COURSE HANDOUTS & PRESENTATIONS
Letterpress Techniques Print
Language as Code
LINKS TO ARTISTS
London College of Communications
SP 20 maximum sheet size: 19.5"x28"
SP 20 maximum form size: 17"x26"
Universal 1 maximum sheet size: 15"x24"
Universal 1 maximum form size: 13"x22"
“The relationship to handcraft is a beautiful one. You are related bodily to a solid block of metal letters, to the weight of the trays, to the adroitness of spacing, to the tempo and temper of the machine. You acquire some of the weight and solidity of the metal, the strength and power of the machine. Each triumph is a conquest by the body, fingers, muscles. You live with your hands, in acts of physical deftness.
Anaïs Nin describes
“Cosimo also began to write certain things himself, such as The Song of the Blackbird, The Knock of the Woodpecker, The Dialogue of the Owls, and to distribute them publicly. In fact, it was at this very period of dementia that he learned the art of printing and began to print some pamphlets or gazettes (among them The Magpie’s Gazette), later all collected under the title, The Biped’s Monitor. He had brought into a nut tree a typographer’s table and chase, a press, a case of type, and a crock of ink, and he spent his days composing his pages and pulling his copies. Sometimes spiders and butterflies would get caught between the type and paper, and their marks would be printed on the page; sometimes a lizard would jump on the sheet while the ink was fresh and smear everything with its tail; sometimes the squirrels would take a letter of the alphabet and carry it off to their lair thinking it was something to eat, as happened with the letter Q, which because of its round shape and stalk they mistook it for a fruit, so that Cosimo had to begin some of his articles with Cueer and end them with C.E.D.”
—Italo Calvino, The Baron in the Trees