With a new Brother Intellifax 775, I am now in thermal-stencil-making business. I prepped my Riso master sheet, inserted it into the paper feed tray, put my original into the scanner feed tray, hit copy, and voila, a thermal stencil with good resolution and no marring of the thermal paper.
It was pointed out to me that I could easily apply tape over the cartridge sensor lever to trick the machine into thinking a cartridge was in place (see photo below). Thermal paper could then be taped to a sheet of paper and, when run through the paper feed mechanism, the thermal printer would print directly on the thermal paper. That trick prevents the massive hassle of winding thermal paper onto cartridge rolls.
Should you wish to use a thermal fax machine to print stencils, I recommend the following:
Get the newest machine you can.
If you get one that is “new in box” make sure it’s NOT a model that has been sitting in its box since the 1980s. Or even the 1990s… and maybe not even since the early 2000s. Really, get the newest machine you can. Unfortunately you’ll likely be guessing when any particular fax machine was made – I have had no luck figuring out the manufacture dates of particular models; that information doesn’t seem to be publicly available. Still, you can kind of tell by brands’ model numbers that, in many cases, increase in relation to later release dates.
If the fax machine is used, ask the seller to test the copy function and send you proof that the output is clean. Ideally see a photo of both the original and the copy. If the seller says they can’t do that because they don’t have a cartridge installed, think long and hard about the purchase.
Purchase only from sellers who accept returns.
Test the fax machine immediately upon receipt – I waited too long with my first one because I was busy with other things and missed the chance to get a refund for its being non-functional.
Had I done those things, I could’ve saved myself some trouble. Oh well, at least I gained the experience with which I can help you make a better fax-purchase decision.
Here is what you want to look for:
A plain-paper thermal fax machine* – this prints on regular (letter or A4 depending on your location) copy paper with a thermal-printer mechanism.
Avoid laser, laserjet, and inkjet fax machines. They do not have the thermal printer unit that Riso master paper requires.
Alternatively, you can try one of these:
An Older-style thermal fax machine that prints on rolls of thermal “fax paper.” If you try this, make sure that the rolls are the same width as the Riso master rolls you wish to use. In some cases you can just swap out the thermal paper with the Riso master roll.
*Today I spent some time looking for the latest in thermal fax machines. I hate to break it to you, but there isn’t one. Most (all?) thermal fax machines have been discontinued. I checked the following manufacturers: Brother, HP, and Sharp. Likewise, neither Amazon, Walmart, Staples, OfficeDepot, nor Best Buy are carrying new thermal fax machines. Ah, the poignant sound of another obsolete technology slipping out of reach.
Your best bet is your local used-goods market/garage sale circuit, or online via ebay or facebook marketplace.
If you don’t need to make stencils from originals that are already on paper and are willing to produce directly from your computer, you can try a “pocket printer” that uses thermal printing technology. A Mimeomania member reports good results with a Paperang A4 printer (300dpi) and a quick search shows several such things for sale on various sites. Looks like A4 size is cheaper than letter size – but, since Riso paper is most easily found in A4 size, Americans don’t have to aim for letter-sized since stencil size can be flexible.
If you’d rather have a plain-paper fax machine, I can attest that the Brother Intellifax 775 works for this purpose. In addition, I’ve seen videos with the Intellifax 575 making thermal tattoo stencils, and of course Stampalofi uses a Philips (model unknown).
I have run into all sorts of either “dumb luck” or “this is reality” with my ongoing experiments. I try take the sting out of it a little bit by accepting that I am doing these experiments in the service of a greater good – but gee, is it somewhat discouraging to keep hitting one dead end after another.
But, you know, I’m failing so that eventually you won’t have to, because someday I’ll be able (fingers crossed) to point out a path toward accessible, affordable, and somewhat fool-proof duplicating. Or at least that’s what I hope.
You may recall my first foray into thermal stencil-making with the impressively sturdy Pitney Bowes 8050 fax machine that nobody had ever heard of:
Ok, that’s not exactly true. One person had heard of it, but I’ll get to that in a minute. When I got around to plugging it in and found that something was haywire in its internal workings (a result of it sitting around, new-in-box, for too many years), I looked high and low for a repair manual or other information on it. None of the fax repair companies I contacted had even heard of this model. In the end, fellow mimeo-enthusiast Plaugolt SatzWechsler (or psw), the one person in the world who knew this model, and who was using this same machine to produce mimeograph stencils contacted me. Her own PB8050 had seen heavy use and was starting to falter. So, for the cost of shipping it to Germany, I gave her mine. She and a circuit-board-savvy friend figured out what ailed it, repaired it and are now putting it to good use.
