The New Impressions 2023 call for entries attracted 237 diverse submissions from over 100 artists around the globe. The 41 works selected for the exhibit were created by artists from Brazil, Italy, Slovakia, Spain, United Kingdom, and the United States.
The letterpress techniques on display range from historic to nontraditional, and include--but are not limited to--the techniques highlighted here. Specific examples are used to illustrate each technique (scroll past the list of techniques). Many of the works in the exhibit contain multiple letterpress techniques, beyond those highlighted here.
- Wood and metal type
- Wood and linoleum cuts
- Pressure printing
- Printing with nontraditional substrates
- Ornaments used as imagery and as type
- Polymer plates and laser/CNC-cut plates
- Deconstructed type
- Stitching
- Collage
New Impressions 2023 is on display at Hamilton through July 29, and then travels to other locations (in process of being confirmed). View the exhibit in our online gallery.
Examples of exhibition works using wood and metal type
BELOW LEFT: Ladies! by Jennifer Farrell;
RIGHT: Emily’s Window by Neldubbiostampo
BELOW LEFT: slowly, slowly by Molly Poganski;
RIGHT: The Letterpress Manifesto by New North Press
BELOW LEFT: Control by Mitchell L. Blessing
Examples of exhibition works using wood and linoleum cuts
BELOW LEFT: Re-Wild: Seed Stamps by Joanne Price;
RIGHT: Mount Rainier & Wildflowers by Neil B. Peck
BELOW LEFT: Kamaole by Sarah Kulfan; RIGHT: Sedona by Eric Lindquist
Examples of exhibition works using pressure printing
BELOW LEFT: The Perpetual Accumulation of Events by Kathleen O’Connell; RIGHT: Parenthesis 02 by Patrick Barber
BELOW LEFT: Heartland, Land Series by Katherine J. Fries;
RIGHT: Deciduous Delight Triptych by Gingerly Press
BELOW LEFT: Jungle Music by Heavy Rotations
Examples of exhibition works featuring printing with nontraditional substrates
BELOW LEFT: Truth Seeker 4 by Art Brown; RIGHT: Tape Type - & by Lucas Hennessey
BELOW LEFT: O - stOp Activist Alphabet by Christine Felce; RIGHT: surface by Lars Amundsen
BELOW LEFT: The Godfather by Begiaundi Press; RIGHT: SQ-SQ V.6 by Mike Sonnichsen
BELOW LEFT: Said Owners Themselves by Sarah McDermott; RIGHT: Sweet Refreshment by Jessica L. Greenfield
Examples of exhibition works using ornaments as imagery and as type
BELOW LEFT: Love Land: Seals of Approval by Jessica Spring; RIGHT: Little Letterpress Quilt by Christy Nesja
BELOW LEFT: Invention XIV by Lynne Avadenka; RIGHT: Ornamental Condensed Type Specimen (Mixed Tape) by Frank Baseman
BELOW LEFT: Accordion by Cory Wasnewsky; RIGHT: Teddy (Shih Tzu) by Theo Miller
BELOW: Floral Fauxstage by Laura Bentley
Examples of exhibition works using polymer plates or laser/CNC-cut plates
BELOW LEFT: FOMO by Kristine Uhrakova; RIGHT: EAT PRAY WRITE LOVE by Cabaret Typographie
BELOW LEFT: Here/Hear: radio hello here by Mary V. Marsh; RIGHT: Excerpt from “Braiding Sweet Grass” by Robin Wall Kimmerer by Rachel Melis & Derick Wycherly
BELOW LEFT: The first step towards EQUITY is recognizing Privilege by Ana Sofia Mariz; RIGHT: Vision Type Specimen by Erin Moore
Examples of exhibition works featuring deconstructed type
BELOW LEFT: Symbol Men Prints 1, 2, 3 by John O’Donnell; RIGHT: Andreas Studies by Bradley Coulter
BELOW LEFT: Type by Marcos Mello; RIGHT: Comma Splice No. 1 by David Wolske
BELOW: R2 by Jesse Warne
Examples of exhibition works incorporating stitching
Pieced Print #6 [tumbling blocks + thread] by Jerry Bleem 
Examples of exhibition works incorporating collage
FREEDOM EMPRESS OVER BARREN GOLDEN COURTS by Rachel Simmons