The Type We Use
We have Two main ways to design for letterpress. The more modern way is to do conventional computer design and print from mounted magnesium cuts. This method allows nearly unlimited styles of type, allows for complex graphic ideas and nearly unlimited design potential.
For traditionalists we have a collection of hand-set type. Over the years we have accumulated a collection of type, some more than 120 years old. We have a number of interesting and unusual typefaces, a few have to my knowledge never been digitized. As time permits we will post them below.
Setting type by hand poses a challenge. We are limited by what type sizes and styles we have. It forces the composer to think about size, style, spacing, negative space, juxtaposition of elements and other things computer designers take for granted. But cards printed with hand set type are unique and beautiful. They don’t just look “old school” they really are old school.
The great thing about using hand set type is that this is about as green as it gets! We set your job using type, some of which has been around for 100+ years on a press that’s 70-100 years old. When we’re done we put the type back in the case to wait for the next job. There’s minimal use of cleaning solvents and very little paper spoilage too!
Typo Upright
Typo Upright, designed in 1905 by Morris Fuller Benton, is a script typeface that is a reproduction and revision of the French Ronde typeface. Typo Upright made quite a name for itself as it was popularized by American Type Founders, a number of type foundries merged together under one name.
Civilité
Civilité was developed in the mid-sixteenth century by a Frenchman named Robert Granjon. It was intended to be similar to the typical French handwriting of the period. In its early years it was used to print books for French school children. Granjon’s version had many extravagant flourishes and strokes. It is one of the very first cursive typefaces ever made. There have been several versions made over time. Our version was cut by Morris Fuller Benton for ATF in 1922. The flourishes have been modified and shortened to make the type easier to set.
Lydian
Lydian is a typeface designed by Warren Chappell in 1938 for one of the most prominent and famous type foundries at the time, American Type Founders. Lydian is regarded as a sans-serif font with a calligraphic style strewn throughout its design.
Huxley Vertical
Walter Huxley designed this typeface in 1935 for ATF. This Ultra-condensed font was used primarily for headlines and in advertising. Considereed a titling face, there is no lower case.
Engravers Old English
Engravers Old English was designed by Morris Benton for American Typefounders in 1901. Engravers Old English is regarded as a blackletter typeface, "Old English" being synonymous with "blackletter". Blackletter typefaces originated in late 12th century Europe as a way to produce texts faster. They started as an alternative calligraphic script to the previous dominant script known as Carolingian: which was quite laborious to produce in a large scale manner.
Parsons
Parsons was designed in 1917 by Will Ransom while at Barnhart Brothers & Spindler. It is unusual with “half serifs” and very long ascenders and descenders. Parsons proved very popular for advertising and as such it was used by many designers. However, Ransom thought that the numerous designers used Parsons in poor taste. This led Ransom to stop designing and producing typefaces. There were several variants of Parsons. We have 3 sizes of the original.