Jilleen and Jake were looking for a laid back invitation to mirror their elegantly casual wedding which would be held at Southall Eden, a stunning rustic venue in Franklin, Tennessee. The bride had a strong vision of what she wanted, most notably the addition of watercolor to tie in with other design elements used throughout her wedding.
The details made this invitation suite so fun for me, as the stationer, but also so unique to guests. It was so fun to splash each invitation with a unique watercolor splatter, paint each envelope liner with an ombre watercolor finish and even dip dye the twine used to tie up the whole package.
I’m new to the craft fair circuit, and haven’t felt ready to tackle one on my own, so it’s been great that Melanie of Grey Moggie Press, Sarah of Fancy Seeing You Here, and I team up on some bigger fairs, like Crafty Bastards this weekend. Crafty Bastards is an indie craft fair presented by Washington City Paper, meant to “promote underground art and strives to connect the voice and vision of the indie craft community with our readers.” It was an energetic atmosphere, and all of the artists and craftspeople were amazing, and I was honored to be among them.
It was a busy day that went by far too quickly, but it was awesome to get to meet customers, and see reactions to my work, which I often miss out on selling through the online marketplace. Here’s a few photos from the day.
A view of a side table
My yoga prints and Grey Moggie Press’s DC prints front and center
A collection of Christmas cards from Fancy Seeing You Here, Grey Moggie Press and Lennah Press
I started letterpress printing in May 2009, and as you’ve read in previous posts, I was absolutely hooked. It didn’t take long before I started dreaming of purchasing a press of my own. I realize now just how premature that was, especially considering that this was before I even knew about resources like BriarPress or Boxcar, so I went to, you guessed it, Craigslist. Oddly enough, within a few weeks of casual searches, I found an estate sale in nearby Arlington where they were selling a tabletop press, type and lots of other old letterpress goodies. On the day of the sale, Jason and I snuck away from work for the afternoon to take a peek, and so, I was introduced to the jarring reality of what it means to have a letterpress studio of your very own.
We walked into the old house and I scanned the room for the press. I couldn’t find it anywhere, so I asked a woman who seemed to know what she was doing, and lo and behold, the press and all the rest of it were in the basement! We walked down the creaky wood stairs and there it was. I had never seen a tabletop press in person. Internet searches had made me vaguely familiar with names like Chandler & Price, Kelsey and Adana, but had never seen this kind before. It was a 3×5 Caxton C&M, a brand I had heard nothing of at the time, and to this day! It was $900, and naive me was completely ready to buy it. It was a press, it was right in front of me, and it was less than $1000…how could I let this opportunity pass me by? Thank God Jason was there and talked me out of it. I know now that if I had purchased it, I would have pretty much been limited to printing business cards which are nice and all, but I enjoy a little bit of variety. He dragged me out of there, not before I purchased a dusty old type specimen book that I have to keep in a box outside because it’s mere presence makes me sneeze. And the search continued.
I wised up just a bit, and started checking the classified section of BriarPress for a tabletop press in the DC area. Turns out they don’t exist…or didn’t for the 8 months that I searched. Then I got an iPhone, and checking for presses became an obsession. I looked constantly, and emailed anyone selling a press from here (Virginia) to the Mississippi. Months went by and I became more desperate and more determined. One night in April 2010, Jason and I were watching something on TV (probably Bones because I wasn’t paying attention and instead tweedling away on my phone) and I saw an announcement on BriarPress that their servers had gone done due to massive storms in the Northeast. Fate made me check again a mere 30 minutes later (it must have been the heavens opening and angels singing that prompted me) and I clicked on a just-listed 6.5 x 10 Chandler and Price Pilot for sale outside of Boston. I responded as quickly as I could, and then the owner responded. I was the first, so she would sell the press to me!
As Jason and I made the long drive from DC to Boston, I truly felt it was meant to be. I had emailed so many people, responded to so many listings and was always met with the same answer – it’s sold, you’re too late, sorry. That was becoming my expectation, I was almost in denial that I was so close to finally having my own press.
When we arrived, it was more than I could have ever expected. The wife (the letterpresser) told me how when she bought her first press, the generous printer had given her enough equipment to start a fully functional shop, and she wanted to repay the favor. Believe me, I will do the same when it comes time for me to sell my press. So they gave me type, furniture, tympan paper, and entire California job case. It was unreal. Although it felt like I had reached the finish line, this was only the start of my journey with my new press.
