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FOREWORD The Hamilton Wood Type & Printing Museum is the world's only museum dedicated to wood type preservation, study, production and printing. With over 1.5 million pieces of wood type and blocks, and more than 1,000 styles and pattern sizes, the Hamilton collection is one of the world’s premier wood type collections. This year we celebrate our 20th anniversary. The museum's mission is to advance the understanding of printing and design heritage by documenting, archiving and reproducing the history and images of American letterpress printing. Our premier collection of printing type, engravings, prints and equipment support scholarship and education at all levels by preserving through use, research and demonstration. Hamilton is a working museum that provides educational opportunities, field trips and workshops, and offers opportunities for artists, printers, historians and scholars to experience this vast wood type collection. For more information visit our website at Hamilton Wood Type & Printing Museum 1816 10th Street Two Rivers, Wisconsin 54241 920-794-6272 2


Michael Hepher, Early Morning Rain, page 43

Marcos Mello, Letterpress is the language of touch, page 63


Work and Turn Collective, Anthology, page 95

INTRODUCTION New Impressions is an international juried exhibition to showcase exploration and creativity with letterpress printing techniques. This call attracted 254 diverse entries from around the globe. The final 42 works on display are from artists in Belgium, Brazil, Canada, Italy, Portugal, Singapore, Spain, Switzerland, the Netherlands, United Kingdom, Uruguay, and the United States. This is the fifth year of the New Impressions exhibition; it was juried by Dafi Kühne, graphic designer and letterpress print maker from Glarus, Switzerland; Mary Mashburn, graphic designer, owner and letterpress printer at Typecast Press, and instructor at Maryland Institute College of Art; and Jessica Spring, letterpress printer and book artist at Springtide Press in Tacoma, Washington and instructor at Pacific Lutheran University. The letterpress printed exhibition poster was collaboratively designed by Nick Larson and Stephanie Carpenter. The catalog was also designed by Nick. Posters and catalogs are available for purchase online at The exhibition is on display at the Hamilton Museum, April 17-June 30, 2019. Please join us on May 25, 2019 from 5-7 pm for the exhibition reception. That same day is the Hamilton Open House and 20th anniversary celebration. Both events are free and open to the public, and everyone is welcome to enjoy the museum for the entire day. 2019 Calendar Exhibition on Display at the Museum: April 17–June 30, 2019 Hamilton Open House: May 25, 11am–5pm Gallery Reception and Awards: May 25, 5–7pm


JURORS Dafi Kühne - Dafi Kuhne is a graphic designer, letterpress printer and educator from Switzerland. In his studio babyinktwice he designs and prints posters for music, art, architecture, theatre and film projects, and also for products. But instead of just hitting “cmd+P" he prints all the posters with a combination of old and new techniques. Over the last 10 years, Dafi has been collecting over 30 tons of commercially redundant letterpress equipment that he combines with laser cutters, resin casting techniques, pantograph engravings and more unconventional methods. Dafi's posters have been shown in exhibitions and publications in Europe and the USA. His designer monograph True Print, a collection of his posters has been published with Lars Müller Publishers in 2016. In fall 2018 Dafi has released an entertaining series of educational videos called The Dafi Kuhne Printing Show™. Watch it! And he has been giving lectures and teaching workshops at Universities in Europe and the USA. Mary Mashburn - Mary Mashburn’s first memory of a printing press in action was a four-color web press running the Sunday comics at the Marin Independent Journal. That field trip sparked a career in journalism and then graphic design, and it took another few decades for her to realize she really wanted to be a printer. She founded Typecast Press more than a decade ago, and her obsession with letterpress printing and collecting as many presses as she can cram into her studio was born. Mary orchestrated the move of Baltimore’s Globe Poster collection to MICA (Maryland Institute College of Art), where she is on the Printmaking faculty. Globe, founded in Baltimore in 1929, was best known for its R&B and soul posters, often printed in vivid Day-Glo. The wood type, hand-carved blocks, and photo cuts of stars including James Brown, Aretha Franklin, and Marvin Gaye now serve as tools and inspiration for a new generation of artists and scholars at MICA and beyond. Mary has worked with former Globe owner Bob Cicero, Globe Manager Allison Fisher, and the talented students at MICA to create new work in the Globe style for clients including New York’s Lincoln Center, the Smithsonian Institution, Sanrio’s Hello Kitty, and the Baltimore Museum of Art, among others. Jessica Spring - Jessica Spring learned to set real metal type in 1989 and has been a letterpress printer ever since, most recently inventing Daredevil Furniture to help other printers set type in circles, curves and angles. Her work at Springtide Press—artist books, broadsides and ephemera—is included in collections around the country and abroad. She also collaborates on the Dead Feminists broadside series with illustrator Chandler O’Leary. Their book Dead Feminists: Historical Heroines in Living Color is available from Sasquatch Books. Spring has an MFA from Columbia College Chicago and teaches letterpress printing and book arts at Pacific Lutheran University in Tacoma, Washington where she also has co-organized the annual Wayzgoose for over a decade. She has led workshops and residencies around the country, including Penland, Paper & Book Intensive, Wells Book Arts Institute, Hamilton Wood Type & Printing Museum and the International Printing Museum.


Tom Walker, Stratal the line, page 87

Cory Wasnewsky, Bagpipe, page 91

Sun Yao Yu, Path, page 96


David Wolske, Angle Chase No. 1, page 92

Dimitri Runkkari, swip?, page 76


Ryan Molloy, Abracadabra, page 71

JURORS' STATEMENTS What is a new impression? Being part of the jury of the New Impressions competition for 2019 confronted me with the question of what qualities are required to be included in this exhibition. The name «New Impressions» might imply that we are looking for something new. So what is «new» anyways and how important is that factor as a criteria to judge the submitted work? «New» in the most obvious sense describes something that is not old—something that has been made recently. In that sense it might even be the same thing we've always known, just a newer iteration. But the adjective new can also mean that it is something that breaks with the old. So an object that has not only been made recently, but also has different qualities compared to the previous one. It might be a different appearance, message or method to get to the result. These were my three main criteria for going through the very broad and colorful body of submissions. The visual appearance of typographic layouts is central and it works closely together with the message. How does the composition, the rhythm, the filled-and-empty-space, the hierarchy of words, the colors and the choice of typeface semantically reflect the message? With more abstract and illustrative work there might not be such a clear message, but there still are the factors of composition, rhythm, hierarchy and colors that apply. With printed work specifically, there is also the aspect of the quality of production. The printing quality and the process can in the best case boost the final result. But process and good printing quality alone don't make a great piece of work without the previously mentioned factors. Within these factors there is the question of what is new? Are any of these factors applied differently from previous work? Does the layout look different? Is it a new combination of any of these factors? Or is it just a new iteration of something we've seen before? With these questions in mind, it was a pleasure to dig through the work. I was very happy and honored to be part of the jury for this year's New Impressions 2019 exhibition. And I will miss the fist fights with my two fantastic co-jurors Jessica Spring and Mary Mashburn. I gained a lot of inspiration from the process. Dafi Kuhne «babyinktwice» Glarus, Switzerland


