Richard Small found this little gem about paper marbling.
https://twitter.com/letter_presser/status/643929360697692160

Richard Small found this little gem about paper marbling.
https://twitter.com/letter_presser/status/643929360697692160


Bob Richardson’s approach to trouble-free positioning of stock on your platen
Following on from recent postings about lining up items on the platen of a press [on the LETPRESS discussion list], I thought I’d share my solution. For the last 15 years or so I have used a sheet of animation acetate as a top sheet on the platen of my Adana press. It’s obtainable from art stores, or you can use a sheet of mylar which is more expensive.

When examining paper, a printer can look at four dimensions –
Printing papers were predominantly made from woodpulp or esparto. Esparto is a long, wiry grass from Spain and North Africa. The fibres are short and soft and so not quite as strong as rag. That said, esparto stretches less and more evenly than other fibres.
In general terms, ordinary machine paper that is strong and opaque is suitable for book work provided that the fidelity of illustration is not so important. Imitation art paper is based on esparto pulp but has china clay added. Just before calendering, a fine spray of water is applied — bringing the clay to the surface — and it is this that forms the high surface.


You might have noticed that when you tear a square from a sheet of paper, one direction leaves a nice clean edge but the edge is much more ragged on the right-angled tear. You’ll have also spotted that when folding A4 sheets in to A5 booklets there’s a strong tendency that the booklet will spring open. Paper displays different qualities depending on whether you’re working in the direction of the ‘grain’ or ‘across the grain’.
Because paper is made from long fibres of one form or another, there is a tendency for paper machines to draw these fibres in to the machine in a particular direction. Naturally papermakers look to avoid this but even in fine papers you’ll end up with long fibres running in the same direction as the paper machine runs. This is the ‘grain direction’. There’s no firm rule about which direction the grain will run in any given package, but paper merchants tend to cut the paper so that the grain runs from top to bottom. On larger sheets that you might buy directly the grain could run in either direction.
There are two simple tests to find grain direction. If you tear the paper once and again at right-angles, you’ll see that the tear looks different: with the grain will leave a much cleaner tear; across the grain will leave a more messy tear. Alternatively you can cut two similar pieces of paper around 2″ x 6″ at right angles to each other and put them together. Holding one end out you’ll find that one might flop and another seem more strong; if not one might be ‘supporting’ the other. This ‘supporting’ or stronger piece will have the grain running down the length of the paper.
Grain direction will affect tensile strength; rigidity and stability. The degree to which these affect us will depend on the specific paper and maker so there are no concrete rules on how big a problem this might be for you.
Strength will be most important in some specialist applications: bottle labels, for example, are applied left-to-right on the bottle and so are pulled from left-to-right by the labelling machine. Because the paper will be strongest with the grain, it should be printed so that the grain runs from left-to-right. Other areas might include hole punched documents that might be subject to pulling from left-to-right.
To prevent ‘springing’ when a booklet is opened; the grain should run parallel with the spine. Look out for this if you intend to print, say, an A5 booklet from A4 because the A4 is usually sold with the grain running from top-to-bottom. Using this will lead to the folded booklet springing open.
Rigidity is important where printed articles have to be handled or stored upright. Index cards, for example, need to be printed with the grain running from top-to-bottom as this will mean the card is strongest in this direction, and so avoid the cards flopping down or curling slightly. Clocking-in cards should be printed with the grain running top to bottom to help with the handling of the cards.
Finally, stability rests on the tendency of paper to take up water from its surroundings. When this happens the paper swells across the grain because fibres have a tendency to expand in their width rather than length. This is most important when doing very close register work or colour printing. There may be a direction where the register is less important. One example would be ledger sheets where top-to-bottom register is less important than the need to get left-to-right columns correct, for a change in these could lead to mistaken use of the wrong column. In this case, if the tolerances are very tight, consideration should be given to have the grain running left-to-right across the page so that any expansion in the fibres has an effect top-to-bottom rather than left-to-right.
All of these considerations seem small in comparison with machining or the initial layout but it’s these small details that will make the final job look and feel better than one without consideration of the grain direction.

Whether or not you aspire to printing books and pamphlets, a paper-cutter will prove useful. Due to safety regulations, closure of small foundries and forges and shortages of skills, new ones are either crummily made or outrageously expensive.
Thankfully there is a floating population of those long-since outlawed from schools and offices because they lack safety guards; most of them date from an era when things were accurately machined and built to last. Most cities have a firm which specialises in sharpening trimmer and guillotine blades, too — try Yellow Pages or ask a local printer who he uses.
Don’t be frightened; if you can safely use an un-guarded Adana and are sufficiently politically incorrect to have an IQ in excess of 3 or 4, you’ll be perfectly safe, and in any case they are less dangerous than the fearsome alternative of sharp knife and steel straight-edge. Just don’t let the cat use it!
The unguarded card or board-cutter (1) is most versatile, being capable, with care, of cutting lengths far in excess of its blade. Small guillotines can quickly trim the un-even edges of quite thick partly bound books.

This guide kindly contributed by John R Smith of the Old Forge Press. Originally appeared in the newsletter of the Oxford Guild of Printers

Traditionally those of us who print letterpress on a small scale often used to beg or buy offcuts from commecial printers, few of whom went wholly litho until the 1970s. Since then papers for litho have become increasingly different to those suitable for letterpress. The latter, essentially soft, absorbent and spongy, allow type to sink in without excessively distorting the other side of the sheet. This enables one to achieve a decent impression from rather worn case type whose characters are no longer of precisely consistent height. Such papers are not suited to modern high-speed photolithography which demands hard non-absorbent surfaces which require less ink and don’t shed fibres on contact with plate-damping solutions.
With unworn type, newish rollers and near perfect distribution of ink and pressure it is possible to print kiss impression (ie no perceivable indentation) letterpress on such paper if it is smooth surfaced, although the slightest over-inking will result in a splodgy edge to the printed letters. Such relatively brittle papers, when given a textured or embossed surface and even those made to resemble a traditional laid paper, such as the modern version of Conqueror are, though, totally unsuited to letterpress and will quickly wear out ones type rather than accept a decent impression. Many current ‘prestige’ branded papers do not resemble in substance or character those produced under the same name thirty or more years ago: beware!
The days when one could find paper suitable for letterpress in a stationer’s shop are long gone.
For letterpress, choose paper with a soft, silky surface and a resilient core which allows type to bite without overly embossing the other side.
You don’t have to splurge on hand-made paper — mould-made paper, made on a slowly rotating wire-mesh drum is more consistent and therefore easier to print. Often made of similar raw materials, it is more affordable whilst generally of neutral ph and thus regarded as archivally permanent and will certainly outlast most modern mass-produced papers. Certain machine-made papers made on a wire-mesh conveyor belt, are of equal permanence and still less expensive. But avoid all hard, shiny, artificially textured stock.
Most machine or mould-made paper has a definite grain direction; along the grain it is stiffer but easier to tear, across the grain it will more readily curl but is harder to tear. Book pages should have the grain vertical so that they open and lie properly, thus for a book project you need short-grain A4, which folded will give long-grain A5 pages. A ream of A4 will be enough for more than 200 eight-page pamphlets with an allowance for wastage.
Think in terms of 100 to 160 gsm-or thicker if you wish. Consider having a larger sheet cut down to approximately A4 size and using the offcuts for future projects.
Take the advice of a knowledgeable specialist paper merchant. Specialist paper-merchants, who will advise on and supply suitable paper in small sizes and quantities include-
This guide kindly contributed by John R Smith of the Old Forge Press. Originally appeared in the newsletter of the Oxford Guild of Printers