My second fax machine, a Sharp UX-108 was incapable of printing stencils. My guess is there was something wrong with the thermal printer – very spotty results and lots of blank space where there ought to have been print. Thankfully the seller accepted a return.
At this point, I thought it might be best to give up on fax machines even though psw and stampalofi were having good luck with them.
So, I caved in and bought one of those darned Chinese-made thermal tattoo-stencil printers. You know:
(Shhh, don’t tell anyone, but the reason the print quality looked so gloppy was because I installed the stencil backward! Word to the wise – the shiny side faces the paper you’re printing on!!)
Anyway, I then attempted to print stencils for more complex things. Apparently too complex?… maybe the font size was too small, or the image resolution too much for the machine to handle? Maybe the humidity was interfering (more on that below)? I wasn’t sure what the issue was, but I was seeing lots of “shredding” on the stencil (more on that below as well). This put me in front of my computer for far more time than I wanted, manipulating text and images to try to get something workable. It didn’t work.
I gave up for a while and mulled over what my next step would be.
The next step ended up unrelated to the general point of this post – the purchasing of some old-style stencils – shipped all the way from Japan. But, before I figured out how I wanted to approach the use of this very limited resource, Mimeomania member Arnø Jürgen van Matendouce kindly shared a print test page drawn by his friend TYST (it’s on the resources page, just scroll down until you see it), and that inspired my next move:
I decided to try the tattoo stencil printer again, to see if I could figure out what the issue was:
And it turned out that those copies weren’t half bad. There was obviously a learning curve – and some sections couldn’t be rendered by the thermal printer at all, but it seemed like I was heading in the right direction. There was no shredding.
I went ahead and made a stencil for the title page of a little booklet I want to put together (part of a collection of some public domain works):
Honestly, this was the best quality print I’d gotten so far. It’s a little fuzzy around the letters’ edges, but it’s a pretty small font size (probably 9 or 10?). I could forgive it (the ghost image you see is just because there’s another page under the one I’ve photographed). A day or two later, I then went ahead and tried to make a stencil for one page in the booklet that really requires decent resolution and the “shredding” reappeared with a vengeance:
In the next image, you can see where the image is clear and sharp and where it simultaneously has shredded sections. It was really teasing me.
At this point, I’m realizing that these multiple failures are asking something of me. It seems I’m really having to be an intrepid and committed experimenter here, and that this isn’t just about whether or not I can duplicate something, it’s about how easy it’s going to be for anyone to do this. And thus far, the results have not been inspiring, to say the least!
But wait, it gets worse.
So, I make my decision. I am in this for the long haul. I want to figure out a way for regular people to engage in DIY, low-tech-if-possible, printing and duplicating. I’m inspired by the print quality Rachel Simone Weil achieves with a label printer, so I resolve to keep trying.
Having learned that a fax machine that uses a thermal printer to print on plain paper (rather than a roll of fax paper) might possibly work for this task, I purchase yet another used fax machine – this time a Brother Intellifax-775:
I quickly figure out that this machine will not work the way stampalofi’s Philips fax machine does. His prints on Risograph paper inserted through the paper feed channel. Nor does it do what psw’s does, which is directly feed the Risograph roll over the thermal printer from inside, as though it were fax paper. Mine requires the print cartridge to remain installed – in effect requiring that the Riso paper be carried through the cartridge. So I spend a good couple of hours, rewinding the cartridge to the beginning (so the machine doesn’t tell me I need to insert a new cartridge), cutting the Risograph thermal paper down to size (because I’m using a roll that would’ve fit in the larger Pitney Bowes feed mechanism but that’s wider than the letter-sized paper this cartridge fits) so that I can feed it onto the cartridge, then, taping and winding it in; finally I’m ready to give it a try.
First, though, because the thermal printer does not have a “mirror” option, like the tattoo stencil printer, I have to get onto my computer and reconfigure my original so that every page is a mirror image of the original, and change the page order so that the print layout is adjusted to accommodate that (it was complicated, you don’t want to know at this point. Just know that it was a little mind-bending). I do that and I run one page through the fax machine.
And my stencil has a fine, fine line right across it that’s not part of the original. I try again, and once or twice more – and they’ve all got the line. I then remove the Riso paper, wind the cartridge back away from the beginning to a section that’s unused, and make a standard copy. It looks like this (copy above, original below):
I’m completely thrilled about the resolution and really stinkin’ mad about the line.
I go at the inner workings of the machine with a microfiber cloth and rubbing alcohol. I test it – still a line. I clean it and wipe it and shine a very bright light inside it to try to ascertain the problem. Nothing looks amiss. I clean it again and fiddle around with the thermal unit’s alignment. It still doesn’t work.
The seller very kindly offers me a refund even though the fax function probably works.