JURORS' STATEMENTS When I was first learning to print, I was a devoted reader of the Letpress listserv, an early online community that gathered experienced printers and eager newbies from around the world. I loved the back and forth about proper impression, the generous sharing of knowledge, and the cranky debates about what constituted “real letterpress.” The entries Hamilton received for its annual New Impressions exhibition seem like a continuation of that expansive conversation. I am struck by the range of the entries: from playful design studies executed in linoleum to exquisite botanicals showing mastery of 4-color letterpress printing to experimental prints created with quotidian printshop materials. It’s a great time for the art and craft of letterpress, when tools and techniques traditional and decidedly not are being used to create work that’s deeply personal, pissed off, a call to action, witty, or simply beautiful. I’m thrilled that Hamilton undertakes this yearly review so that we continue to think about the rich tradition of letterpress and how it evolves. I hope we will continue to honor the printers who came before us by learning how to use our tools well, and if the work submitted here is any indication, that knowledge will be employed in many new and imaginative ways. It seems even in this digital age, we have not tired of the transformative power of ink on paper. Mary Mashburn Typecast Press Maryland Institute College of Art Baltimore, Maryland


Christa Carleton, No Longer People Pleasers, page 23

JosĂŠ Luis Lanzagorta, Interlineas II, page 55

Rebecca Chamlee, Valley Oak - Quercus lobata - tiny acorn and leaves, page 24


Naomi Kent, Vinipote, page 48

Jennifer R. Farrell, Woman in Print, page 39


Sarah McCoy, Women Rock 80/35 Music Festival Poster, page 59

JURORS' STATEMENTS The joys and challenges of considering 254 entries from printers around the world are bigger than a museum full of tasty wood type. Details and subtleties can be lost in the conversion from impression to pixel, but strong content and design triumph. The variety of New Impressions work was inspiring, and in most cases, met the call to showcase exploration and creativity. Collaborating with the jury under Stephanie Carpenter’s guidance, we considered criteria of quality craftsmanship and creative original use of the medium. There was considerable consensus in our choices, something I found surprising knowing that we printers have strong opinions on every aspect of the craft from technique and materials to medium and message. Thanks to the burgeoning documentation of process through social media, we all benefit from a greater understanding of the complexities of letterpress printing. A photograph of a photopolymer plate just doesn’t have the appeal of a complex lockup of metal type or the patina of wood type, but ultimately these are all part of our printing toolkit. I confess my own bias towards work that has engaging and meaningful content, which even the most innovative techniques can’t prop up. The toughest decision while jurying was limiting the work of some extraordinarily talented printers, just choosing one print from a successful series. These makers commit to a technique, then delve deeply to develop their voice: it is a joy to behold. I’m encouraged and inspired at the work being made—especially by new and energetic practitioners—and grateful that Hamilton continues to push our collective efforts to keep letterpress printing engaging and relevant. Jessica Spring Springtide Press Pacific Lutheran University Tacoma, Washington



Jenkintown, Pennsylvania

Artist Biography Frank Baseman is the Proprietor of Base Press. Baseman is also the Creative Director and Principal of Baseman Design Associates, an award-winning interdisciplinary Graphic Design firm, and Professor in the Graphic Design Communication program at Jefferson, where he has taught since 1998. In 2013, Baseman was named as one of the "Most Influential Graphic Designers Working Today" by Graphic Design USA Magazine. And in 2008, he was awarded the AIGA Fellow Award from AIGA Philadelphia. The work of Base Press and Baseman Design Associates has received recognition from numerous national and international communication organizations, design exhibitions and publications. For more information, please visit and www.

Description of Process Continuing on my quest "my journey" down the letterpress road: exploring and experimenting. Whether through formal means in terms of abstract shapes and letterforms overlapping creating lovely transparent magic, as almost letterpress exercises. Or through more communicative forms such as my fascination with rebuses (or "rebi" as I sometimes call them). I have been interested in rebuses‚ those words and images coming together to make a sort of visual puzzle, familiar to many of us from early childhood when we were learning how to read—a means of communication for a long time. The "Rebus Quotes" project is a reinterpretation of well-known quotes and phrases using rebuses in a playful manner. 14


The Rain in Spain 13 x 20 in Letterpress $50


Printers' Flower 8.25 x 11.75 in Letterpress $40 16


Santa Cruz de Tenerife, Spain

Artist Biography Norwegian graphic designer Lars Amundsen and German graphic designer Matthias Beck teamed up in 2014 to create the only letterpress workshop in the Canary Islands. 'Tipos en su tinta' as it is called, is a totally manual letterpress workshop and most of the printing tools have been rescued from old print workshops on the island where they both have lived for almost 15 years. Apart from designing and printing limited edition prints, 'Tipos en su tinta' offer creative workshops to the local residents and European tourists not only seeking the sun but also a taste of the local culture in Tenerife.

Description of Process This idea came up while planning a creative workshop for the Natural History Museum in Tenerife, and the two designers were inspired by a permanent exhibition of scientific drawings of plants. After doing a bit of research the term Printers' Flowers became appropriate and a series of flower and leaf like illustrations were prepared using type fleurons from the workshop. The decorative designs were composed by hand and then combined with historical quotes set in metal type. On the day of the event, museum visitors had an opportunity to print their own Printers' Flower choosing from the predesigned elements. After the workshop at the museum, the complete series of flowers were carefully printed on an old vintage Platten Press using spot colors.

@tiposensutinta 17



Seattle, Washington

Artist Biography Laura Bentley is proprietor of Pinwheel Press in Seattle where she produces social stationery and limited edition prints. She enjoys the focus on process and attention to detail that letterpress printing demands. Her passion is printing with handset type whether printing in her own studio or assisting with classes at the School of Visual Concepts. Only partially joking, Laura feels like a childhood filled with drawing, Legos, and the Milton Bradley game Operation have prepared her well for the world of letterpress printing. She has been experimenting with creating printing plates from everyday objects, and her current focus is using these plates and ornamental type to create pattern and illustrations.

Description of Process "Garden Gears" is printed from everyday objects and letterpress wood type. Flowers are composed with old clock parts and fender washers, all mounted on board raised type high. Leaves are created with wood type shapes, while stems are printed from the reverse side of old wood type borders and new type-cutting scraps from Virgin Wood Type. The background gets its texture from printing fabric mounted on board. All seven passes were printed using a Vandercook SP-15 proof press. Together the variety creates an experiment in layered textures. All the objects show unique textures from their own manufacturing process, while older objects also show worn edges and dents from years of use. The resulting image playfully shows a juxtaposition of organic subject matter illustrated with manufactured objects. 18


Garden Gears

11 x 14 in Letterpress and Relief Printing NFS



19.685 x 27.5591 in Letterpress with MDF NFS 20


Milano, Italy

Artist Biography Laura Dal Maso, Mauro De Toffol, Tommaso Pucci Cabaret Typographie is a letterpress workshop based in Milan. A handicraft studio with an experimental attitude, a true passion for graphic design and a fascination for fonts. The 3 members of the team are enthusiast graphic designers.

Description of Process Letterpress print with mdf lasercut.

@cabaret_typographie 21


Missoula, Montana

Artist Biography Christa Carleton resides in Missoula, Montana. She has her BFA and MFA in Printmaking and has been creating prints for over a decade. Christa got the bug for letterpress printing while completing her graduate degree. The accumulation of antique type and rusty refurbishing projects are quickly piling up in her garage. While being a printmaker is a huge part of her identity it isn't her only love. Christa enjoys cooking vegetarian dishes, fly fishing, gardening, hiking, listening to podcasts, knitting, and pursuing the perfect cocktail.

