Saturday Featured Presenter
Hatch Show Print
Hatch Show Print at 140, or 3.1111111 Years Per Minute, Give or Take
Hatch Show Print is a letterpress poster and design shop located in Nashville, Tennessee. Founded in 1879, HSP is still designing and printing over 600 jobs a year, using the original wood type found on countless posters advertising carnivals, circuses, and vaudeville and minstrel shows of years gone by, combined with hand carved imagery that spans the history of the shop. Though the 140 year old business is known for its country music posters, the work the shop has put out over five generations in operation reflects changes in technology, communication arts, and commerce, as well as the evolution of popular entertainment.
While carrying on the mission of ‘preservation through production,’ the shop’s activities also embrace a parallel mission of ‘preservation through education.’
Celene Aubry is the Associate Director and Print Shop Manager at Hatch Show Print, one of America's oldest surviving letterpress show poster and design shops. Since coming aboard in the summer of 2012, she has coordinated the shop’s relocation from its home since 1992 on lower Broadway in downtown Nashville, to its new, custom-designed and expanded location on Fifth Ave. South, and in addition to managing the shop and business, is overseeing the development of additional Hatch Show Print programs and activities that leverage two of the new HSP spaces – classroom and gallery - while still carrying on the shop’s tradition of preservation through production, and making posters for the customers whenever time allows. On sunny days and in the wee hours, Aubry enjoys pursuing her quest to bring together the two outmoded processes of letterpress printmaking and hand-printed photographs.
Saturday Featured Presenter
The John Stevens Shop
Inscriptions in the Information Age
Benson will talk briefly about the history of the John Stevens Shop, founded in 1705, and the development of a group of vernacular letter styles that were produced, not for print, but with carving in mind. Over the past 300 years they have continued a thread of aesthetic in letter form design and carving that has pushed its way into the new millennium. But, the world is changing at a blinding rate. The vast majority of design that is practiced today begins within the digital realm, the product of which is changing public perceptions of aesthetics. He is now designing and carving inscriptions that are in contemplation of this shift.
Nicholas Benson began an apprenticeship at The John Stevens Shop at the age of fifteen with his father, John Benson, in 1979. The John Stevens Shop, founded in 1705, specializes in the design and execution of one of a kind inscriptions in stone. Architectural and memorial lettering is generated by hand with a broad edged brush in the manner of classical Roman inscriptions and then carved into stone with mallets and chisels. Benson studied drawing and design at State University of New York at Purchase in 1986. He spent 1987 at the Kunstgewerbeschule in Basel, Switzerland, studying calligraphy, type design and typography.
He returned to the U.S. in 1988 and continued to work under John Benson. His father passed the business on to him in 1993. Benson expands the traditional arts of hand lettering and stone carving through his designs. He has produced several site-specific typefaces for use on many large civic memorials.
His work includes the National World War II Memorial inscriptions in Washington, DC; the National Martin Luther King, Jr. Memorial inscriptions in Washington, DC; the Louis I. Kahn, Four Freedoms Park inscriptions in New York City.
In 2007 Benson was awarded an NEA National Heritage Fellowship. In 2010 he was the recipient of a MacArthur Fellowship, and in 2013 he received an Artist-inResidence Fellowship at the Yale University Art Gallery. He is currently working on the National Eisenhower Memorial inscriptions in Washington, DC.
Saturday Featured Presenter
Building a Community out of Print
While Allison created a business plan and set goals for turning her printing hobby into a business, reality was both harder and better than expected. 10 years ago Igloo started as a 1 person shop that was open while her kids were at school. Desperate to meet people in a new city, Allison built her own "field of dreams" where others who cared about design, printing and book arts could gather. Slowly, capabilities were added as a talented crew of artists, makers and designers came on staff. Allison will share her experiences as a letterpress printer in the non-profit and business world. She will also talk about separating your ego from your work and how to know when to grow your business.
Allison Chapman learned a love of letterpress printing working alongside her Granddad in his hobby printshop. In college she found herself out of sorts until the smell of ink lured her into printmaking classes. As a student she learned about social activism and the history of printing in America. In 1994 she interned with Stan Nelson at the Smithsonian Institution’s National Museum of American History where she cataloged ATF mats, identified press patent models, cast type, marbled paper, folded printer’s hats and gave printing demonstrations. This solidified her interest in teaching and Allison spent 11 inky years at Minnesota Center for Book Arts building community and improving her craft.
In 2008 a family move to Ohio damaged her granddad’s press, pied all of her type and Allison thought her printing days were over. After sorting type and making repairs, Allison created an opportunity to turn her printing hobby into a brick and mortar print shop. Today she continues to share her love of printing and bookbinding by operating a store, teaching classes, printing and binding custom work, as well as creating Igloo Letterpress products.