I spend the next few days questioning my sanity. I tell myself that there’s no guarantee that my tinkering will work and I ask, “Do you still want to go ahead with this?” and the answer is still, “Yes.” I find myself daydreaming about finding an electronics nerd who’ll help me build a thermal printer that actually works as well as a (functioning) fax machine but without the hassle and all the extra apparatus.
I can’t fall asleep because I’m wondering how I can make a “printshop in a box” that isn’t reliant on way too many “outsourced” and weak-supply-chain-linked pieces (Hush! I’m not obsessed).
But I’m kind of obsessed. I’m waiting now for my area’s relative humidity to decrease a bit (having heard that the tattoo stencil printers don’t like humidity) – but in the meantime… yes… I’ve bought another fax machine to try (same model since I’m now intimately familiar with it). It’s on its way. It’s supposedly new, so perhaps there’s hope.
By golly, I hope there’s hope.
That’s all I have for today.
your good guinea pig who will keep on trying.
P.S. there’ll be a follow-up post later that’s focused on fax/thermal-printer pitfalls and how to avoid them (if in fact they can be avoided).
Well, to be more accurate, I hadn’t thought as deeply of “the times” as I ought to have whenever I’d come across my dad’s broken stopwatch. I just carted it around, move through move, in a collection of memorabilia – the physical manifestations and prompters of memory that make their way with me physically and temporally.
I remember when the stopwatch worked – probably up through at least the 1980s or early 90s. I don’t recall when it stopped. The plastic has been cracked for a long time. I kept it because it had been my dads and it reminded me of his years as a pilot, and I remembered playing with it when I was a kid, timing how long I could hold my breath and how long it took me to skate around my elementary school on weekends.
One day, early this year, I came across it again and several things fell into my mind at once: one of the last remaining businesses in our dead mall is a watch-repair shop staffed by an older Vietnamese man. His business partner holds down the cash register-counter across from him, the two separated by a low bin of imported plastic “straw” hats, cheap white teddy bears, and plastic and chrome toy cars. The watch repairman gathers customers from those who need their watch batteries replaced, but he also fixes analog watches and clocks.
It occurred to me that he’s not getting any younger, the mall is not guaranteed to remain open to continue to host him, and who in the world younger than these men in their 60s is having anything to do with watch repair?
I hurried over with my small family treasure and he said he’d get it back to me in about six weeks. I felt relieved. I’d gotten there in time! On the downslope of our civilization and in spite of societal turbulence, something would be repaired and restored to be made available for the future – when there’d be no guarantee of finding someone with the requisite skills, knowledge, or network of learning, tools, or parts.
He didn’t call me, as I thought he would, so about eight weeks after dropping it off, I swung by and made my way through the cavernous, partially-lit, and echo-y mall. I handed him my claim check, explained what I was there for, and he said, “Ah,” and turned to the drawer where he extracted the small envelope containing my watch. He slid it out of the envelope and I saw that the plastic was still cracked. He said, “I could not find anyone who manufactures the mainspring anymore, I’m sorry.”
I may yet find a way to repair this stopwatch, but it’s absolutely not a guarantee. I have family in Germany, and Germans seem to be among those who repair small machines or practice old, skill-requiring crafts. Perhaps, if travel ends up in our cards, I could take it there. Or maybe I could look around in one of the big cities not far from where I am. That’s likely to be an expensive endeavor, but I might decide it’s worth it.
I don’t have any better reason for that than the one I give here – maybe it will be of use to someone some day. I think that’s as good a reason as any to do things, to think about the benefits we might convey to those who are to come, rather than thinking of all the ways we can amass more, now.
So, this vintage-stopwatch predicament probably sounds as familiar to you as it does to me: an older technology, a few people who know how to use/repair/maintain it, a few (hopefully) spare parts somewhere… and some sort of disruption/disjunction/discontinuity in connecting those things because we’ve moved a bit too far “into the future” and that future has cut off certain necessary tendrils of possibility, the connective “tissue” so to speak. And so we witness things falling apart and cannot wish them back together.
A while back, I posted about a fax machine I’d gotten to serve as a thermal-stencil printer. New, in-box, and never used, it seems to have suffered from a slow battery drain over the years (and there is some corrosion is visible outside that compartment) and that’s affected its memory. It seems to not remember its functions – the buttons beep and do little else. Now and again I can get a varied response from it if I try some secret-code combination of opening the paper compartment and pushing either the “stop” or “copy” buttons. Once I got a reduced copy of an original, but repeating the pattern afterward didn’t get a response.
I’ve called a few fax-repair shops and none of them have even heard of this model and they’re not sure what I should do. One did suggest a battery replacement, though it’s a bit complex and requires soldering parts in – and wouldn’t be a guaranteed fix.