Description of Process My work is shaped by an unshakable urge to be vulnerable with my viewer. The majority of my artwork focuses thematically on the agency of women. My private memories, experiences, mantras, unspoken thoughts, weak moments, etc., bring fellowship and rapport. I don't think it is wrong to admit that making my work is comforting to the parts of me that are tangled up in discontentment. In the case of "No Longer People Pleasers" I was spending time with type high halftone portrait blocks of women from around the 1950's. I was considering how they are a part of my past as my foremothers. I used their images on a Vandercook No. 4 with a pressure print technique. The pressure print matrix created the text in yellow with the halftone portraits. On top of this pressure print I placed the figure of the modern frustrated woman. These last few layers are done as a color reduction woodcut. The foremother's portraits combine with the modern figure to create an unwavering cry. It's a cry that still needs so be seen and acknowledged in contemporary society. 22


No Longer People Pleasers

12.5 x 17 in Letterpress with Pressure Print and Color Reduction Woodcut NFS 23

Valley Oak - Quercus lobata tiny acorn and leaves 9 x 12 in Letterpress Printed Using 4 Photopolymer Plates $100 24


Simi Valley, California

Artist Biography Rebecca Chamlee is a book artist, printer, writer and bookbinder who has published letterpress printed, limited-edition fine press and artist's books under the imprint of Pie In The Sky Press since 1986. Her work is in prominent special and private collections throughout the U.S. and has been exhibited widely. Rebecca is an associate professor at Otis College of Art and Design in Los Angeles where she teaches bookbinding, letterpress printing and artist's book classes and heads the Book Arts minor program. She also holds workshops at her studio and book arts centers throughout the country.

Description of Process Letterpress print of Valley oak, Quercus lobata, acorn and leaves. The Valley Oak grows into the largest of North American oaks. It ranges over the hot interior valleys of California where there is a water table within reach of the roots. Valley Oaks grow quickly, reaching 20 feet in 5 years, and 40 feet in 10 years, and up to 60 feet in 20 years. Mature specimens may attain an age of up to 600 years. Its thick, ridged bark is characteristic and evokes alligator hide. The sturdy trunk of the Valley oak may exceed two to three meters in diameter and its stature may approach 100 feet in height. Printed from photopolymer plates in four colors in tight registration from photographs of specimens found in the native oak woodlands Southern California. Printed on natural 150gsm Asuka, Kozo and Pulp machine-made paper from Echizen, Japan.

@rchamlee 25



Colorado Springs, Colorado

Artist Biography Printer/publisher/artist: Founder of the NewLights Press (2000) and Printer of The Press at Colorado College. Collections: Library of Congress, British Library, Yale, Tate Britain Library, SFMOMA Library. Teaching: Colorado College, Penland School of Crafts, Arrowmont School of Arts and Crafts, Naropa University. Currently based in Colorado Springs, CO.

Description of Process This print is a complete specimen, including all of the single characters and ligatures, of an experimental, modular alphabet in the form of a noise/print/poem. The alphabet is called the Threshold Alphabet, and it had been a focus of my work for the past few years. This print was made from a series of flexible collagraph blocks. Those blocks were made from pieces of laser-cut matboard mounted to an MDF board. Strips of vinyl are stretched across the block, and attached only at the sides, so that the whole block changes with each pass of the press, producing a variable edition. The title is printed from handset metal type. This print was made on a Vandercook Universal 4 at The Press at Colorado College. 26


Threshold Alphabet Specimen No. 1

23 x 30 in Flexible Collagraph and Metal Type NFS


William Carlos Williams Lower Case B 9 x 11 in Letterpress NFS 28


Valencai Spain

Artist Biography Peter Duffin is the co-founder of P.S. Press, a letterpress studio in Jersey City, NJ. P.S. Press combines a rich and centuries-old printing process with a dynamic contemporary art practice. The result is a discovery of the intersections and disruptions between print history & current language, imagery & alphabets, and paper & concepts. Peter's work recontextualizes / reimagines texts and imagery by deploying the remnants of print history (letterpress cuts and type) simultaneously celebrating that history and questioning it. One series of work takes commercial print imagery of men from the 40s and 50s, reimaging and liberating these men from the confines of their history by deploying a decidedly 21st century gay male perspective. In another project, all the letters needed to print William Carlos Williams poem Libertad! Igualdad! Fraternidad! Were printed using letterpress cuts from the 40s purchased from a printed in the Patterson, NJ area‚ which is where the poet lived when he wrote the majority of his work during this period. Thereby creating an powerful synergy between poet, letters, and print history.

Description of Process I printed out a reverse of the letter B as a guide and placed it on the bed of my Vandercook SP15. Then using magnets I placed the cuts I wanted on the guide to start forming the letter and ran a print. Then I replaced the cuts with new cuts filling in where I could see gaps in the letterform from the print and re-ran the print. I did this over and over until I'd filled in all the gaps and made a complete letter. It's a lot of fun, especially choosing the cuts to 'play the part' of the serifs.

@pspress 29


Renens, Switzerland

Artist Biography Since 2016 Academic year, ECAL (University of Arts and Design Lausanne) offers a master’s degree in Type Design. This two-year program provides students with privileged access to one of the flagship disciplines in Swiss graphic design. With the support of renowned professionals and academics, students explore fields ranging from corporate typography to experimental research, focusing on creativity. Among the techniques of letter design (calligraphy, work on curves, construction, digital drawing), letterpress is involved in the form of workshops, done at the printing center of the school. In September 2019, right after the start of the term, we did a workshop session lead by Dafi Kühne. Linoleum cuts, poster design, thoughts about forms and meaning were on the menu, as well as discovering letterpress technique and its machines. Their first steps into letterpress have also been the occasion of exploring group work, team effort, developing technical and methodological skills. And, for some of them, possibly the beginning of a life-long love affair with letterpress.

Description of Process This poster comes from a series done during a one-week workshop at ECAL, University of Art and Design, Lausanne, with Dafi Kühne, in September 2018. Group of MA students in Type Design had to design, cut in linoleum and letterpress print a poster on the topic, poster for small complaints. 30


Small Protest: Say No to Latte Art 27.5 x 36 in Linoleum NFS


Small Protest: Prffttfrt… free ketchup 27.5 x 36 in Linoleum NFS 32


Renens, Switzerland

Artist Biography Since 2016 Academic year, ECAL (University of Arts and Design Lausanne) offers a master’s degree in Type Design. This two-year program provides students with privileged access to one of the flagship disciplines in Swiss graphic design. With the support of renowned professionals and academics, students explore fields ranging from corporate typography to experimental research, focusing on creativity. Among the techniques of letter design (calligraphy, work on curves, construction, digital drawing), letterpress is involved in the form of workshops, done at the printing center of the school. In September 2019, right after the start of the term, we did a workshop session lead by Dafi Kühne. Linoleum cuts, poster design, thoughts about forms and meaning were on the menu, as well as discovering letterpress technique and its machines. Their first steps into letterpress have also been the occasion of exploring group work, team effort, developing technical and methodological skills. And, for some of them, possibly the beginning of a life-long love affair with letterpress.

Description of Process This poster comes from a series done during a one-week workshop at ECAL, University of Art and Design, Lausanne, with Dafi Kühne, in September 2018. Group of MA students in Type Design had to design, cut in linoleum and letterpress print a poster on the topic, poster for small complaints.

