I've let a lot of time go by without blogging so I'll try doing some catchup work.   I had the good luck to find a Poco Proof Press #0  on ebay which was within driving distance.  This particular press is unusual, in that it's been sandblasted to remove all the paint, leaving what looks like a nickel coating on the press.    It weighs quite a lot but my husband and I managed to get it safely into my studio.   

The first problem to be solved was figuring out how to keep the press bed from rolling right on off the tabletop.   After putting out queries and getting lots of suggestions I replaced a missing rod on the inside center of the body which projects just enough to engage with similar projections at either end of the press bed.  When the end of the press bed reaches the center projection it can't go any further because the two projections bump up against each other.  I used nuts with bolts for the center projection and for the missing end projection on the bed.   

There are also two holes in the surface of each end of the press bed which are supposed to have rods to be used as stops for locking up forms.  In those holes I used bolts with several nuts  above the bed and one nut under to tighten against.  I had to make sure the bolt wasn't too long or it would bump into the under structures of the press.  

Next I had to figure out the cylinder and packing.  That's still a work in progress but I used some davey board for bookbinding and cut it with the grain short  ( going from side to side of the press)  so that it would flex properly around the cylinder.  Over that I put a thin piece of rubber material and over that mylar.  The slotted rod which tightens the tympan was rusted and wouldn't budge but after days of using penetrating solvent it loosened,  and I was able to insert the tympan.  By that time I had corresponded with Arie K. who has the original instructions for the Poco still stuck onto his cylinder.  He kindly photographed  the cylinder  in segments and posted the photos to Flickr.  I spent some time transcribing as much as was legible.  These instructions say to insert both ends of the tympan into the same side of the slot and insert the tool (I had to improvise with a piece of rod) to tighten.  This worked perfectly!     If anyone would like a copy of the instructions I'll be happy to send them by email.  For some reason I couldn't get it to copy and paste into this post. 

I've printed one project so far--it involved type and a linoleum block.  It wasn't perfect but at least I can see the potential of the press.  I would love to try setting up some kind of registration device/system on the cylinder.  For the first project I simply eyeballed it and laid the paper over the form.   Another area to be improved is doing better hand inking.    And, of course, coming up with a name for my new friend.  Poconoo  is a possibility (get it?  poco no. 0)    Hmmm--some form of Pocohontas?  Pocohontapress?    Pocowantapress   Pocowannapress!!    Stay tuned for the winner...

New arrival--a proof press!!

Well, I couldn't let that workbench stay  empty, could I?  I spotted this proof press on ebay within driving distance (thank you, husband) and I put in a bid and  fortunately won.  Then I panicked--was this really going to print type and wood/linoleum blocks? So I used the time before pickup day to do research and quell my fears.  I focused on registration since I think that's the weak point for a simple proof press like this as opposed to some of the Vandercook proof presses.

 The sellers were very nice people--someone in the family had taught printing in a school and had a shop in the basement.  I quickly checked the press and saw I was correct that it will print type-high stuff so that was a major relief!  It is a LinoScribe proof press.  Apparently there are some LinoScribes that  print rubber type that's only made by the company but other LinoScribes are for proofing and sign printing. 

 Before even cleaning up the press I eagerly got out an assortment of cuts and type and linoleum blocks and tried it out.  Oh my gosh--it worked great!  I love the dial on the side that changes the height of the roller.  I discovered that it has a nifty mechanism to hold the paper in place that consists of a row of "fingers" which are operated by a handle held tight by a spring.  The roller mechanism opens the "fingers" by depressing the handle when it is in the farthest position to the left.   After putting the paper in place you can roll the carriage just a bit and the "fingers" close tight.    

I can see I will need to keep notes on how high the roller setting should be for different kinds of printing material.    The grid that was in the press bed was filthy and damaged so I removed the bar that holds that in place which is at the opposite end of the press from the "fingers".  I replaced it with graph paper covered by a layer of acetate.  I'm thinking I can write on the acetate maybe. Or maybe I'll want to put a grid specific to each printing job under the acetate/mylar.  

  I can see there will be a period of experimentation before I figure out the best way to deal with registration.  I've seen plans online for a frisket and tympan device but since I already have a way to secure the paper that doesn't seem like the way to go for my situation.   Maybe some strong rectangular magnets would be good to make sure my block stays where I want it when I'm in a hurry and don't want to bother with locking up the traditional way?   Always lookin' for easy street!!!   Also, magnets would hold the graph paper/acetate down at the corners.  I can't see a way to secure them at the "finger" end of the press bed.

I would love any input from experienced users of presses like this--there's just not much on the internet that I can find.

Business Cards at Last!

Well, I learned how important having a clean level composing stone is--I cleaned it so it is perfectly flat and now the type prints perfectly. Thank goodness!! I printed the background color Japanese style with pigment and paste. I got bored so kept changing colors which makes them fun.