Monthly ArchiveSeptember 2014
Studio projects Tuesday September 30 2014 01:30 pm
Saturday, September 28 - Creative Letterpress workshop with the Delaware College of Art & Design. This was the first of the new series of meander books entitled “All I know is…”.
. . . OCTOBER
Friday - Sunday, October 4-6 - Oak Knoll Fest XVIII. We will have a table and will be introducing our 2014 Tour de Lead Graffiti clamshell box edition and a new book series entitled Moments Carved in Paper.
Saturday, October 11 - Graw Day. Havre de Grace, MD. We will have a table and are bringing our Vandercook SP15 where we will be printing posters with spectator participation.
Sunday, October 12 - Lancaster Letterpress Printers Fair. We will have a table.
Monday, October 13 - Jim Moran, Museum Director at the Hamilton Type Museum in Two Rivers, Wisconsin will be in the studio.
Monday, October 13 - 20 - Virginia Green, letterpress printer and professor of graphic design at Baylor University, will be in the studio for a week of impressions, thoughtful discussion, and workshop ideation.
Saturday, October 18 - Philadelphia University typography class with Rose DiSanto.
Saturday, October 25 - Philadelphia University typography class with Laurie Churchman
. . . NOVEMBER
Saturday, November 8 - Philadelphia University typography class with Eric Karnes
Studio projects Wednesday September 17 2014 11:30 am
We’ve been basing our Creative Letterpress workshops on a line starting with “Once upon a time…” which the students finish. Some instructors provide a theme, but generally most go with “Once…”. We’ve decided to change the line each year and the Delaware College of Art & Design is the first where the line will start with “All I know is….”
Our plan is to provide an image of the lockup and broadside image of each of these workshops. Hopefully, students will take the opportunity to look at a few of these and get themselves better prepared for the workshops before they come.
Anyway, this is DCAD’s first shot at the new text.
Above you can see the lockup for the 2nd color on the left and the final, 2-color broadside on the right. You can click on the image and see it double sized.
On the broadside on the right the 1st and 3rd rows have been rotated to orient all of the pages the same.
We expect to evaluate the results of each workshop which might help us do the workshop better each time, maybe give the students who did the workshop some food for thought, and to help future participants.
We are often surprised that students can actually find some things in our studio. We have about 600 cases of metal type, wood type (both in fonts and as orphans), dingbats, borders, and brackets. Some fonts have only the basic letters, numbers and punctuation. A few have parentheses. Fewer will have an asterisk.
Note that W in the upper right with that single long “serif” sticking out of the bottom. There are actually a number of typefaces that utilize this, but this is about the only one we have with it.
Another thing which we always love is the mixture of typerfaces that students will often put together. Most of the time the general rule in design classes is a maximum of 3 typefaces per page. Often students in this workshop will use more typefaces than that in a single word.
We want to write an entry for our blog about favorite typefaces. I’m sure it has happened because of letterpress, but having the notion of the perfect typeface for the perfect job doesn’t work very well for us as well any more, especially if there is a theme or concept associated with the piece. If we were just going to typeset a novel with pages of simple text we would be more apt to pick a typeface that had specific qualities, but when doing work where we have control the value of one typeface over another seems to follow a different set of rules.