We tried! We really, truly did. But you had so many questions during our letterpress Webinar a few weeks ago, that we had to answer some of them off the air so to speak.

So as not to make you wait any longer, here they are in the order in which we received them. I hope Judith’s answers will help you creating a spectacular piece in your next letterpress project.

If you missed this hour chock full of wonderful information, until March 17^th, click here to listen to the recording. After that only members of PaperSpecs will be able to view the session 24/7.

Questions received during letterpress Webinar, answered by our resident letterpress expert Judith Berliner, owner and founder of Full Circle Press

Maria Alcantara: What's your best advice for a beginner?
Join letterpress blogs, find information on parts… at BriarPress.org

Greg Laubach: What is the average turnaround time?
2 – 3 weeks is very general. It really depends on the size of the project…

Greg Laubach: What is maximum sheet size?
Maximum sheet size for the Heidelberg windmills is 10 x 15. The printable area is different from maximum sheet size.

Bob Hopfner: Does the photo-metal-plate bite the paper such as in your first example?
Yes the photopolymer plates are able to give a deep impression.

Greg Laubach: Do you run same color solids & types at the same time?
Most of the time we run in two separate passes.

Carol Mayka: Why do screened-back colors need to be placed on a separate plate on the artwork?
Because for the most part, we do not run screens, but solids.

Carol Mayka: Is it run as a separate spot-color? 
Yes, it is.

Greg Laubach: What to you consider to be a heavy hit vs. a kiss hit?
That is open to each printer’s interpretation.

Eve Weinsheimer: Can you use Soy-Based inks?
Yes we can.

Frank Stegmaier: What is a shoulder?
A shoulder is the area that can build up on an image. It can be seen through a loupe, sometimes with the naked eye. It can look like “gain” would look on a litho press.

Molly Fisk: What's ghosting? 
“Ghosting” or a repeat pattern is the visible sign of rollers not being able to replenish as much ink as was removed in the last revolution of the press.

Shelley Manes: Can you print metallic colors?
Yes we can. Be aware, on uncoated papers, metallic inks lose their shine.

Bob Hopfner: Is there such a thing as "new" letterpress equipment? 
I have done a bit of checking which confirmed what I thought. I do not believe letterpresses to run ink are still made. I e-mailed Kluge, as I believe they still make foil presses.

Greg Laubach: Will a 2-sided design work?
Yes it can. There are ways to minimize the bruising that can occur on either side.

Ryan Thompson: Can you print white ink onto black paper? Is the ink transparent?
White ink on black paper will not give the same effect as printing black with a knock out of type or an image. There are some opaque inks, they are still not opaque enough to cover black or dark colors. Most pantone ink colors are mixed with a transparent base.

Lisa Scheideler: Do you have to use a certain weight of paper? 
You can use any weight of paper to print letterpress. If you are looking for a deep impression, a heavier weight will show the definition and impression more than a lighter weight paper.

Bill Nagengast: Are all jobs done on uncoated paper?
Most letterpress printing is done on uncoated paper, but it can also be done on coated stock. You will not have the impression though you achieve on uncoated stock due to the clay coating and thus harsher surface of the paper.

Rob: www.paperspecs.com?
I am not sure of your question.
PaperSpecs is a great tool for locating papers and finding specifics on a certain paper. I use it all the time. Swatch books are great; PaperSpecs is like one swatch book of all papers with all the details at your fingertips. If I find the paper that looks right for a project, I can then refer to my own swatch book or order one for myself and my customer with the click of a button.

Shauna: What type of paper specifically?
All types.

Roger Lyngholm: Do you use magnesium or polymer? If polymer, how do you deal with the shoulder of the letter. When debossing, it will tend to fatten the type. How do you deal with that? 
I use photopolymer plate material. After years of experience, we have found the exposures, washout times, and process that work best for our shop.

Jennifer Pesce: What is the maximum sheet size that you can run? 
On the small presses it is 10 x 15.

Jennifer Pesce: Are there colors that can't be reproduced such as metallics or opaque white?
I use metallics and I use white. It depends on what you are expecting the finished product to look like.

Charles Chandler: Can you talk to us about registration issues for color work or multiple passes through the press? 
We have excellent registration on our presses. A good press and an experienced press operator is all that is needed.