@ecalmatd 33


Renens, Switzerland

Artist Biography Since 2016 Academic year, ECAL (University of Arts and Design Lausanne) offers a master’s degree in Type Design. This two-year program provides students with privileged access to one of the flagship disciplines in Swiss graphic design. With the support of renowned professionals and academics, students explore fields ranging from corporate typography to experimental research, focusing on creativity. Among the techniques of letter design (calligraphy, work on curves, construction, digital drawing), letterpress is involved in the form of workshops, done at the printing center of the school. In September 2019, right after the start of the term, we did a workshop session lead by Dafi Kühne. Linoleum cuts, poster design, thoughts about forms and meaning were on the menu, as well as discovering letterpress technique and its machines. Their first steps into letterpress have also been the occasion of exploring group work, team effort, developing technical and methodological skills. And, for some of them, possibly the beginning of a life-long love affair with letterpress.

Description of Process This poster comes from a series done during a one-week workshop at ECAL, University of Art and Design, Lausanne, with Dafi Kühne, in September 2018. Group of MA students in Type Design had to design, cut in linoleum and letterpress print a poster on the topic, poster for small complaints. 34


Small Protest: Gum 27.5 x 36 in Linoleum NFS


Critical Mass 5.74 x 8.18 in Letterpress NFS 36


Basel, Switzerland

Artist Biography Jasmin Lea Christen is a 24-year old graphic designer from Bern, Switzerland. She studies at the School of Design in Basel, and will graduate in summer 2019. Previously she was a member of the collaborative cultural space „Heitere Fahne“ and she was a volunteer campaigner for „Aware Dance Culture“. Lukas Schläpfer was born and raised in Basel, Switzerland. The 22-year old will graduate in Visual Communication at the School of Design in Basel in June 2019. Previously he tried his hand as a structural draughtsman. The subject matter is close to his heart; at weekends his artist's studio turns into a bike workshop.

Description of Process Design study, sketches, letterpress 37


Chicago, Illinois

Artist Biography Since 1999, Jennifer Farrell has operated Starshaped Press in Chicago, focusing on printing everything from business cards to posters, as well as custom commissions, wholesale ephemera and limited edition prints & books. All work in the studio is done with metal and wood type, making Starshaped one of the few presses in the country producing commercial work while preserving antique type and related print materials. Jennifer's work has been repeatedly recognized in books, magazines and design blogs, and has appeared in poster shows throughout the USA and Europe.

Description of Process Over my twenty years in print, I have heard many disparaging remarks from men about my shop, my skills and even my parenting. This print features a handful of the shade thrown at me by men in an effort to call out the ridiculous and show that listening to me and understanding my work before commenting might just be a virtue. All of the type is set in Elizabeth, one of the only typeface families in the studio designed by a woman. The ornaments shaped into a quilt-like pattern were designed by myself and cut in wood by Virgin Wood Type and cast in metal by Three Ton Bridge Type Foundry. 38


Woman in Print 11 x 17 in Letterpress NFS


P22 Commemorative Stamp Sheet

7 x 5.125 in Letterpress Printed on Dry-Gum Adhesive Stock NFS



Rochester, New York

Artist Biography James Grieshaber is a type designer, typographer, and graphic designer based in Rochester, NY. James now works at P22 type foundry as Director of Operations as well as creating typefaces. He also works part-time for Virgin Wood Type where he is responsible for digitally drawing customer special orders, replacement letters, and new & revival fonts. James has created digital fonts for P22 Type Foundry, Hamilton Wood Type, Google, Microsoft, and Apple.

Description of Process P22 had a stock of their logo cast in lead, so I decided to make a commemorative stamp sheet that celebrated the various locations where they did business over the years. The art work is created from metal type, ornaments, and found cuts from the collection at Well College Book Arts Center. Linoleum blocks were then cut to create the clouds over the buildings to tie them together visually. The 3-color stamps were finished with a Rosback perforator to give that classic stamp look and feel.

@jamesgrieshaber 41



Fernie, Canada

Artist Biography Michael Hepher of Clawhammer Press is an interdisciplinary artist working in letterpress printmaking. His work is characterized by a unique sense of colour, oblique interpretation of the common, and a relentless pursuit of quality. A versatile artist with a broad knowledge of the creative process, and 14 years experience in letterpress printing. Michael continues to push the envelope of his work at his home studio in Fernie, BC.

Description of Process This is a four-colour reduction print. I've loved split-fountains for years, but have found multilayered reduction prints often become very polarized by warm/cool colour spectrums. In this series of prints my goal was to reverse the direction of some very subtle split fountains using opaque white as a mixing base to put warm colours down over cool, and vice-versa. This creates a more visually balanced composition while preserving the richness of colour you can get from a split fountain. I feel this level of intricacy with the split fountain an area that hasn't been thoroughly explored in the letterpress world. 42


Early Morning Rain 8 x 10 in Reduction Print $60


Unite/Resist 12.5 x 19 in Letterpress $40 44


Framingham, Massachusetts

Artist Biography Gwendolyn Holbrow is a visual artist who loves words and a writer who loves paper, ink and letterforms. She is a member of the Amalgamated Printers Association.

Description of Process An article claiming that the left wing of American politics needs better graphics got me thinking about what that might mean. The infamous far-right logo is highly recognizable: red, black and white, in bold eye-catching geometric shapes easily painted on a poster or scrawled on bathroom wall. I want to see the left reclaim the color red, I want to see elegant welcoming curves instead of hostile aggressive angles, and I want to see easily drawn symbols that represent our values. The integral sign is an old friend of mine, profoundly meaningful (many small things combine to form one whole), it is rational, it is beautiful, it resembles the f hole of a violin, and it is a letter, a long s for summation. Capital omega is another beautiful curved letter, like a portal or moon gate, and it represents the ohm, the unit of electrical resistance. I carved large versions of both letters from Sintra, combined these with wood Kabel Light and small metal Kabel Bold for the text, and printed them on French Durotone white newsprint cover stock on a Vandercook Universal I press at the MassArt letterpress studio.



Baltimore, Maryland

Artist Biography Lauren Jackson is a multimedia printmaker and graphic designer from the DC Metropolitan Area. Focusing on printmaking, artists books, and analog graphic design, Jackson's work is spurred from an inspiration and an extension of Negro Propaganda and Black Narrative. Recent explorations include redefining negative Black female stereotypes throughout different time periods.

Description of Process Starting with the linoleum cut of the three black women, I wanted to conceptualize the notion of the holy trinity without using god or religious imagery. In opposition to the three black women, I pressure printed a silhouette of another black female kneeling and praying over top. Lastly, printing the words ' Black is More Than' with Globe Press wood type. This piece was inspired by my past experiences as a black woman and how I never felt as an equal to my peers. I always believed that I was good, or talented for a "Black" girl. The words, Black is More Than is to refer to how Black people are worthy and can be more than anything, as long as we set our minds to it. 46


Black Is More Than

12 x 17 in Linoleum Relief Cut, Pressure Print, Wood Type, Letterpress NFS 47


6.5 x 7.5 in Letterpress $45 48


Birmingham, United Kingdom

Artist Biography Naomi is a Printmaking Technician at Birmingham City University (UK) and specialises in letterpress. In 2018 she gained a first class MA degree in Visual Communication. Frustrated with the lack of furniture available to aid in non linear typesetting, Naomi has redeveloped furniture of the past - angled & circular quads and an adjustable circular chase, to help other printers in their typesetting challenges too!

