirely practicable.
The basis of the new scheme is the statistical model previously discussed. Simply interpreted this means that the less frequently used characters need to be strengthened more than the commonly occulting ones and the exact amount of strengthening can be determined mathematically. The currently used schemes also strengthen the less frequently used characters but they do so irrespective of the size of the fount and this produces excesses of these characters. By realising that when the size of the fount is increased the proportions should get closer to the actual proportions found from the counting the scheme proposed here will meet requirements of type fount proportions outlined in the introduction. An abridged version of the new founts, together with the actual proportions found is given in Table I for both lowercase and capitals. Table II shows the actual proportions found for figures and points.
LOWERCASEFOUNTS
Sort
% Found
Size of Fount
a
8.1
10
20
30
40
50
75
100
150
b
1.3
3
5
7
9
11
16
21
29
c
3.4
5
10
15
19
24
36
48
67
d
4.1
6
12
17
22
28
41
56
80
e
13.4
15
30
46
63
80
119
160
236
f
1.5
3
5
8
10
12
18
23
33
g
1.7
3
6
9
11
13
20
26
37
h
3.3
5
10
15
19
23
34
46
67
i
6.7
9
18
26
35
43
62
86
125
j
0.1
2
4
5
6
6
6
6
6
k
0.7
3
5
6
6
7
10
13
18
l
4.9
7
14
20
26
32
48
65
93
m
2.3
4
8
11
14
17
25
34
48
n
7.7
10
20
29
38
48
71
96
141
o
8.3
10
20
30
40
50
75
102
151
p
2.3
4
8
11
14
17
24
34
47
q
0.2
3
4
5
6
6
6
6
8
r
7.9
10
20
29
39
49
72
98
146
s
6.9
9
18
25
34
43
62
86
124
t
7.7
10
20
29
39
49
71
98
142
u
3.1
5
10
14
18
22
32
44
62
v
0.9
3
5
6
7
8
11
15
22
w
1
3
5
6
8
9
12
17
24
x
0.2
3
4
5
6
6
6
6
9
y
2
4
8
10
13
16
22
31
46
z
0.1
2
3
4
5
6
6
6
6
ff
0.1
2
3
4
4
6
6
6
6
fi
0.1
2
3
4
4
6
6
6
6
fl
0.05
2
3
3
4
5
6
6
6
ffi
0.05
2
3
3
4
5
6
6
6
ffl
0
1
2
2
3
5
6
6
6
CAPFOUNTS
Sort
% Found
Size of Fount
A
7.5
10
20
30
40
50
75
100
150
B
2
4
7
10
14
17
25
33
46
C
5
7
14
21
28
35
53
70
104
D
4.4
7
13
19
26
32
45
65
90
E
1.1
13
26
38
52
65
98
134
188
F
2.1
4
8
11
14
17
26
34
44
G
2.3
4
8
12
16
19
27
36
51
H
3.3
6
11
15
20
25
37
50
70
I
5.9
8
16
24
32
40
60
81
117
J
0.5
3
4
6
7
7
8
11
16
K
0.7
3
5
7
8
8
11
14
20
L
5.3
8
15
22
30
37
55
74
109
M
3.4
6
11
16
21
26
38
50
72
N
6.9
9
19
28
38
47
69
94
136
O
6.7
8
18
27
36
45
68
92
132
P
3.2
5
10
15
20
24
36
48
68
Q
0.3
3
4
6
6
6
6
7
10
R
7.3
10
20
29
39
49
72
98
145
S
8
10
21
31
42
53
79
107
161
T
7.9
10
21
31
42
53
79
107
161
U
2.4
4
8
12
16
19
28
37
53
V
1.1
3
5
7
9
11
16
20
25
W
2.1
4
8
11
14
17
25
34
44
X
0.2
3
4
5
6
6
6
6
9
Y
1.5
3
6
8
12
14
19
26
38
Z
0.1
3
4
5
6
6
6
6
6
ACTUALPROPORTIONSOFFIGURESANDPOINTS
Figures, etc.
%
Points, etc.
%
1
8.4
.
29
2
4.6
,
14.5
3
3.5
:
3.3
4
2.7
;
0.2
5
3.4
’
3.2
6
3.2
-
3.9
7
2.2
?
0.3
8
1.8
!
0.2
9
3.3
&
1.4
0
6.4
(
3.4
�
1.1
Total
100
Table I is based on composition sizes but comparison of these proportions with those obtained for display sizes showed that there was little justification for suggesting separate proportions for the two groups. The main differences found were that capitals I and L occurred rather more frequently in the display sizes.
The quantity of type ordered from a typefounder varies considerably; it may be a five-pound fount for a special job or it may be sufficient to fill a case. So that the printer will get the maximum benefit from the new founts two proportion tables have been prepared. For orders less than the equivalent of 160a or I60A, which contain fewer than 2,000 characters a ‘preliminary fount’ is used which is the weighted system shown in Table I. For orders exceeding this quantity, and where the effects of sampling variation become small, the type is supplied from a ‘continuation fount’ in which the number of characters are in direct proportion to those found from the counting. This refinement, which has again been devised to give a more uniform usage from the case, will not complicate the ordering of type from the point of view of the printer.
Another aspect studied was the ratio of the number of lowercase characters to the number of capitals in a complete fount. At present a 5lb fount of jobbing type contains 2½ lb of lowercase and 2½ lb of capitals, figures and points. This weight relationship automatically fixes the numerical ratio and those in current use have about 1.9 lowercase for every capital. It was found, however, that a ratio of 1.5 lowercase to one capital would better suit the majority of printers and to achieve this future founts would have to be made up of 2¼ lb of lowercase and 2¾ lb of capitals, figures and points. Other ratios incorporated into the new scheme are that the most suitable ratio for capitals to figures and points is 3.8 to 1 and that of points to figures is 1.5 to 1. The latter two ratios do vary considerably with the size of the type and those suggested here are again the ones that would suit most printers.
There were many other aspects of this work which had to be discussed and studied but because of their limited interest they are not mentioned here. Nevertheless they were important in order to make the new scheme easily workable for the typefounder and also acceptable to the type user.
As quite a few firms carry out hand-setting and correcting of machine-set work from the same case it was necessary to make a further study in order to determine whether the fount scheme above would be quickly upset by such a practice. In other words, are the proportions obtained for hand-setting founts suitable for corrections founts? Eleven main reasons for corrections were listed and while some of these (batters, missing words, wrong fount, etc) would require proportions almost identical to those found for jobbing work, there were others which depended on the human element and machine capabilities. Because of the latter, no precise proportions are possible and the requirements will vary from firm to firm according to the ability of the operators and the type of work being produced. One major requirement of a corrections fount is that it must be of such a size as to withstand sudden demands made upon it as are called for by repeated mis-spelling of a word, a dirty matrix, or the replacement of one of the alphabet in the die-case by a more frequently occurring sort. If this requirement is met, then, from counts of the frequency of occurrence of characters requiring corrections the hand-set scheme produced here will prove to be quite satisfactory under most circumstances.
For suggesting the problem and providing initial evidence of its existence, I am grateful to Messrs Santype Limited. I wish especially to thank their former Managing Director, H. F. W. Cory, for his valuable help on the practical problems associated with the work.
This article from the British Printer magazine during 1961