Introduction to Letterpress

Wednesday 2nd October: Introduction to Letterpress

Letterpress is a direct relief print method, meaning that a design is printed by transferring ink from plate to paper.
The group were each given a verse from the Lewis Carroll poem; Jabberwocky. Keen Children’s Literature readers, both Stephine and I were aware of the poem and its author, so chose to work together on the task.
“Jabberwocky” is a nonsense poem written by Lewis Carroll about the killing of a creature named “the Jabberwock”. Included in his 1871 novel Through the Looking-Glass, and What Alice Found There, the sequel to Alice’s Adventures in Wonderland. The book tells of Alice’s adventures within the back-to-front world of Looking-Glass Land.


In The Life of Lewis Carroll (1932), an early Carroll biographer, Langford Reed, stated: “Charles Lutwidge Dodgson (Lewis Carroll) was an individual who, through his rare and diversified literary gifts and power of communication, left an indelible mark upon the imaginations of children and adults both during his generation and in generations to come.”

With the original of the poem being Victorian and Reed’s use of the words “indelible mark” in mind the tactile quality of letterpress seemed very appropriate. We didn’t stop there, having access to more than 50 fonts at UWE’s proofing press room Stephanie and I came up with the idea of mixing the fonts to emphasise the disjointed imagery in the poem. Below you can see our result in the first stanza compared to the uniform font in the stanza below it.


Executing this effect took a lot more thinking than originally expected, but also lead to more ideas forming. Firstly, we discovered “typesetter”, setting letter by letter and line by line had to be done upside-down to make sure the type was backwards in a composing stick, a mechanism which holds several lines, so the print is correctly orientated on the paper when transferred. As a result, we had to ensure we chose font types of the same size to sit firmly in the composing stick. We choose 24pt, which was slightly less than the 30pt originally recommended by our technician to give us more space to manipulate on the final image. We generated our font choice at random, again to emphasis the impression of chaos and unconformities of Wonderland. Selecting by blindly picking from three fonts meant we had to record a number to each letter and character, mapping our result to return the fonts correctly at the end. Apart from the start of each line, capitalisation we also selected at random by adding a dot to a number in our blind selection. We considered the use of irregular spacing, but this caused too much white space and overly disrupted the readability of the stanza creating a river of white in the text, a serious consideration that has to be thought over in any letterpress task. Instead, the decision to add additional spacing before the word “shun” as if shunned away, worked well.

However, we also reflected that the character of Alice at this point in the novel is in the “back-to-front world” sparking the idea to purposely reverse and capitalise the “C” in “catch” to look like the letter is trying to catch the “cat” part of its full form, and the misspelling of “claws” with a “K” as this letter is a sharper form than a “c” indicating sharp, dangerous claws of the Jabberwock.



The type of depth is dependent on the paper. Typically Letterpress papers are thick and soft to allow the type to create a deep impression, which gives tangible evidence of the printing process.
Maximal control over the quality of the print is apeling, many of our group seemed to like letterpress for that. I found the method of compositor gradually to build out the text of an individual page letter by letter difficult and brian taxing. The risk of “furniture” popping out violently from the press scared me in honesty. What I did love was the colours are true and vibrant, and the lines are sharp. Digital printing is done by accumulating groups of small dots to produce the image. While the resolution of the dots is usually small enough that the resulting print looks “close enough,” we can see the difference, especially when viewed side by side.
Dark ink on a light paper gives the best image. Inks are translucent, and the paper colour will show through. For light colours on dark paper, foil stamping or engraving should be used instead of Letterpress. Building up the colour density of a specific colour can be achieved with Letterpress pieces run through the press two times using the same colour, but again this is a risk on registration moving. However, the risk is the lowest in all our manual print techniques thanks to the methods and mechanisms involved.

The chances of using Letterpress outside of UWE is debatable. Presses are being discarded by commercial print shops and becoming affordable and available to artisans throughout the country. There is currently a viable sales market for this form of print.
“Letterpress publishing has recently undergone a revival in the USA, Canada, and the UK, under the general banner of the ‘Small Press Movement’. Renewed interest in letterpress was fueled by Martha Stewart Weddings magazine, which began using pictures of letterpress invitations in the 1990s.” (Pertwee, 2019)
I do think I will be using this form as publishing and illustration are hand-in-hand. Learning this process has helped me think more about page layout and text as a part of the illustration itself. More investigation on my part is needed.
I do understand this process a lot more now having used it form myself, and I better appreciate the use/effectiveness of the text.

We also had a chance to use the Albion press, which is an early iron hand printing press, designed and manufactured in London by Richard Whittaker Cope around 1820. It works by a simple toggle action. Originally used for commercial book-printing until the middle of the nineteenth century, now it is mostly artisans who use them for proofing, jobbing work and by private presses for art projects.
I thought it might be fun to use the woodblock letters to help me start a poster image for the 1976 science fiction film Logan’s Run. The showdown scene between Logan 5 and Francis 7 always reminded me of 19th Century American Western genre, so, I chose the Slab Serifs font mixed with the smaller LHF Becker font to reflect that drama visually. I plan to use the large “0” to represent the tunnels used to flee the city in the film. Logan’s Run explores utopian and dystopian themes. The 1970s were dubbed the “Me Decade” by writer Tom Wolfe. An important concept expressed in the film is “the dangers of hedonism” (Wolfe,1976), meaning youth worship. Sexual freedom and seeking pleasure or luxury at whatever cost of the 1970s has also reflected in the current social demographic term “Millennials”. I’m interested in exploring this link and what effect hedonism has on a cohort of people.

Print Process Collagraphy

Collagraphy (sometimes spelled collography) is a printmaking process in which materials are applied to a rigid substrate (such as paperboard or wood). The word is derived from the Greek word koll or kolla, meaning glue, and graph, meaning the activity of drawing.

The plate can be intaglio-inked, inked with a roller or paintbrush, or some combination thereof. Ink or pigment is applied to the resulting collage, and the board is used to print onto paper or another material using either a printing press or various hand tools. The resulting print is termed a collagraph. Substances such as carborundum, acrylic texture mediums, sandpapers, bubble wrap, string, cut card, leaves and grass can all be used in creating the collagraph plate. In some instances, leaves can be used as a source of pigment by rubbing them onto the surface of the plate.

Different tonal effects and vibrant colours can be achieved with the technique due to the depth of relief and differential inking that results from the collagraph plate’s highly textured surface. Collagraphy is a very open printmaking method. Ink may be applied to the upper surfaces of the plate with a brayer for a relief print, or ink may be applied to the entire board and then removed from the upper surfaces but remain in the spaces between objects, resulting in an intaglio print. A combination of both intaglio and relief methods may also be employed. A printing press may or may not be used.

My attempt is part of my FMP. It is an illustration of a butterfly wing.