Description of Process Letterpress printed using ornaments & type set by hand using the typesetting puzzle method This is when you set your type/image and there are no 90 degree angles in which to lock up your type with spacing material. The game is anyone's guess, you stuff the spacing in, in the most logical way possible, then you're all good to ink & print as long as that type doesn't move! Part of a series which illustrates obsolete words, titled 'Obsolete'.

@inksquasher 49


Colchester, United Kingdom

Artist Biography As the son of a 'Commercial Artist' I was surrounded by the craft tools of pre-Apple Macintosh graphic design from a very young age. I think I was destined to seek out an occupation that meant I could work with my hands rather than be a slave to the screen. With airbrushes, Letraset, Rotring & marker pens I would see artworks created along with the occasional and tantalising mention of cold-metal and letterpress. This was the 1980s and they were talking about something that was already old-tech. Almost extinct. My first experience of letterpress came in the early 1990s, whilst studying Graphic Design at Central Saint Martins, and I was immediately fascinated by the process. I spent the next twenty years amassing as much type and as many presses as I could physically move and afford to save from destruction. The cast steel bed of the press is my canvas, onto which I arrange letters and ornaments. One by one, back to front. Occasionally I will need to meticulously plan the piece, although often the process will be spontaneous with changes being made to the design during the printing process so the project evolves in sometimes unexpected ways.

Description of Process Hand-typeset and printed from a selection of wood type in five colours, on a late-19th century Wharfedale stop-cylinder press. 50



Speak Now of Professor Knopphauser

28 x 40 in Letterpress Printed From Wood Type NFS 51

Cloudy Pass 11 x 14 in Letterpress $110 52


Seattle, Washington

Artist Biography Sarah Kulfan is a visual designer, illustrator and letterpress printer. She operates Gallo Pinto Press and Beans n' Rice where she respectively produces limited edition prints and runs her freelance graphic design business. Sarah discovered her love for printing by apprenticing with Stern & Faye, Letterpress Printers where she learned the fine detail of letterpress printing. Sarah's work in her print shop often reflects her time spent outdoors climbing, backpacking and volunteering with mountain rescue. Maintaining an active and creative lifestyle and documenting her observations outside provides endless inspiration for her work in the studio.

Description of Process The photo that inspired this print was taken at Cloudy Pass on the second day of a solo trek in Glacier Peak Wilderness one summer. What looks to be mist shrouded trees, a familiar site in the Pacific Northwest, are actually smokey skies. Wildfires that summer shut down portions of the PCT, including sections close to where this hike lead me. This is a nine-pass reduction cut, printed on a Vandercook Universal 1 proofing press. It took many rounds of illustrating to figure out just how many layers of trees I could fit on one page. And during the print run, I had to reshuffle and reduce the amount of layers in order to maintain good contrast. The reduction cut technique allows me to print all nine layers of ink from a single hand carved linoleum block. Final illustrations were scanned and imported into Photoshop in order to dial in color mapping and plate assignments.

@hellobeansnrice 53


San Sebastian, Spain

Artist Biography Begiaundi Press is a project initiated by the graphic designer JosĂŠ Luis Lanzagorta, in 2014. It is a letterpress printing workshop for graphic experimentation and research, aimed to produce limited print editions on a typographic press, using both lead and wood movable type, as well as other materials, from linoleum, MDF, plexiglass, cardboard... to espadrille soles and coins. Begiaundi in Basque means 'big eye', and names a large squid, an animal which protects itself expelling its own ink.

Description of Process This is one of the paths I explored, trying to use letterpress material in different ways as it is supposed to be used. In this one I used reglets not for holding the form but as a printing material. I tried to "shake" the uniformity and geometry that is inherent to this spacing material, attempting to make it have a different role in the composition. Then I added a couple of metal circle ornaments, in vivid red, to contrast this "black sea" with a more organic form.

@begiaundipress 54

Interlineas II

16 x 20 in Letterpress Reglets and Metal Type NFS


Sly & The Family Drone Golden Cabinet Poster 27.56 x 19.69 in Hot metal / Lino / Letterpress NFS 56


Shipley, United Kingdom

Artist Biography Since 2010, Nick Loaring's The Print Project has been raising hell and the dead with its distinctive high quality letterpress printing from its base in the small northern town of Shipley in West Yorkshire. Nick believes letterpress printing is a rigorous and methodical process which produces a tactile and vibrant style of printing that will make you want to kiss a goat, stroke a pig or say hello to Jesus. He is a founder member of Golden Cabinet‚ an acclaimed experimental music night that takes place at a community centre in Shipley and is the co-publisher and editor of Double Dagger magazine with Pat Randle of Nomad Letterpress.

Description of Process 3 split fountains, 3 hand-cut lino's & 9 lines of 24pt Square Gothic type for the last Golden Cabinet of 2018 which were all printed with a newly installed inking system on a beaten up Vandercook SP20 that hadn't been used in over 15 years. This was the last in the series of 30 posters that were made between 2013-2018 for Golden Cabinet which took place in the town of Shipley where Nick Loaring (The Print Project) owns and operates his press.

@theeprintproject 57



Des Moines, Iowa

Artist Biography Sarah McCoy owns The Permanent Collection Letterpress + Design Studio located in the vibrant East Village in Des Moines, Iowa. She designs and prints all of her products. Sarah received an M.A. 2003 and M.F.A. 2005 from The University of Iowa in Graphic Design. Graduated with a Graduate Certificate in 2006 from The UI Center for the Book with a concentration in letterpress printing. Sarah has been printing since 2002, exhibiting work nationally and internationally as well as leading letterpress workshops most recently at ATypI, Letterpress Workshop‚ Letterpress Printing from Leftover Bits and Pieces, 2018 in Antwerp, Belgium. Her work has most recently been published in Random Spectacular: Interrobang: a Showcase of Contemporary Letterpress Works. April, 2016. imprint of collective and print gallery St Jude's in England. Her work has been featured in Midwest Living Magazine feature article, Just My Type (November/December 2015), and Princeton Architectural Press book (April 2015), Ladies of Letterpress: A Gallery of Prints. Her artist book work is included in many University special collections such as Yale and Stanford. Sarah is also a full-time Associate Professor of Graphic Design at Drake University in the department of Art and Design.

Description of Process The work was created from an original illustration and then letterpress printed using polymer plates. 58


Women Rock 80/35 Music Festival Poster

11 x 17 in Letterpress, Hand Illustration, and Polymer Plate NFS



14 x 17 in Letterpress Wood and Rubber Cast Blocks, Letraset, Decals, and Found Objects NFS 60


New York, New York

Artist Biography Brenda McManus is an Assistant Professor of Graphic Design in the Art Department at Pace University‚ NYC. Brenda's research encompasses typography, integrating antiquated and contemporary technology and methods of making and collaborative design processes. Brenda received her MS and MFA from Pratt Institute‚ Graduate Communication Design Program and has experience in design research, design management, art direction, design writing and a passion for typography. McManus is the co-author of George Giusti: The Idea is the Heart of the Matter. Her work has been included in Graphic Design Solutions, 4th Ed, Typographic Design: Form and Communication, 6th edition, Color Management for Logos and Color Management: A Comprehensive Guide for Graphic Designers. McManus's work has also been recognized by the AIGA, the TDC, the Art Directors Club, the FPO Awards, Creativity, the UCDA as well as Graphis, Communication Arts, Print and How magazines.

