[392] in APO Printshop
Re: TIP: Making new cuts and Thank You Notes
daemon@ATHENA.MIT.EDU (Benazeer Noorani)
Thu Sep 8 01:31:42 2005
Date: Thu, 8 Sep 2005 14:31:29 +0900
From: Benazeer Noorani <benazeer@gmail.com>
Reply-To: benazeer@alum.mit.edu
To: Kaia Dekker <kaia@mit.edu>
Cc: "Leonard H. Tower Jr." <tower@alum.mit.edu>, apo-printshop@mit.edu
In-Reply-To: <Pine.LNX.4.55L.0509080031100.4586@wood-of-suicides>
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Speaking of cuts, I know I ought to remember this, but I don't.
Is it possible to use wood cuts in the letterpress (ie, instead of metal=20
cuts). My intuition tells me that a reasonably hard wood (soft enough to=20
carve, but much harder than balsa or bass - I'm thinking maybe cherry or=20
magnolia) used in conjunction with a design that does not have very fine=20
lines, would be able to withstand the press just fine. Also, woodcarving is=
=20
a great deal easier than metal working - it would not surprise me at all if=
=20
there were brothers near MIT who could carve a high-quality wooden cut. I=
=20
know I could carve a woodblock given a high resolution pdf to work from, bu=
t=20
I'm not in Boston right now.=20
Also, Kaia, you can find anyone with a decent aesthetic sense and show them=
=20
the cuts in the back office. Your designer doesn't have to be a press op -=
=20
he or she just needs to look at the cuts and sketch a design with enough=20
detail that a pressop can figure out what you want. As for recommendations=
=20
of actual people - I don't know. I tend to believe that almost all brothers=
=20
have better aesthetic sense than me, and often fail to make the distinction=
=20
as to *how much* better :)
YiLFS
Benazeer
On 9/8/05, Kaia Dekker <kaia@mit.edu> wrote:
>=20
> Thanks len!
>=20
> Cool. I bet that between the existing blocks and the regular letter
> script there will be enough to make a pretty design. Anyone have
> recommendations on getting someone more aesthetically-inclined than me to
> design it?
>=20
> Also, for those who might not know:
>=20
> (1) Mitch Berger agreed to be the press shop manager following the
> biannual firing of all chairs. Yay for mitchb!
>=20
> (2) The job Len was talking about below is a run of general "thank you"
> cards with APO customization for us to give out to admins/groups/whomever
> has been useful to the chapter.
>=20
> (3) Actually, do we have a stash of APO letterhead somewhere? We might
> also do a print run of that if we don't have any, and if someone is
> willing to supervise.
>=20
>=20
> YiLFS,
>=20
> Kaia
>=20
> On Wed, 7 Sep 2005, Leonard H. Tower Jr. wrote:
>=20
> > Hi Kaia,
> >
> > About printing APO Thank You Note Cards:
> >
> > * If you like a look: the APO cuts and blocks we have are in the
> > bottom galley tray, labelled "12" in the desk on top of the double
> > type cabinet. The one next to the two tool cabinets. Please be
> > careful to not drop them. Cuts and type is easily damaged by
> > impact.
> >
> > * I said something like "The shop can only print cuts and type we
> > have."
> >
> > Of course, we could buy more. Type is somewhat hard to come by.
> > But it is quite possible to have cuts made from high contrast black
> > on white images. At some cost.
> >
> > Someone would have to find a firm that does this, after checking
> > that the one in Chelsea is indeed closed. Asking the LETPRESS list
> > should turn a few up.
> >
> > * I remain willing to supervise jobs as training or qualifying ones.
> >
> > I prefer the design be done by others.
> >
> > Samples of jobs done in the past are between the numbered galley
> > trays in the desk and the tool cabinets.
> >
> > yiLFS -len
> >
> >
>
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Speaking of cuts, I know I ought to remember this, but I don't.<br>
<br>
Is it possible to use wood cuts in the letterpress (ie, instead of
metal cuts). My intuition tells me that a reasonably hard wood (soft
enough to carve, but much harder than balsa or bass - I'm thinking
maybe cherry or magnolia) used in conjunction with a design that does
not have very fine lines, would be able to withstand the press just
fine. Also, woodcarving is a great deal easier than metal working - it
would not surprise me at all if there were brothers near MIT who
could carve a high-quality wooden cut. I know I could carve a woodblock
given a high resolution pdf to work from, but I'm not in Boston right
now. <br>
<br>
Also, Kaia, you can find anyone with a decent aesthetic sense and show
them the cuts in the back office. Your designer doesn't have to be a
press op - he or she just needs to look at the cuts and sketch a design
with enough detail that a pressop can figure out what you want.
As for recommendations of actual people - I don't know. I tend to
believe that almost all brothers have better aesthetic sense than me,
and often fail to make the distinction as to *how much* better :)<br>
<br>
YiLFS<br>
<br>
Benazeer<br>
<br><div><span class=3D"gmail_quote">On 9/8/05, <b class=3D"gmail_sendernam=
e">Kaia Dekker</b> <<a href=3D"mailto:kaia@mit.edu">kaia@mit.edu</a>>=
wrote:</span><blockquote class=3D"gmail_quote" style=3D"border-left: 1px s=
olid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Thanks len!<br><br>Cool. I bet that between the existing blocks =
and the regular letter<br>script there will be enough to make a pretty desi=
gn. Anyone have<br>recommendations on getting someone more aesth=
etically-inclined than me to
<br>design it?<br><br>Also, for those who might not know:<br><br>(1) Mitch =
Berger agreed to be the press shop manager following the<br>biannual firing=
of all chairs. Yay for mitchb!<br><br>(2) The job Len was talki=
ng about below is a run of general "thank you"
<br>cards with APO customization for us to give out to admins/groups/whomev=
er<br>has been useful to the chapter.<br><br>(3) Actually, do we have a sta=
sh of APO letterhead somewhere? We might<br>also do a print run =
of that if we don't have any, and if someone is
<br>willing to supervise.<br><br><br> YiLFS,<br><br>Kaia<br><br>On Wed, 7 S=
ep 2005, Leonard H. Tower Jr. wrote:<br><br>> Hi Kaia,<br>><br>> A=
bout printing APO Thank You Note Cards:<br>><br>> * If you like a loo=
k: the APO cuts and blocks we have are in the
<br>> bottom galley tray, labelled "12" in the des=
k on top of the double<br>> type cabinet. The one=
next to the two tool cabinets. Please be<br>> ca=
reful to not drop them. Cuts and type is easily damaged by
<br>> impact.<br>><br>> * I said something like "=
The shop can only print cuts and type we<br>> have."<br=
>><br>> Of course, we could buy more. Type is =
somewhat hard to come by.<br>> But it is quite possible to h=
ave cuts made from high contrast black
<br>> on white images. At some cost.<br>><br>&=
gt; Someone would have to find a firm that does this, after che=
cking<br>> that the one in Chelsea is indeed closed. &n=
bsp;Asking the LETPRESS list<br>> should turn a few up.
<br>><br>> * I remain willing to supervise jobs as training or qualif=
ying ones.<br>><br>> I prefer the design be done by other=
s.<br>><br>> Samples of jobs done in the past are between=
the numbered galley
<br>> trays in the desk and the tool cabinets.<br>><br>&g=
t; yiLFS -len<br>><br>><br></blockquote></div><br>
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