what wood to stand on for a C&P?

Hey all,
been a while since I have been here, my studio is built and I will be getting Betty my 8x12 C&P finally in, after three years sitting in a crate in my shed, I hope she is okay.

Anyhow, wondering what wood do people have sitting under their own C&Ps? wood to stand the legs on?
I thought about getting red gum, but am wondering if 90 x 35mm MGP10 Structural Pine - will be any good?

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Hey u,

first, you need to determine the specific wood that was used to crate the press, as the press has become accustomed to its proximity and would make a kinder and gentler transition into your studio if you could lessen the stress of it having to contact an unfamiliar species. Also I would recommend chewing pink gum (Double Bubble) when bringing it in and setting the press because you could use a wad of it on the floor to help select your final positioning.

If you really want take a chance because you cannot determine the origin of the crate’s wood, you might simply consider letting the press sit directly on the floor or, better yet, place a drip-pan underneath it to protect the floor from oil drips, etc.


I have a male friend printer who named his presses like Helga, Heidi, etc., with all of the ladies being Heidelbergs. But I haven’t run into too many male printers who have names for their presses other than some choice profanity, and that can change quite quickly. Betty sounds appropriate for an 8x12, but what would a guy name his 10x15? This has deep ramifications, just as the distinction between studio, shop, or other physical location name for the location of the equipment.

In the shop where I am located the finisher has 3 V50’s lined up designated - Moe Larry & Curley
Ted Lavin
Artificer Press

Leaving it on a pallet, or sitting it (the machine) on 4 individual blocks is O.K. in the short term, but here U.K. generally an oblong platform constructed from Hardwood, Mahogany/Oak or similar works well, lends itself to eventual positioning, via 3 tube rollers, leaves the door open for any additional cross members, i.e. motor mountings, counter shafts, additional guards without welding brackets, etc.

Timbers (in the order of 4” x 3”) joined via the *LAP* method, rather than *BUT* joints = extremely rigid for pinching/inching into final position, + substantial Sub base for Big Coach Bolts to prevent the Machine from >walking<, usually holes in the feet for this purpose.!!

Small additional benefit with timbers @ 4” wide, machinery moving skates sit well, if/when required.?

My presses all stand on the floor as they were designed. If you need to lift them to match you extra height or to make it easier to feed, almost any wood but balsa will work.

John Henry

It is often said that press operators tend to be taller today than they were when these presses were first designed and built, but the configuration depends on your own stature and comfort. It is important when operating a hand-fed platen that you can keep your back straight and not have to hunch forward to feed the press. This allows the press to close away from you and, in effect, keep your hands safe.

If the press is too low, there is a tendency to lean forward which means you have to pull your hands back and away after feeding. This is as uncomfortable as it is dangerous. A simple lapse in judgement and there will be blood, cursing and possibly permanent injury.


I found some really hard old hardwood, species unknown, from a used building supplies place here in Canberra. Eloise loves sitting on it, as far as I can tell!

Michael R. G`day Sport and belated wishes for this coming year.

Glad to see that you have adopted the *hardwood* bearer(s) for your Eloise.!!!

Since the late 50,s we have been mounting Platens, from less than 1/2 Ton up to and beyond 1-1/2 Tons, virtually always on Hardwood bearers, seemed like all the advantages and no disadvantages. Certainly in terms of durability, and longevity.??