Description of Process My work is often inspired by my love and study of design history, as it often reveals some of the effective fundamental principles of design—those that are considered timeless. Exploring these principles through the intersection of contemporary digital technologies with antiquated production methods, is where I find immense joy and interests. I take great pleasure in combining the old and new when developing and creating new forms of messaging and image making. These experimental letterpress prints are based on a 5 x 5 grid, they explore basic principles of design such as grid, composition, texture and color through the usage of contemporary modular wood and rubber cast printing blocks, woodblock letterforms and numbers, pencil, and found materials. I find these self initiated exercises of creative play often allow for a more holistic and even purposeful approach to creative problem-solving and form-giving.

@bred_letterpress 61


São Paulo, Brazil

Artist Biography Graphic artist, typographer and letterpress printer. He concluded his studies at Rudolf Steiner, a German school in São Paulo (Waldorfschule) with a course in graphic arts and has a Bachelor's Degree in Visual Arts from Fundação Armando Alvares Penteado (FAAP) and a post-graduation course in Graphic Design from Faculdade Belas Artes de São Paulo. He has a Master's Degree in Education, Art and Culture History from Faculdade Presbiteriana Mackenzie and a Ph.D. in Social History from University of São Paulo (USP). He is currently a Design lecturer at Escola Superior de Propaganda e Marketing (ESPM). He is a founding partner at Oficina Tipográfica São Paulo, a NGO dedicated to researching Brazilian graphic memory, courses and projects in typographic language. His work in graphic design and visual arts focuses on experimental typography. In his atelier Letterpress Brasil, he develops letterpress and graphic design projects.

Description of Process The poster "Letterpress, the language of touch" [70 x 48 cm] was developed to combine the concept of reading Braille with the letterpress language, using the digital font created by Kosuke Takahashi: Braille Neue. The uniqueness of letterpress is due to the relief, the texture of the types and ornaments and the touch of the paper. As it is a direct impression system, the plate touches the paper directly, which can be easily noticed while reading, be it a book or an art piece, either seeing or touching it. Letterpress allows for a rich perception process: reading with your eyes as well as with your hands represents a unique sensory experience. Similarly, reading Braille means using your touch to decode its signs. Letterpress, the language of touch! For this project, the wood types, metal types (plates) and positive/negative plates have been especially designed for the high relief of Braille. The poster was printed with 22 runs with ink for the optimal register of the details and 6 blind runs to create the high relief. The printers used were a Vandercook Universal III and a platen press adapted to large formats. 62


Marcos Mello

Letterpress is the language of touch 18.89 x 27.55 in Letterpress $100


Impressions 12.5 x 14.5 in Letterpress NFS 64


Milverton, United Kingdom

Artist Biography Carl Middleton is a graphic artist, print maker and designer. His work is composed as an on going dialogue, responding to the discipline of typography whilst navigating the contemporary evolution of communication, language and form. His approach to print making by definition is experimental. The intention is to persuasively challenge legibility, interrupt narrative and re-qualify the position and role of the audience. In terms of printmaking he is almost totally self-taught. His process reverse engineers the mechanics of letterpress to distort, reform and represent historical components within a contemporary setting. His printed works span three decades and ranges in scale from delicately composed objects of authority through to large-scale word sculptures. He graduated from Cambridge School of Art with a combined honours (Graphic Arts / History of Art) followed by a Masters Degree (Typo/graphic Studies) from London College of Printing.

Description of Process Fourteen colour, layered letterpress print - printed wet

@carlmiddleton_studiob 65


Amsterdam, The Netherlands

Artist Biography Mister Adam (aka Adam Oostenbrink) is a graphic designer, printmaker, and design educator based in Amsterdam, The Netherlands. From his studio/printshop he is creating multi-disciplinary works for a wide range of clients. Using both digital and analog techniques, his type-o-graphic style is unstrained, colorful, lively and outspoken. Mister Adam has been working for global brands like Nikon, TNT Worldwide and Adidas, but also initiates personal projects that are all about experiment, research, collaboration, and high quality handmade limited editions. His work has been involved in a number of publications and exhibitions.

Description of Process This print is composed with vinyl-cut letterforms and printed on an iron handpress at Grafisch Werkcentrum Amsterdam. One word printed in two different colours, the shape of the letters and the overprint mean to create an overwhelming effect. While trying to read the word the viewer becomes part of the experience. It reads Extase, a beautiful word which means Ecstasy in dutch. 66



20 x 28 in Letterpress $115 67

Go Fake Your Selfie

12.2 x 17.9 in Letterpress and Mirrored Card NFS 68


Lisboa, Portugal

Artist Biography I've always loved words and the visual arts (I'm a writer, a translator, and an ex-proofreader who worked many years in publishing. Also, both of my parents are painters and got me hooked on museums). In a workshop with the lovely Amos Kennedy, in 2012, I discovered letterpress printing and was immediately blown away by it. I started collecting tools and type, and in 2015 I founded Miss Print studio, in Lisbon, to share my shenanigans with others. I've made friends with several experienced colleagues in Portugal and abroad. Although I really enjoy and admire the traditional aspects of letterpress, my only goal is to creatively explore the medium, having fun while experimenting and not caring too much about the rules. I'm more of a silly printer than a serious typographer. A good pun never fails to make me happy. And if I can please the observer's eye while tricking or tickling his mind, I've done my job.

Description of Process In my printing work I always try to explore the medium. Besides the typography there is also topography. I look for interesting papers or create my own. I'm continuously inspired by the different materials around me: maps, old pictures, pages of books, metallic papers, and interesting patterns. They also catapult me into puns, another trademark of my work. I love words and playing with them. And because I work with a very rudimentary proof press I can use any kind of type, paper (or other materials), which gives me the freedom I need to experiment. I'm never concerned with perfection. My goal is to have fun and tickle the observer's mind.


@missprintstudio 69


Ann Arbor, Michigan

Artist Biography Ryan Molloy is an interdisciplinary designer and educator currently teaching graphic design at Eastern Michigan University. His creative work has been exhibited nationally and internationally and he has received several awards including an Art Directors Club Young Guns award.

Description of Process Abracadabra is part of series of work aimed at exploring unique approaches to chromatic typeface design for letterpress. Abracadabra is a 3-color print using 6-line movable wood type featuring gradated lines in different orientations. 70



8 x 8 in Letterpress, Custom Wood Type $25 71


14 x 23 in Letterpress Combined with Inking and Manual Painting NFS 72



El Pinar, Uruguay

Artist Biography Gabriel Pasarisa is a graphic designer and teacher. In 2013 he founded the Letterpress Caja Baja workshop, where he produces graphic work, limited edition commercial works and workshops for students. His professional activity is linked since 1980 with the Graphic Arts and graphic production processes. Founding member of the Association of Professional Designers of Uruguay, ADG / 1993. Member of the executive secretariat of the first Uruguayan Cooperative Press 1990. Author of the first Latin American book on new technologies applied to graphic production "Digital Prepress Manual" Editorial Editia, year 1998. Specialist in color reproduction in print and digital media, he has made presentations and consultancies in national and international companies and universities. Since 1998, he has worked as a professor in the Chair of Printing Techniques of the Graphic Design Career at the ORT University of Uruguay.

