I saw this question recently:
Hi Tina,I just got a Kelsey 5x8 from Craig at Don Black's Linecasting in Toronto, Canada. Unfortunately, the starter kit did not come with any ink or a cleaner. I've been reading and enjoying your blog for a while now, and was wonder if you can share with me where you purchase your inks and what you recommend to purchase for a first ink colour. Also, if there is a place I can order some califronia wash. Thank you (^_^)
I get my ink supplies from a couple places. Online, I like US Litho Supply, although I generally don't buy enough to warrant placing an online order. I got my initial supply of Van Son rubber based ink, a gallon of California Wash, and a couple other supplies from there. If I need one color or one or two supplies quickly, I stop by my friendly neighborhood Kelly Paper or even friendlier Keldon Paper. My absolute favorite place to get ink, however, is my local ink supplier Accent Ink. They only do oil based inks, but I get all my metallic inks from Accent, as well as my clients' special order custom inks.
As for first ink color, it might sound boring, but black is always a good place to start. Hope that helps!
Showing posts with label Q and A. Show all posts
Showing posts with label Q and A. Show all posts
Thursday, March 27, 2008
Tuesday, August 7, 2007
Question on Ink Colors
I just saw this question on my blog post about inks:
Jen said...
Are the Rubine Red, Pantone Yellow, Process Blue, and Opaque White the only colors you use to mix with? I also have a PMS Guide and want to avoid spending $100 ordering 1lb cans of ink in all the colors so I'm trying to figure out which basic colors I can get by using to mix the PMS colors.
First, there's a great discussion on ink on Briarpress that you can look at that gives you tips on ink. I found it particularly helpful. You can order some lithographic ink to save some money, which tends to come in smaller cans and therefore cheaper. However, since it's oil based, it will dry in can, which, along with ease of cleaning, was a huge concern for me when I was deciding what to do in the beginning.
As you know from the post about ink, I started off with Rubine Red, Pantone Yellow, Process Blue, and Opaque White rubber based ink. I got black as samples from a bunch of places, and I also purchased metallic gold (from Accent) and silver (from Van Son) oil based ink because I have a thing for metallics. I chose these particular colors after thinking about what colors I would initially be using and going through the PMS color guide and seeing which red, yellow, and blue matched my needs best. I still use these colors extensively, but I've found that I have needed other colors as well.
Luckily, I have a friend who is also starting her own letterpress studio and her initial needs were Red Pepper (PMS 199), Pantone Yellow, Pantone Green, and Reflex Blue. She also decided to get a mixed Chocolate Brown (a must in this design time). Then we met and traded inks. I figured out later that I really didn't need Red Pepper from her since it's based on Rubine Red, but I've used that as a basis for Joie Studio's pink (added white) and red (added black) business card colors since it's easier than starting from scratch. I also mixed the Pantone Green with the metallic silver for the blue-green coasters I did recently. I also just stole a little bit of Warm Red and Pantone Purple from her.
Next on my list to acquire will probably be Warm Red and PMS 8560, but I'm waiting for that design project to start before buying.
My advice to you is to look through the book and decide what colors you absolutely need, then buy more colors as you go along to spread out the cost of ink. At the end of the day, $20-$25 every now and then isn't so bad. My initial purchase of those 4 pantone colors plus the metallics probably set me back well over $100, so it's not cheap, but I figure that the rubber-based inks will last me for a long time, as opposed to the 1/4lb cans of oil based inks that may dry up on me before I get to use a significant amount. In letterpress, a little ink goes a long way.
Jen said...
Are the Rubine Red, Pantone Yellow, Process Blue, and Opaque White the only colors you use to mix with? I also have a PMS Guide and want to avoid spending $100 ordering 1lb cans of ink in all the colors so I'm trying to figure out which basic colors I can get by using to mix the PMS colors.
First, there's a great discussion on ink on Briarpress that you can look at that gives you tips on ink. I found it particularly helpful. You can order some lithographic ink to save some money, which tends to come in smaller cans and therefore cheaper. However, since it's oil based, it will dry in can, which, along with ease of cleaning, was a huge concern for me when I was deciding what to do in the beginning.