There are a series of parallels here, just under the surface, that have to do with a degraded power source and the resource issues that direct our collective energy and our energy use, with the machine’s lost memory and the loss of collective memory around particular technologies and their repair, and with the soldered and corroded connections and the broken connections between last-of-their-kind repairmen and the parts they once could get.
I struck out with another fax machine. It would probably work as a sending-fax, but its thermal printer is only spotty (and that, only after it spent 24 hours with “wait a moment” on the LCD screen). Luckily I’m still within the return/refund window for this one, unlike the first one. I’m still waffling over the cheap tattoo stencil printers. The reviews online are mixed: “plugged it in and smoke poured out,” “it worked for about three stencils,” “great purchase.”
Until I decide something, I can’t move forward with any of my hoped-for projects. I’ll keep looking and evaluating, but in some ways, the clock is ticking.
Little by little I’m getting things set up to function, though there’s still much to be done before I get to that point. Although I didn’t get all the way through the boxes of books, I made room in the garage for a work table. Now I just need a chair and I’ll go sit in there instead of at the computer! That will lead to more getting done in projects department.
In addition to getting my machines to functional status, I’m obtaining the supplies needed to start print jobs.
The main things needed for stencil duplicating are (at the most basic) stencils, ink, a method of paper registration (alignment) and ink delivery, and paper. In my case, which is a few steps beyond the most basic mimeography, my method to assure paper registration and ink delivery includes actual mimeograph machines (truly traditional is similar to screenprinting, with a framed screen/print-making apparatus – see the image below, or Tomoko Kanzaki’s work).
Traditional mimeograph stencils are not currently available to any large degree, so I’m following the “stopgap” method. I call it a stopgap because it’s an option that I suspect is only available to us now* because we have easy access to electricity on demand, digital capabilities, and manufactured products from overseas. This method of duplication requires these supplies: a thermal-stencil printer, thermal-stencil paper, Risograph ink (or equivalent), and copy paper.
One tool being used among mimeograph enthusiasts is the tattoo-stencil printer.
These things seem to be quite common (there are many on ebay right now).
The high-end option is to use a Risograph machine for its master-making capacity only. Risographs are expensive. and it’s likely that if you already have a Riso, you’re probably not going the old-school mimeograph route (unless your Riso’s print function is broken).
The route I’ve decided to take is to use a quality fax machine (one that prints on thermal paper rather than regular copy paper), using Riso thermal paper (aka master). My reasoning is twofold, one aspect of which is founded on hearsay, but on relatively good authority (experienced mimeo folk in the mimeograph facebook groups): Riso masters make higher resolution stencils than tattoo-stencil paper. The other reason I’m trying the fax-machine route, though, is because I was able to find a machine that can work with three paper sizes (A4, which is 8.27″ wide; US letter and legal size, which is 8.5″ wide; and B4, which is 10.5″ wide) and that was still-in-the-box new (it’s been waiting for its chance to shine since ~1988) for the same price as the tattoo-stencil printers (though without the benefit of free shipping from China -eyeroll-).
Riso master rolls only come in A4 and B4 sizes. A4 is the standard paper size in most of the world and at 8.27 inches wide, it’s narrower than US paper. Given the need for margins on most documents, A4 will likely be wide enough for most of my print jobs. B4 paper (on which to print) is nowhere to be found here, so I’m unlikely to need B4 stencils in general, but if I were to ever get a Gestetner duplicator, that’s the size of stencil I’d want to use. I figured it would be a good idea to plan for the possibility of someday working with a Gestetner, thus my decision took this into account. Alternatively, since B4 is 10.5 inches wide, I might actually use less of the Riso master if I use a B4 roll and print my stencils sideways (trimming off the top and bottom margins of my original as necessary), particularly for my not-quite-letter-size projects. That’ll require some experimentation as there needs to be a little bit of extra length to attach the header.
It really doesn’t matter which way I print my stencils on the thermal paper relative to the way the roll unwinds – I’ll be cutting them from the roll and attaching each stencil to a header that fits my mimeograph. This header, made of heavier paper or light cardstock, will have the holes required to secure the stencil to the machine, and will give me a place to record what the stencil is.
The photo above shows a blank stencil ready for printing in a thermal printer. This one is a “Kelsom stencil.” As I don’t have a Riso master to compare it to yet, I can’t report on that; however here’s what Kelsom-stencil paper looks like.
It’s a very thin, nearly transparent, sheet of nonwoven fibers bearing a resemblance to a very light washi paper. The reverse side is coated with plastic and appears glossy.
When I get the Riso master roll, I’ll compare the two stencil types in a separate post, and in part two of this series, I’ll be talking about either paper or ink.
*By “available to us now” I mean during the next 20-50 years. I may be idealistic here, though some will accuse me of being pessimistic.