Now, I designed it small, and my mentor was rightly concerned the tiny details of stars (inset and printed) wouldn't come through. I thought that was okay, because the brain fills in details, and except for designers and printers putting their nose up the cards, people would perceive the bits as stars because that's what they expect. I learned quite a bit about the limits of registration (lining up multiple passes) and overinking on a platen press, and my next job on a platen will be so much the better for that.
I've printed the first side with American Chromatic produced as photopolymer plates. The opposite side will have my contact information, and I'm using metal for that, including a dial telephone that's a two-piece chromatic item! The front is classic Americana colors; the back will be 1950s goldenrod and avocado.
By the way, one of the technical reasons wood was used is that you need an even printing surface at an exact height with letterpresses; it’s 0.918ʺ in the U.S. and many other places. Metal type works up to a certain size, at which point it becomes unwieldy: the amount and cost of metal, its weight, its behavior. As the Hamilton Wood Type Museum notes, “large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled.” Properly aged wood can be planed and sanded to exactly the right height and kept in fine fettle for many years — some is still printable after well over a century.