Calligraphy and letterpress: a match made in heaven

Earlier in the year I was contacted by a letterpress studio I do quite a bit of wedding work for – Bespoke Letterpress in New South Wales. This time they were in need of a tiny bit of lettering for their 2016 Mother’s Day Card.

I was more than happy to help!

Screen Shot 2016-04-16 at 3.33.54 PM
Photo by Bespoke

The process of creating lettering for letterpress is, I have come to learn, not quite the same as regular calligraphy. The output is never quite the same as what comes out of the pen – a letterpress plate interacts with the paper very differently to a nib. Little gaps in lettering, like an ear on a ‘g’ that’s not quite touching the bowl, can come out of a letterpress looking like the plate is damaged or the ink has skipped just slightly. A stroke that leaves my nib as a fine hairline may need to be thickened in order to show up at all. So on top of the usual draft-contemplate-redraft-consider-rework process, there’s always a need to keep in mind what the design is for, and how it will get there.

I was seriously so delighted to see the final versions of these cards. Rose gold foil and the most beautifully delicate border!

Screen Shot 2016-04-16 at 3.35.08 PM
Photo by Bespoke

 

And of course, the best thing about social media and the modern world is that, 750km away, I still get to see a snippet of them being printed. How cool is that?

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