Description of Process On Friday, January 25, 2019, following the rupture of a mining dam in the Brumadinho region in the state of Mina Gerais (Brazil), the mud wave devastated everything that was found in its path, leaving to date a balance of 134 people dead and about 200 still missing. This poster was inspired by this terrible news, and is an expressive search through the manual inking of mobile types of wood, playing with the inking just like a painter's brush on his canvas, where he worked on the search for textures expressive that could convey the feeling of the moment. The printing technique used was letterpress and it was printed on a manual hand Proof Press.



CajaBaja 73



Norfolk, Virginia

Artist Biography R-N-R Showprint is a collaborative letterpress and graphic design studio based in Norfolk, Virginia whose principal designers and printers are Ivanete Blanco and David Shields. They have a combined forty-five years of experience as graphic designers, and their interest in letterpress, fueled in good part by the work of Hatch Show Print, turned to practice upon arriving in the Art Department at Old Dominion University. From the sticky smacking sound of the ink hitting the paper to the feel of the smooth shopworn faces of the wood blocks, they find the physical experience of letterpress to be a powerful counterbalance to long hours spent in front of a computer monitor. They are fascinated by the limitations of the letterpress composing process and the unpredictability of the printing surfaces. In developing their letterpress work, they tend to use a good old fashion pencil to begin work, a computer to explore typographic ideas, and then work out all the particulars on press.

Description of Process This is the eleventh print in the Smithville Papers series, inspired by the 1930 recording of "A Lazy Farmer Boy" by Buster Carter and Preston Young. Working from a quick pencil sketch, the print was constructed from the combination of wood type, a large plate constructed of hand cut paint paddles mounted on MDF, and a polymer printing plate made from proofs of lead and wood rules and borders from the ODU letterpress collection. All passes were printed on ODU's Vandercook SP-20 proof press. 74


The Smithville Papers No 11 14.5 x 23 in Letterpress $100



19.6 x 19.6 in Letterpress NFS 76


Brussels, Belgium

Artist Biography Hurt the eyes . minimalist . dots & lines . analog . black & white . vlek . records It used to be that short‚ and still is. But, I would like to go a bit further. To get my hands dirty. To have something in mind and ending with something, slightly or a lot, different. To create grain - texture you can‚ get on a display or with offset/digital printing. To spend hours bend on the press setting up lead types, wood types or brass rules. To feel free and to be in your comfort zone until you go out of it‚ this non-exhaustive list is part of why I feel good with letterpress. Even if. Letters‚Text... That's not what I'm best with. On the other hand, it didn't make sense to me to submit a completely abstract artwork. This is for the Hamilton Wood Type contest, and the word "type" sounded very important to me for the selection of the proposed prints. I've decided to submit three projects that aren't related to each other, but where the use of text is central. Prints where I use fonts/wood letters, even if it's in an experimental form.

Description of Process You need to step back (3 or 4 steps) to properly get it :) I love patterns; I like to find new material to print out and to use on the press (check "HOST" for instance). While I was spending time on the World Wide Web, I saw an art installation made of loose ball bearings. I thought I could use that as a new material to print out. The first idea was to get patterns out of it. Then I realised that if I could arrange them the less random possible (its a challenge with 20K balls) it could be the starting point to create a two tone image in one print run. I aligned them the most I could, taped them on a wood panel and mounted it on the press bed. I had to modify the press and I somehow managed to print a two tone image (here, a text) with the same balls bearing (they all are 1/8"). This is far from perfect and not super readable from close, but I was surprised it worked.

@dimitri_runkkari 77


Chicago, Illinois

Artist Biography Vida Sacic is an artist, designer and educator whose work blurs the distinctions between these areas. Born and raised in Croatia, Sacic moved to the Midwest as an exchange student in her teens. She studied and worked as a designer before returning to school to earn an MFA from Indiana University Bloomington. During her graduate studies, she was introduced to letterpress printing. Her current work explores the ties between process and communication. Sacic actively exhibits in her home city of Chicago. Other recent exhibit venues include City Museum of Varaâ‰ˆĂŚdin, Croatia, DeVos Art Museum in Marquette, Michigan, Hamilton Wood Type Museum in Two Rivers, Wisconsin and The Center for Book Arts in New York City. She is an Associate Professor of Art at Northeastern Illinois University in Chicago, where she serves as the primary coordinator and author of the Bachelor of Fine Arts program in Graphic Design.

Description of Process This is a limited edition poster printed using wood type on a Vandercook printing press. The design was created in stages. I printed the Balloon typeface first. It was hand inked, using a brayer. This technique allowed for an uneven inking, at times reminiscent of a split-fountain inking technique. Once printed, I photographed the type. I then used InDesign layout software to plan an arrangement of gothic type that would create another spatial layer in the poster, dominating with a stark, black contrast. To achieve an even black, it was inked using the press cylinder inking system. Finally, I introduced the red circles as a compositional device. They are printed using Montgomery Ward Red ink by Fred K.H. Levy company, labeled as expiring in August 1963. It is a very special shade of warm red. The paper used is Vandercook proofing paper. It is very thin and it picks up the subtleties of wood type grain and texture. It is over 30 years old. My goal was to create a composition that has an inherent tension, challenging the reader to construct and break the narrative statement and engage with the poster, looking at it as it gazes back in return. 78


Vida Sacic

Close Your Eyes 12 x 19 in Letterpress NFS


To The Whites: Muffled Pines & Gusting Winds

18 x 28 in Metal Ornament & Border Rule, Carved MDF Board, and Carved Maple Plywood NFS 80


Landenberg, Pennsylvania

Artist Biography Lindsay Schmittle is the owner and operator of Gingerly Press, a letterpress design studio working primarily with handset type in Eastern Pennsylvania. Gingerly Press creates colorful & modern paper products inspired by Lindsay's adventures in the outdoors and a celebration of the oldschool handset letterpress process. While Lindsay designs and prints the Gingerly Press product line, dabbles in teaching letterpress workshops, and designs & prints custom paper products for happy couples and small businesses, her most recent passion project is called The Printed Walk: Georgia to Maine, a letterpress-printed chronicle of her 2017 Appalachian Trail thru-hike. The project has pushed Lindsay out of her comfort zone on multiple levels, most notably being to loosen up and think more as a fine artist for the series, than as she was formally trained as a graphic designer with a BFA in Visual Communications at the University of Delaware.

Description of Process These prints are two consecutive posters of the 22 designs created for The Printed Walk: Georgia to Maine, a letterpress-printed chronicle of my 2017 thru-hike of The Appalachian Trail. Each poster in the series represents a moment experienced within a 100-mile section of the 2,190-mile trail, with these two prints representing the sections leaving Vermont and hiking through the White Mountains of New Hampshire. The red half dome ornament represents my tent tucked away among the dense pine forest that muffled all surrounding sounds, and the red sideways capital "I" depicts me flying off the mountainside from gusting winds above tree line. Both illustrations use exaggeration, one of scale, the other of storytelling, to garner respect for the vast scope and power of nature and the humility experienced when immersed in its enormity away from civilization.


Gingerly Press 81


Gent, Belgium

Artist Biography Stéphane de Schrevel is a seasoned typographer based in Ghent (Belgium, Europe) specializing in the fields of book design and working for various cultural institutions and publishers. Whilst studying Typography at the University of Plymouth (Exeter, UK) he discovered the craft of letterpress. This once considered an obsolete practice shaped his personal design process and left its mark on his approach to book design. In addition he teaches typography at KASK / School of Arts (Ghent), where he passes on his contagious obsession with letterforms (wood, lead and digital) in any context. He also regularly runs workshops in Europe. Stéphane is fond of cats, dislikes justified text alignment and finds a bit odd to write about himself in the third person.

