It’s allergy season in Seattle, which has unfortunately knocked me out at times, delaying some of the work on the book, keepsake, and other projects. Nonetheless, things are moving forward, and I’ve made decisions and am proceeding towards a final design, binding choices, and the rest.
- The keepsake. I’ve decided on what it will be: a setting of Walt Whitman’s “A Font of Type,” a poem from 1888 that has a lot of resonance in his life, as he started work at age 13 apprenticing as a typesetter. I created a design, but after consultation with my mentor, am reworking it entirely from a small poster into a folio, or a folded sheet. The book design is a gating item at the moment, to get plates made for printing, which will push the keepsake design finalization and printing back into late May or possibly into June.
- The book’s type and interior. I tested out some type choices and sizes by having a photopolymer plate made and then printing on the paper stock that I’ll use in the book on the press at SVC that I’ll print all the interior pages. Learned a lot that informed the design choices and how I’ll make and integrate illustrations.
- The book’s binding. Jules Faye will be binding the book. She has a long and wonderful history with printing and bookbinding, and we’ve met twice to talk options and budgets. We’ve settled on a format that will expose some of the stitching and binding methods in an attractive and functional way.
- Unrelated, a business card. This is a project I’m doing in the one letterpress class I’m taking this term, learning to use the Chandler & Price platen press in the SVC studio. The card’s front uses a digital face created at Hamilton Wood Type Museum that’s chromatic: it has multiple elements designed to be interlocked and overlaid that may be printed in different colors. It's something used commonly with wood type to great advertising effect. On the back, I’m setting in metal using a chromatic telephone that an instructor identified in one my photos: it's a dial phone that is designed as two separate pieces of metal type that neatly intersect. I'll also be used some ornaments and handset type.
One of my goals with all the printing projects underway, especially the book, is to be sure that my printing skills are good enough to achieve the level of quality and competence required. I carved out a particular set of parameters with the book to make sure that it would be both an interesting piece of work but also be achievable for me to print without years of training. The longer I print, the more nuance I’ll gain, plus I keep re-learning things that I lost the muscle memory and detail for in the past. Lots of knowledge and half-learned bits of practice keep bubbling up, both in the letterpress side and in designing the book.
My mentor, Jenny, is keeping me honest: if I get underway with the book, and it seems like I can’t print as well as I need to, we’ll hit a pause button while I get more practical work under my belt, and I’ll inform everyone of delays. I’m not going to go to all this effort and with all your trust and produce something that’s subpar.
Learning to use these presses involves both very few variables and a million ones. The proof presses that are the workhorse of modern letterpress weren't designed for production printing. They were designed to let press operators pull proofs of work in progress and test out printing. This means that elements like the set screws that lock in ink rollers to keep them a precise height to layer a film of pigment on type and other material in the bed of the press shift even when you've done everything right, over inking or under inking pages, and if you're not attentive and don’t stop, recalibrate, and continue, you could wind up with a rash of bad work.
I know all the coarse aspects of the press, which are few: How to lock type and other elements properly in the bed. How to pack the tympan, the padding that underlies the paper as you pass the paper over the material to be printer. How to set roller height. How to apply ink. How to oil the press to keep it in fine fiddle.
But I don’t have a deep bench. I've put in tens of hours on press in the last few months, not hundreds. I don’t want to print as an amateur, even as I know I lack the full experience required to print expertly, which means being able to respond to all the variables, troubleshoot them, and proceed within the range of quality required.
Fortunately I’m being backstopped by Jenny, Jules, and others in the community providing insight — and moral support.