This image shows the leather surface forms the outer covering of the ink ball. The leather serves as the primary contact point for holding and distributing ink during the printing process. Ink balls as “two circular pieces of pelt, leather, or canvass… stuffed with wool and nailed to the ball stocks” (Savage 28). This construction created a resilient yet flexible working surface capable of holding and transferring ink evenly to the type. The leather covering was therefore not simply an outer surface but an essential functional component of the printing process.

The preparation of the leather required considerable manual skill, demonstrating that craftsmanship was involved not only in the use of the ink ball but also in its construction. Savage’s description of making ink balls shows the importance of producing two evenly shaped tools, noting that “if both have a full even face, with no hillocks or dales, he has got a pair of good Balls” (Savage 28). This observation highlights the care and experience required to prepare the leather surface and shape the ink balls properly before they could be used in printing.

Meanwhile, according to Brian Quinn, the maker of the ink balls in the Book Arts Lab, the surface of the ink balls is made from chamois leather. He explains that chamois was selected on the recommendation of his colleague. But later discussions with other printing scholars suggested that it may not have been the ideal material because of its slightly fuzzy surface. A leather with a finer grain pattern, such as kid leather, may more closely resemble historical example. Moreover, kid leather may provide a smoother surface when transferring ink. The choice of leather will directly influenced the performance of the ink ball and explains how material selection affected printing practices. The leather surface highlights the importance of materials in book production. The selection of leather reminds us that the quality of printed books depended not only on presses and type, but also on the selection and construction of the tools used to apply ink.

This image shows the fastening system. 12  brass machine screws used to secure the leather covering to the wooden handle of the ink ball. Rather than being permanently attached with glue, the leather covering was designed to be removable. After printing, “the nails holding the leather to the stocks were pulled out with the tool known as a sheep’s-foot, the woollen stuffing was removed to preserve its elasticity, and the leather was steeped overnight” before the balls were reassembled the next morning (Mosley 181). This description explains that the leather covering was intended to be regularly removed, maintained, and reattached as part of the normal operation of the printing workshop.

Physically, nails are generally lasting longer, stronger, and intended for structural fastening of wood or other building materials. In this reconstruction, the leather is attached around the base of the handle using twelve brass machine screws. These screws fasten into threaded inserts embedded in the wood, creating a secure connection while allowing the leather covering to be removed and replaced when necessary. According to Brian Queen, the maker of the ink balls in the Book Arts Lab, historical ink balls were typically secured with small steel tacks rather than machine screws. Over time, small tacks would have left numerous tack holes in the wooden body of the ink ball.The use of brass machine screws represents a modern adaptation that preserves the original function of the object while making maintenance and repair easier (Queen).

If given the opportunity to examine the object in the Book Arts Lab, visitors can easily unscrew the brass fasteners and observe how the leather covering can be separated from the wooden handle. Compared to repeatedly removing and replacing steel tacks, this system reduces wear on the object and allows the leather to be replaced without damaging the wooden stock. The fastening system therefore highlights the importance of maintenance in historical printing practices and demonstrates how modern reconstructions can balance historical accuracy with long-term preservation.

This image shows the wooden handle of the ink ball made by alder. The handle has an oval profile, being broader at the center and tapering slightly toward both ends. This shape provides a more secure and comfortable grip, allowing the printer to control the movement of the ink ball during the inking process. Unlike metal, wood provides greater friction when held in the hand, making it easier to maintain control even when working with ink-covered tools for extended periods. The use of wooden handle was also influenced by economic considereation. Historically, wood was used to make ink balls, so Brain Queen did the same using alder. Wood and woodturning would have been readily accessible in these earlier periods. If the stock had been made of metal, it likely would have had to be cast, which would have been a much more complicated and expensive process (Queen).

Both the material and construction of the handle were important considerations in ink ball design. Historically,  “the handles are Beech” (Savage 29). He also describes an improvement in which the bowl and handle were turned from a single piece of wood rather than being fitted together as separate components. Earlier handles frequently became loose and were “troublesome to the Pressman,” sometimes “catching the skin of his hand, and pinching it” (Savage 29). These details shows that comfort, durability, and ease of use were important concerns in the development of printing tools.

While handles were commonly made by beech, Brain queen selected alder for the reconstruction. Alder is lighter, easier to shape, and more economical.

The handle served as the primary point of contact between the printer and the ink ball, making it an essential part of the printing process. Successful inking required that “every part of the surface of the type is touched six or seven times by the face of the balls” and is “uniformly covered with a proper quantity of ink” (Savage 32). Such precision depended not only on the quality of the ink ball itself but also on the printer’s ability to control pressure and movement. The wooden handle therefore functioned as the connection between the printer and the tool, highlighting the skilled manual labor required in historical printing workshops.

This image shows the ball rack used to store ink balls during the printing process. In the Book Arts Lab, a dedicated rack is used to hold the ink balls when they are not in use. Because ink balls are covered with leather, carry ink on their surfaces, and must maintain an even, rounded shape, suspension provides an effective method of storage. Savage explains that “pelt balls injure each other when kept together for any length of time” and that composition balls could stick together and tear when separated (Savage 27). Leaving them directly on a table could expose them to dust, transfer ink onto surrounding surfaces, or place uneven pressure on the leather covering. 

Specialized storage systems for ink balls were therefore commonly used in printing workshops. Ball racks as wooden supports attached to the side of the press and notes that additional racks were sometimes installed to store spare pairs of ink balls.

The rack is attached to the side of the printing press, allowing the ink balls to remain close at hand during printing. The holders are slightly upward, approximately five degrees. The small angle helping to prevent the ink balls from slipping. It also making them easier to grasp and return during use. This arrangement reduces unnecessary movement around the workshop and lowers the risk of accidentally transferring ink to other objects or work surfaces. The rack therefore functions not only as a storage device but also as a practical part of the printing workflow.

Historically, the placement of the ball rack was also carefully considered and they are slightly different than what we see in Book Arts Lab. Rack as being positioned “nearly on a level with the ink block” (Savage 27), indicating that it was located within easy reach of the printer during work. Keeping the ink balls close to both the press and the ink block reduced unnecessary movement and allowed printers to move efficiently between inking and printing. Rather than serving simply as storage, the ball rack functioned as part of an organized workspace designed to support a continuous and efficient printing process.

Moveable ball racks were also used for convenience. It allows printers to position their tools where they were most needed during work (Savage 27). The existence of these specialized racks shows the importance of ink balls within the printing process and highlights the organization, efficiency, and care required in historical printing workshop.