As you know from the post about ink, I started off with Rubine Red, Pantone Yellow, Process Blue, and Opaque White rubber based ink. I got black as samples from a bunch of places, and I also purchased metallic gold (from Accent) and silver (from Van Son) oil based ink because I have a thing for metallics. I chose these particular colors after thinking about what colors I would initially be using and going through the PMS color guide and seeing which red, yellow, and blue matched my needs best. I still use these colors extensively, but I've found that I have needed other colors as well.
Luckily, I have a friend who is also starting her own letterpress studio and her initial needs were Red Pepper (PMS 199), Pantone Yellow, Pantone Green, and Reflex Blue. She also decided to get a mixed Chocolate Brown (a must in this design time). Then we met and traded inks. I figured out later that I really didn't need Red Pepper from her since it's based on Rubine Red, but I've used that as a basis for Joie Studio's pink (added white) and red (added black) business card colors since it's easier than starting from scratch. I also mixed the Pantone Green with the metallic silver for the blue-green coasters I did recently. I also just stole a little bit of Warm Red and Pantone Purple from her.
Next on my list to acquire will probably be Warm Red and PMS 8560, but I'm waiting for that design project to start before buying.
My advice to you is to look through the book and decide what colors you absolutely need, then buy more colors as you go along to spread out the cost of ink. At the end of the day, $20-$25 every now and then isn't so bad. My initial purchase of those 4 pantone colors plus the metallics probably set me back well over $100, so it's not cheap, but I figure that the rubber-based inks will last me for a long time, as opposed to the 1/4lb cans of oil based inks that may dry up on me before I get to use a significant amount. In letterpress, a little ink goes a long way.
Wednesday, August 1, 2007
Questions on Custom Plates for Letterpress
I've had these two questions on my blog recently about custom letterpress dies:
Why did you decide to use plates instead of handsetting the type? I was given some type when I bought my Pilot press but I am thinking of trying out the plates. It definitely seems like the easier way to get more font choices. Plus no dropped trays. (my biggest nightmare/fear)
What kind of die cuts are those? They don't look photopolymer. Do you have good success with them?
To answer these questions, first, let me address handsetting type. I don't generally handset type because, first and foremost, I don't have a lot of room to keep a wide variety of type in different sizes and fonts. Secondly, it costs a lot of money to amass the collection of type that I would want to do the things I do right now. Third, it would take forever to set and reset type on the whim of my clients. Fourth, it's a lot easier to have a custom plate made. Fifth, there are some designs that I use and that I create that are not available, so I need to make custom plates for those. Sixth, setting type is a labor of love, and while I like to do it, I would do it only for personal projects because of the time and effort it takes to handset type.
Platemaking is fairly inexpensive, although in the long run you do pay for the convenience. With type, it's a one time charge per font face and size. But I get exactly the layout and type I want, I can send electronic proofs for clients to look at and revise before I get started, and once it's done, I have the option of giving the plates to my clients for safekeeping in case I run out of room.
I don't use photopolymer plates. When I first looked into them, I didn't quite understand them (still don't, really, although I hear they are easy) and the base and photopolymer plates seemed more expensive than what I was already using. Although photopolymer plates are easier to store and you can cut them up and reset them in any number of combinations, I have heard that the impressions aren't as good as with metal plates and they degrade much faster than their metal counterparts.
I use 16 gauge magnesium plates mounted type-high on wood from Owosso Graphic Arts (see their link in the sidebar on the right). They have a same day turnaround, and through Priority Mail, I usually get the plates 3 or 4 days after I send them the digital file. I've been very happy with Owosso's service and pricing, and, as the saying goes, if it ain't broke, don't fix it!
Why did you decide to use plates instead of handsetting the type? I was given some type when I bought my Pilot press but I am thinking of trying out the plates. It definitely seems like the easier way to get more font choices. Plus no dropped trays. (my biggest nightmare/fear)
What kind of die cuts are those? They don't look photopolymer. Do you have good success with them?
To answer these questions, first, let me address handsetting type. I don't generally handset type because, first and foremost, I don't have a lot of room to keep a wide variety of type in different sizes and fonts. Secondly, it costs a lot of money to amass the collection of type that I would want to do the things I do right now. Third, it would take forever to set and reset type on the whim of my clients. Fourth, it's a lot easier to have a custom plate made. Fifth, there are some designs that I use and that I create that are not available, so I need to make custom plates for those. Sixth, setting type is a labor of love, and while I like to do it, I would do it only for personal projects because of the time and effort it takes to handset type.