Jennifer Pesce: In comparison to other printing processes, how environmentally friendly is letterpressing? Is the film recyclable? 
It is very environmentally friendly. We have a very small percentage of waste in our shop. We recycle off-cut to local schools. We use small amounts of inks and chemicals. And yes, we recycle our old chemicals and film.

Angela Stewart: Where do you get your folders? Are they pre-made or is it a flat sheet that you get made into a folder later.
I print on a large sheet, and have it converted afterwards.

Dana Leonard: One of the main advantages of letterpress is the incredibly fine detail you can hold....  Thank you.
We pride ourselves in holding as much detail as possible.

Dana Leonard: What is the best way for designers to prepare their art so Bev doesn't pull her hair out? 
Call us first, so we can discuss how you set the files up. We do not like InDesign files, as there are no crop marks or key lines when they arrive. It might work for some printers, just not our shop.

Thom Qualkinbush: Is there a way to spec the degree of depth of the printing to minimize the raised effect on the back of the sheet? 
There is a way to control the raised effect on the back of the sheet. Experience and experimentation is how we work our magic.

Alison Fornes: Is each color a separate plate?
Yes it is.

Catherine King: Are there a lot of differences between make ready for polymer and magnesium plates? We are just starting out with letterpress, and use polymer. But the person who is running our press right now has only used magnesium plates in the past, and we think because of that we are running into problems with smashed type because we're packing the press like we're using a magnesium plate. Does that make sense?
Magnesium and photopolymer respond very differently in my opinion. Preference comes with experience. I prefer photopolymer.

Angela Stewart: With envelope liners -- are they printed then converted or is that inserted into an existing envelope?
They can be done either way.

Emily Palmer: What is difference between letterpress and engraving?
Engraving is a very different process. I think engraving is spectacular. Engraving can hold very opaque colors. It is raised, and usually leaves quite a bit of bruising on the back of the sheet.

Kat Murph: How do you not get ink all over the platen when you run the bleed off the envelope?
Very carefully.

Ray Nichols: On the Murray Brand envelope how do you avoid the changes in thickness with multiple layers of paper? 
We create a “make-ready” to compensate for the different layers. If the envelopes are of a high quality, and consistent, this works fine.

Shauna: How was this Murray Brand envelope done? Does the impression not go onto the backside?
It sometimes cannot be helped. In many cases the flap covers it up.

Vanessa Lam-Mendieta: What's the minimum thickness of paper you need for letterpress business cards printed on both sides? 
I would say 100# cover

Kat Murph: What press do you use to run envelopes with an open flap? 
On the Heidelberg Windmills.

Christina Flowers: How do you spec a tint? 
We do it through conversation or a Pantone swatch book.

Angela Stewart: Do you print business cards multiple up or pre-trimmed?
It depends on the job, usually 4 up.

Mario Istook: Though bleeds appear to be possible in isolated elements and short runs, how close can one get to the edge of the paper in a larger run?
The job can be run on a larger sheet and trimmed when finished.

Bob Hopfner: When would you use engraved metal vs. a photo-polymer process?
I would use photo polymer for ink and engraved metal for embossing, debossing or foil stamping.

Dustin Deal: All of these examples utilize photopolymer plates, do you actually hand-set type - and if so, could you speak on how that process is used in your press?
I do not use hand set type. My father, Harold Berliner, had a hot metal type foundry. I set type by hand for years. I ran monotypes and also linotypes. My preference is photo-polymer.

Richard Barker: Is letterpress a viable option for a textured sheet?
Absolutely.

Leah Koransky: What is your favorite soft, heavy paper for a business card, which can hold a very deep impression? I have many.
I would say most sheets 130# and up.

Antonia Pulich: How was the pink printed baby foot accomplished on the MARINA baby announcement...it was a little hard to see...is it a letterpress impression?
It was printed with a polymer plate.

Shauna: how do you prevent bruising?
With careful make-readies.

Jason: How does the turn around times for jobs differ from litho? 
It depends on the size of the project and the printer you are using. Letterpress is not like a quick print job, however, we can turn a job quickly depending on the job.

Bob Hoofer: Are tints opaque or transparent?
Transparent

Judi Liametz: What is the minimum size job?
We run whatever the customer wants. They pay as much for 1 as for 25.

Gynene Sullivan: Do you spec a minimum or maximum number of pieces for a run?
I just run what is ordered.