About to buy a Press? Here’s a few tidbits:
1. Contain your excitement. Don’t let your excitement or wallet get the better of you. There will be broken presses for sale out there, and their price tags will be very enticing. Unless you are ridiculously good with machinery and/or tinkering, don’t do it, just don’t. Believe me when I say that there are few things in this world more frustrating than manhandling a 60-year-old machine into working order.
Of course it’s your call, but I’d advise against purchasing a press on eBay or any other source where you don’t get to see the press in person or meet the previous owner. There are just too many variables in this scenario that could go wrong. Once you find the press that you want at the right price from a reputable seller who knows that it’s in working or close-to-working condition, go for it.
2. Presses are old. Letterpress printing as a profession is quite old, thus, so are the presses. Most of them are made of cast iron, and believe it or not, cast iron is very fragile. Fragile and unbelievably heavy. If you’re purchasing a press, come prepared with muscles and a dolly. My press easily weighs 250 pounds, and thanks to the mechanisms that make it work, it’s very awkward (and stress inducing) to pick up and move.
3. Have a stand.
Be prepared with a stand unless the press you’re purchasing is already mounted to a cabinet or table. I originally bought a huge workbench from Costco because supporting the 250lbs of the press was my biggest concern. I highly recommend against this. Workbenches are generally too high and too big for the purpose of printing. Now, older and wiser, I just bought and assembled a kitchen cart, the IKEA Beckvam, on the recommendation of many BriarPress users, and I’m very happy with it. It’s sturdy, supports the press, and is the perfect height for printing.
4. Be realistic. Know that you won’t be able to print right away. Oh what I wouldn’t have given to know this. I got home, got the press all set up, threw on my new Boxcar apron, inked the press up and tried to print. It was with much sadness and frustration that I realized that moving the press knocked the platen out of alignment, and I was going to have to fix it.
Come back soon, I’ll get into planarizing the press!
This is a post I created for my previous blog, but since I’ve received good feedback, I’m posting it here as well. Enjoy!
I’ve found that color matching is one of the more difficult aspects of letterpress printing, so I’ve compiled what I’ve learned about mixing PANTONE colors to help you out!
Prior to mixing ink, there are a few things you need to keep in mind:
Before you can even think about mixing a PANTONE color, you must have a squeaky clean press. Even the slightest trace of color from a previous run will alter the color that you labored to create.
Another consideration prior to mixing is the color of the paper on which you’ll be printing. Letterpress ink is transparent by nature, so the color of the paper will affect how the ink appears to the human eye.
You’ll need all of the colors necessary to create a PANTONE color. These are: Red 023; PANTONE Black; Blue 072; Green; Transparent White; Orange 021; Process Blue; Purple; Reflex Blue; Rhodamine Red; Rubine Red; Violet; Warm Red; Yellow; Printing Black; and Opaque White. I bought my set from Boxcar Press, and they should last for decades.
One last pre-mixing consideration is that PANTONE ink formulas are meant for offset printing, not letterpress. In offset printing, a thin layer of ink is laid on the paper, whereas in letterpress, the ink is physically pressed into the paper. Therefore, letterpress lays down a thicker layer of ink than offset, but the ink itself is generally more transparent. What does all of this mean? I hate to be a Debbie Downer, but you’re not a machine, so you’re never going to have the perfect Pantone color…but it’ll be close!
Now that you’re aware of the pre-mixing considerations, let’s get to mixing some ink!
First you need a scale. I bought an Ohaus scale off Amazon, it came highly recommended by a letterpress instructor from Railway Station Press, where I took a letterpress class a while back. This is an ideal scale because it measures small portions down to the decimal, and can be zero-ed out. I place a piece of aluminum foil on top of the scale so that I can measure the ink without ruining the scale, then zero it out. This way you’ll get an accurate reading on just the ink proportions.
Refer to your PANTONE Uncoated Formula Guide for the color you’d like to create. Look for the “parts” that make up the color, that’s the text right below the swatch. For the purpose of mixing ink, substitute parts for grams.