Description of Process Poster for 'Dada ist 100', an itinerant exhibition celebrating the 100th anniversary of the Dada movement.

Stephane de Schrevel 82

Je Suis Dada

15.75 x 31.5 in Letterpress NFS 83

Lunar Cycle 13 x 20.5 in Letterpress NFS 84


St. Louis, Missouri

Artist Biography Madeleine Underwood is a student at Washington University in St. Louis, where she focuses on book-binding, printmaking, and other craft-based processes. She is currently working on her capstone project, and planning for the next year.

Description of Process This poster was made during the 2018 Typographic Summer Program with Dafi Kßhne in Näfels, Switzerland, where we were tasked with creating a poster that advertised a cultural event of our making. "Lunar Cycle" is a cycling festival centered around the lunar eclipse that occurred on July 27, 2018; the laser-cut circles represent the changing phases of the moon, while the hot-metal type on the border is reminiscent of a bike path. The poster was printed on dark gray paper to indicate a nighttime event.

@mmmunder 85



Indianapolis, Indiana

Artist Biography Tom Walker has been a professional designer for over 25 years. He has also taught at the university level for a decade. Printing has alway been a part of that professional practice and teaching. Walker is now doing more personal artistic and job printing after assembling a modest personal collection of type and a few presses over the last several years. Other recent print work and workshops have explored themes of ornament and pattern. Through a life in design I've also been intrigued by the technical aspects of printing, the engraved image, stamps and currency. I am particularly fond of the extraordinary security printing on paper currencies and have been thinking about project work involving fictitious security printing I can create using elements I already have in the studio.

Description of Process For this particular print I'd been eyeballing a dirty, beat up assortment of expendable braces in different lengths (and thicknesses), some brass, some type metal, from 3 picas to 24 picas. I wasn't sure if they'd print or if I should just scrap them. A very stout impression indeed was needed. Fields or columns of braces were arranged as groups or a single column on press and hand rolled with different color blends. After the first printing a proof was cut out as a template or guide for the next group(s) of braces to be set and spaced. Through proofing braces were adjusted as desired. Sheet was gripped from both ends to minimize tail wagging. 86

Stratal the line 13 x 21 in Letterpress $100


Glitch #6 15 x 22 in Letterpress NFS 88


Athens, Georgia

Artist Biography Eileen is a Senior Lecturer in Printmaking and Book Arts at the University of Georgia and a former resident artist at Penland School of Craft. She has taught workshops at Penland, Haystack Mountain School of Crafts, and at other venues across the country. Eileen is a co-director emeritus of the Paper & Book Intensive (PBI) and has been a board member of Hand Papermaking Magazine. She curated the book Masters: Book Arts published by Lark Books in 2011.

Description of Process This print was created by repetitive and overlapping printing of 2 point lead rule with a hairline face. The rule is 24" long and I assembled approximately 275 individual lengths to create just under 8" of width. By moving both the rule and the paper incrementally and with subtle angle shifts of both the rule and the paper guides, the paper is run through the press between four and eight times to achieve the moirĂŠ pattern glitches across the surface. No two prints are identical.


Eileen Wallace 89


Nashville, Tennessee

Artist Biography Cory Wasnewsky is a printer, designer, and bookbinder currently based in Nashville, TN. He was born and raised in Pittsfield, MA. He earned his BFA in Book Arts from Montserrat College of Art in the spring of 2014. In October 2014 he moved to Nashville to join the Hatch Show Print family where he prints, designs, and maintains and repairs the presses. After hours he works under the business name of Three Cheers Press, where he puts his printing, designing, carving, and bookbinding skills to use creating personal work, as well and designing and job printing for clients.

Description of Process This is part of a body of work titled Instrumental, which is a collection of instruments printed using wood type, metal type, and other printing elements. The type may be printed upside down to achieve a solid square or shape, or in combinations of specific letterforms to mimic the defining characteristics of each instrument. Each print uses multiple layers that may be inked either by hand or press, depending on the needed effect. A number of techniques are used to create curves and angles in the typesetting to mimic the instrument as close as possible. By printing off of ready made blocks, there is a natural abstraction that occurs in both the image as a whole, and the individual letterforms. 90



18 x 24 in Letterpress $150


Angle Chase No. 1

8.5 x 11 in Letterpress and Isotype Printing NFS 92


Denton, Texas

Artist Biography David Wolske is a typo/graphic designer, artist, occasional writer, and frequent educator. His hybrid practice investigates the spatial and temporal implications of language-based visual communication. Wolske’s work is exhibited and collected nationally and internationally. The College Book Art Association awarded him the 2018 Emerging Educator; he was the 2016 Visiting Artist at the world-renowned Hatch Show Print; and a 2014 Utah Visual Arts Fellow. Wolske is currently an Assistant Professor in the College of Visual Arts and Design at University of North Texas.

Description of Process This series expands the possibilities of the experimental "isotype" printing method I developed. I used a Cricut Maker to die-cut circular cylinder packing and masks. Combining the customized packing and masks allows me to isolate typographic components to create abstract imagery that reimagines antique wood type.


@david.wolske 93


Birchington, United Kingdom

Artist Biography Babs Jossi and Paul Crawley are graphic designers who run a design studio that specialises in letterpress in the Kentish seaside town of Margate. Work & Turn Collective is a culmination of years of collecting and obsessing over all things typographic and a place where like minded individuals can share their passion for print. Babs and Paul also teach graphic design, illustration, typography, printmaking and photography to students in further and higher education. They have an extensive collection of metal and wooden type, presses and print related paraphernalia and are passionate about celebrating and preserving the art of letterpress.

Description of Process The third in a series of six posters developed in response to El Lissitzky's seminal book 'For the Voice'. This poster embraces the visual language of the Dada movement through its use of layout, colour and scale. The poster uses a range of wood type, ornament, blocks and found objects in homage to the principles of early modernism. In the production of this poster there has been careful consideration of the printed surface onto an off-white recycled paper stock and the use of fluorescent printing ink to communicate a contemporary edge. This poster was printed on a Western 4 Mk II press with the metal type printed in Grotesque. 94



14 x 19 in Letterpress $77 95


24 x 35.4 in Letterpress Printed with Old Traditional Chinese Types from Old Newspaper Press in the 70s NFS 96




Artist Biography Typesettingsg began as a personal project aimed at preserving and promoting traditional letterpress art in Singapore, with a focus on the use of movable type in all printings. Founder Sun Yao Yu is a traditional letterpress educator and a member of the International Association of Printing Museums. Typesettingsg was established in 2014 as an educational studio to share the history of letterpress printing with the community. Yao Yu also conducts letterpress typesetting workshops and letterpress talks, and rents his studio presses to individuals or communities interested in learning about letterpress and its history.

Description of Process Printed from a collection of vintage types used from the early 70s in Singapore and some modern casted Chinese types. The design was inspired by the Chinese language, the huge amount of unique characters and how they are classified. Characters with similar strokes are group together to form a path like how we get to know friends of the similar interest, the empty space is filled with smaller types, from a distance it gives an impression of a city. Printed with 80gsm Recypal paper.


@typesettingsg 97

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