Catherine King: Do you think that old style C&Ps can serve as production presses for thousands of note cards for example?
If the printer is getting good results, a C+P should work fine. They will not have the same finished product as some bigger presses can produce.

Deborah Pang Davis: What should designers look for in terms of judging the quality of a letterpress printer?
Nice Clean edges on type. Good communication. Attention to details.

Monique: Can you run multiples up? (Four up, then cut down to four pieces, for instance)
Yes, that can be done.

Gary Panarra: How fine of a rule can be successfully foil stamped?
I would say a 1 or 2 point line. It would be best to use a copper dye.

Richard Isom: In general terms, how much more expensive is a letterpress job over a litho job of similar specs?
The shorter runs can be comparable to a high-end litho printer.

Ryan Thompson: How do you specify the impression depth? By looking over samples? Or is there a correct term?
We have a feel for it. If a client wants to reference a past job, it can be helpful.

Jason: If a customer simply wants a debossed element - would you recommend letterpress?
I think it would have to be letterpressed.

Jon Hegstrom: Do you do the foil stamping there?
Yes, we do.

Mark Regan: Do you do die cutting in house?
Yes, if it is a good fit for our shop.

Jason: To get into letterpress as a hobby - how would one get started?
Check into BriarPress.org.

Judi Liametz: Does letterpress work on translucent paper?
It can, the results are a bit different from litho.

Monique: Can you recommend workshops or books for someone wanting to pursue letterpress as a hobby?
In San Francisco there is a Center For the Book. There are different groups online that can be helpful.

Gary Panarra: What is the best Neenah sheet to use when embossing w/ a multi-leveled sculptured brass die?
There are a few things to consider. How deep is the die, and is it for cover weight paper or text weight? These are important for the die maker to know.

Jason: Can the process of letterpress printing be as environmentally friendly as some 'green' litho processes?
Absolutely.

Steve Van Camp: What kind of plates are you using that are hard enough to do the deboss look?
Photopolymer

Milton Reach: Are the envelopes we saw first printed and then converted at your shop?
Most of the envelopes we print on are already converted.

Lisa Thomas: What type of paper weight should be used for the envelope liners?
A text weight is good.

Dustin Deal: Do you ever utilize hand-set metal type? Or do all of your projects involve photopolymer plates? Is there a difference in the impression?
Handset type would not have the kind of integrity to last with a deep impression on some papers.

Lisa Smith: How does the envelope liner adhere to the envelope?
Either with glue or tape.

Charles Chandler: How tight can COLOR REGISTRATION be?
We can hold tight registration on our presses.

Kathleen: Does the customer generally come on press for a press check?
No, but we always welcome a press check.

Marius Ursache: Can you do letterpress on anything else than paper? Such as plastic sheets?
Yes, I print on vinyl sometimes. You need to use a surface drying ink.

Tre Colvin: What are some of the likely limitations between printing with a tabletop platen press verses a full-sized platen press?
Sheet size and depth of impression.

Ray Massie: What is your favorite paper to print on?
I like Starwhite, too many to list.

Shauna: Do you use a non-toxic ink or soy based inks - do you have a preference?
I use acrylic inks unless otherwise requested.

Milton Reach: If the liners are inserted on already converted, is this automated and relatively fast?
On the ones we produce, they are placed by hand. It takes some time.

Joy Dilworth: Are there any environmental pros or cons to the letterpress technique? Overs/Unders, etc.?
We run overs, however we do not run as many as most litho presses

Grace: Do you mainly work with oil based or rubber based inks? What are the pros & cons?
I use acrylic.

Joy Dilworth: Are there inks available that may be less toxic?
Soy based.

Milton Reach: Are plates re-useable?
Yes, if there are no changes.

Corinne: Is there a resource that you can use to find local letterpress printers? Like a forum? 
Briar Press, see above.

Jason: Do you have any association with the SF Center for the Book?
Only that I think it is great. I am distance challenged by 3 hours.

Marc Schotland: Is there a US letterpress organization?
Not that I know of.

Ann Davis: What tricks do you have for registration when you are printing with a design that bleeds off of the edge?
Run on an oversized sheet.

Antonia Pulich: How do you take a line drawing and transfer it to an Illustrator or PDF file to make a plate?
It can be scanned.

Ray Nichols: It would be nice if Neenah would put together an exhibition of letterpress samples that could be shown at design talks.
Yes it would.