Start with any of the colors, skim the top of the ink and drop a dollop onto the foil. Keep adding or subtracting ink until you reach the parts/grams that you need. Scrape the ink off of the foil and onto a flat glass or granite surface, making sure to get every last bit! Repeat this process with each of the ink colors required to make your Pantone color.
Once you’ve measured out all of the colors, use the glass or marble slab to mix with an ink knife (you can also use a putty knife). Scrape and mix thoroughly, and you’re done!
I like to make my colors prior to printing, so I scoop them into airtight containers, using masking tape around the edges for extra protection. Since I have the memory of a hamster, I write the PANTONE color on a mailing label and stick it to the container so that future me has the option of looking it up, and there you have it! PANTONE letterpress ink.
1. Choose your PANTONE color. I chose PANTONE 207U because I’d like to print my “Hip Heart You” cards to be a perfect match with some deep red envelopes that I have on hand. 207U was about as close as it gets!
2. Measure your ink substituting grams for parts. I started with 14 grams of PANTONE Rubine Red
3. Measure all ink colors required to create the PANTONE color you’ve chosen.
4. Mix that Ink!
5. And here it is, PANTONE 207U…ready for printing!
Wikipedia describes letterpress as “relief printing of text and image using a press with a “type-high bed” printing press and movable type, in which a reversed, raised surface is inked and then pressed into a sheet of paper to obtain a positive right-reading image. It was the normal form of printing text from its invention by Johannes Gutenberg in the mid 15th century until the 19th century and remained in wide use for books and other uses until the second half of the 20th century.” In a nutshell, letterpress printing presses type/image into the paper, whereas conventional printing lays ink flat on the surface of the paper.
Letterpress may have started in 1440 AD, but for me, it started in 2008. I had been working as a corporate graphic artist for a few years and reached a crossroads – I wasn’t happy in my job, and I wanted out. I researched my options and decided that a Masters in Graphic Design was the only cure, so I started trudging down that path. But before making the leap, there were two things that I felt I needed to do. First, I wanted to build my portfolio. And second, I needed to try taking a graduate-level class while working full-time to see if it was feasible for someone like me (meaning someone who can’t live without a good night of sleep.) So I signed up for a typography class at a local university in the hopes of attaining both of those goals, but unbeknownst to me, began down a completely different path.
The syllabus required “A Typographic Workbook” by Kate Clair. The cover of the textbook showed type locked into a chaise with furniture and quoins. At the time, I remember thinking that it looked cool, I had no concept of how deeply in love I was about to fall, or how painful it was going to be.
No more than a week in to the class, I realized it was going to be far more work than I had bargained for. I quickly found myself overwhelmed with working full-time, attending class twice a week, and completing all of the projects in a way that wouldn’t get me ridiculed in front of the class by our notoriously tough professor. It was a trying time, and I toyed with the idea of dropping the class daily. Tears were shed, “I can’t do this” was said, and many a good night’s sleep was neglected, but I kept going. Don’t get me wrong, I hated every minute of it. But the one thing I found myself looking forward to was our reading assignments, and the history of typography.
Graphic design began with early humans painting in caves, although the term “graphic design” wasn’t coined until the 1920s. But for a typophile like me, it began in 1440 with Gutenberg and his printing press. I had never put much thought into the inception of graphic design before this class, but as I read, I found that it was as interesting to me as any novel. So I googled. And I discovered that there’s a new generation practicing letterpress, albeit not in the way that it was originally intended, but as an art form. I knew then that I had to find a way to at least try it.
I was initially drawn to letterpress by its history. As a graphic artist an amateur photographer, I have a tendency to get wrapped up in the newest gadgets from Apple and Canon among others. Using archaic type and machines that were 50+ years older than me was out of character, but irresistible. I googled some more, took a class at a local studio, and so it began. I was hooked. (And I dropped that graduate idea like a ton of bricks.)
I’ve been a letterpress printer for 3 years now. When I print, I feel a deep connection to the past, and to those in my field before me. Aside from the history, I love the tangibility of the process, and of the finished product. For a girl who graphically designs in front of a computer all day, I can’t tell you how good it feels to manually arrange individual lead and/or wood letters into something beautiful.
Welcome to the new Lennah Press web site! Let me take a moment to introduce myself. I’m Deirdre, the owner, designer and printer of this little letterpress shop, located in Northern Virginia. Please take a moment to look around, and feel free to contact me anytime at firstname.lastname@example.org