Letterpress: Sorting it Out
The session that I was booked in for would be my last chance to use Letterpress for this project, so I had to seriously plan for the printing that I wanted to do beforehand. I had three main ideas in mind with the concept of time as my springboard; I was attempting to give Letterpress some form of modern identity, showing how it is better than a lot of simpler, digital methods that we take for granted today; these ideas involved ‘Letterpress Est. 1440’ (playing on the modern identities like Abercrombie & Fitch), ‘Press VS Digital’ (an idea that I previously experimented with), ‘571 Years and Still as Bold’ (showing how Letterpress is very much alive today, boldness in nature, and playing with the typographical idea of type boldness), and finally, ‘Perfect Type’ (this does not have an obvious meaning when said, but this idea relates to how digital media is in fact superior in some ways, as Letterpress can never be perfect – contrasting the other ideas of mine).
I had learned from my previous session in the Printing Room, that the Roller Press achieved a better quality, more consistent print – whilst the Pressure Press may be superior for producing more stylistic work. Although other people I believe were more experimental with colours, paper and masking – I feel that for my brief and set of ideas I had to produce sets of black-on-white prints, considering how I was looking into the age, quality, and bespoke nature of Letterpress – and black-on-white was, in my opinion, the best method in which to show this.
I felt that my time management of the session was effective as I had enough time to spare, managing to produce three sets of work, set up my printing stations, and clean up within the time given. Letterpress is always an exciting method of producing artwork, and as I have said on my previous Letterpress post, I look forward to using this aged technique in the future.