Platemaking is fairly inexpensive, although in the long run you do pay for the convenience. With type, it's a one time charge per font face and size. But I get exactly the layout and type I want, I can send electronic proofs for clients to look at and revise before I get started, and once it's done, I have the option of giving the plates to my clients for safekeeping in case I run out of room.
I don't use photopolymer plates. When I first looked into them, I didn't quite understand them (still don't, really, although I hear they are easy) and the base and photopolymer plates seemed more expensive than what I was already using. Although photopolymer plates are easier to store and you can cut them up and reset them in any number of combinations, I have heard that the impressions aren't as good as with metal plates and they degrade much faster than their metal counterparts.
I use 16 gauge magnesium plates mounted type-high on wood from Owosso Graphic Arts (see their link in the sidebar on the right). They have a same day turnaround, and through Priority Mail, I usually get the plates 3 or 4 days after I send them the digital file. I've been very happy with Owosso's service and pricing, and, as the saying goes, if it ain't broke, don't fix it!
Friday, July 20, 2007
Question About Paper Cutting
I recently saw this comment on my blog:
Anonymous said...
Your blog has been so helpful to me. Because of this blog and your helpful examples I have finally decided to take the plunge and buy a press of my very own. I was wondering do you cut your paper or do you have it cut for you? If you do your own, what do you use to cut it? Thanks!
Monday, July 16, 2007
First off, thank you for the feedback, and I'm glad that you find my blog so helpful! I do hope you find a class or a workshop near you so you get some instruction on letterpress before plunging in!
On to paper cutting. So this is not quite as simple of an answer as you would think. I try to take the lazy approach and buy pre-cut paper and cardstock, like the Fabriano, Arturo, and Paper Source cards. But every now and then, it's necessary to get the paper cut down to size. When it's a professional job that I want to have exact cuts on, I take it to a professional place. Kelly Paper charges a flat charge of $15 to cut parent sheets down to whatever size(s) you want. But that means you have to buy the paper from Kelly Paper. Kinko's charges $1.49 or something per cut per 100 sheets, and so far, they've been the best and cheapest to work with. But every Kinko's is different, so tread carefully. Do a test cut order first. It'll be worth the $5 to make sure that they can actually cut and follow directions. I had half of a ream of 220lb cardstock ruined by Office Max's Impress, and I guarantee I will NEVER be going back there to cut paper.
For smaller cutting jobs or jobs where I don't need exact precision, I use my 12" x 12" paper trimmer, which is a guillotine style trimmer. For the larger sheets, I go to Kinko's, where they have a large rotary trimmer set out for customers to use, or to my local art center/school, where they generally have larger paper trimmers set out for students to use.
I hope this helps!
Anonymous said...
Your blog has been so helpful to me. Because of this blog and your helpful examples I have finally decided to take the plunge and buy a press of my very own. I was wondering do you cut your paper or do you have it cut for you? If you do your own, what do you use to cut it? Thanks!
Monday, July 16, 2007
First off, thank you for the feedback, and I'm glad that you find my blog so helpful! I do hope you find a class or a workshop near you so you get some instruction on letterpress before plunging in!
On to paper cutting. So this is not quite as simple of an answer as you would think. I try to take the lazy approach and buy pre-cut paper and cardstock, like the Fabriano, Arturo, and Paper Source cards. But every now and then, it's necessary to get the paper cut down to size. When it's a professional job that I want to have exact cuts on, I take it to a professional place. Kelly Paper charges a flat charge of $15 to cut parent sheets down to whatever size(s) you want. But that means you have to buy the paper from Kelly Paper. Kinko's charges $1.49 or something per cut per 100 sheets, and so far, they've been the best and cheapest to work with. But every Kinko's is different, so tread carefully. Do a test cut order first. It'll be worth the $5 to make sure that they can actually cut and follow directions. I had half of a ream of 220lb cardstock ruined by Office Max's Impress, and I guarantee I will NEVER be going back there to cut paper.
For smaller cutting jobs or jobs where I don't need exact precision, I use my 12" x 12" paper trimmer, which is a guillotine style trimmer. For the larger sheets, I go to Kinko's, where they have a large rotary trimmer set out for customers to use, or to my local art center/school, where they generally have larger paper trimmers set out for students to use.
I hope this helps!
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