Georgianne Lesich & Mardell Doubek
Georgianne Liesch, “George” for short, runs the wood type shop at the Museum, on a largely volunteer basis. Her expertise includes preparing the wood, operating the saws and pantograph, trimming type and giving demonstrations. She learned the majority of her pantograph skills from Mardell Doubek, the last pantograph operator from Hamilton’s. George is also following in the footsteps of her dad, Norb Brylski, 20+ year wood type shop employee at Hamilton’s and beloved museum volunteer. She is married, has three daughters, three grandchildren, a degree in history from SUNY-Empire State College, and has lived in nine states and one foreign country. In her spare time she has a small print studio in one of her many garages where she gets to actually use the wood type. She also putters around in the yard at their Sheboygan-area home and heads to their “up north” place as often as possible.
Mardell Doubek worked at Hamilton Manufacturing from 1968 until 1995, first as an upholsterer then type cutter. She began volunteering at the museum shortly after it opened in 1999, demonstrating the operation of Hamilton's original pantographs. She has passed on her knowledge of this craft to the next generation of type cutters including Georgianne Liesch and many others.
Saturday Featured Presenter
Glenn Fleishman Writes Words About Things
London's Unique Typographic Archives
London's past as a capital of typefounding and printing is well known, and the city has largely been wiped clean of that history. But two remarkable archives remain. Glenn takes you inside both institutions with photos, and ties their history to the present. The St Bride Foundation's Printing Library, established in the 1890s off Fleet Street, maintains the unique collection of books and printed pieces from its founding, and has expanded on it with punches from the Caslon foundry, specimen books, Eric Gill's original type drawings, a century of journals, and more. At The Type Archive, the state of British Monotype's hot-metal operations in the early 1990s has been kept intact, machines, records, and all. A group at the Archive continues to produce new Monotype matrices. The Archive also has a large proportion of the surviving material of England's typefounders dating from the 1500s to mid-1900s, the DeLittle wood-type company's patterns, and the papers of type designer Berthold Wolpe. Glenn also gives a brief peek at a lesser-known resource: the London Transport Museum's Depot Museum, which captures the scope of its design history from the 19th century to present.
Glenn Fleishman is a journalist who has written for decades about technology, science, and printing history. Trained as a typesetter in the phototype era in the 1980s, Glenn pursued a degree in graphic design at Yale University and then worked at the pioneering Kodak Center for Creative Imaging in Camden, Maine. Glenn shifted to freelance journalism, and has written for the New York Times, Wired, the Economist, the Atlantic, Fast Company, Fortune, Macworld, and many others. He has written dozens of computer how-to books, and the type-focused works "Not To Put Too Fine a Point on It" and "London Kerning." Glenn was the inaugural designer in residence in 2017 at the letterpress program at the School of Visual Concepts in Seattle. He's currently in production for the Tiny Type Museum & Time Capsule, a limited-edition set of genuine type and printing artifacts plus a book. He lives in Seattle.
Saturday Keynote Speaker
Smashing the Crystal Goblet: A Reappraisal of Legibility for Contemporary Private Press Books
Join private press printer Russell Maret for a romp through some interbellum typographic literature. Along the way he will endeavor to tease out the differences in motivation between the Fine Press and the Private Press; highlight the richness of material “text” as opposed to rote legibility; illuminate the deleterious impact of engineering on late Industrial (and digital) type design; and share how these ideas inform his decisions when designing alphabets for his own books.
Russell Maret is a private press printer and letter designer working in New York City. He began printing in San Francisco as a teenager before apprenticing with Peter Koch in Berkeley and Firefly Press in Somerville, Massachusetts. He set up his own press at the Center for Book Arts, New York in 1993 and has been printing and publishing ever since. In 1996 Russell began teaching himself to design letterforms, leading to a twelve year study of letterforms before he completed his first typeface in 2008. In 2009 Russell was awarded the Rome Prize in Design from the American Academy in Rome. In 2011, he began working to convert some of his type designs into new metal typefaces for letterpress. Since then he has produced four metal typefaces and four suites of metal ornaments. He is the current North American Chair of the Fine Press Book Association, and has been the printer in residence of the Press in Tuscany Alley, San Francisco (1990); Artist in Residence at the Center for Book Arts, NYC (1996); and Printer in Residence at the Bodleian Libraries Bibliographical Press, Oxford (2017). Russell’s books and manuscripts are in public and private collections throughout the world.
Heather Moulder & Cory Wasnewsky
Friday Workshop Presenters
I Can Print That!
A workshop for folks looking to spice things up in the pressroom. Join Cory Wasnewsky and Heather Moulder of Hatch Show Print as they explore found object printing, alternative carving surfaces, and experimental inking and lockup techniques- all suitable for a production setting. With our bag of tricks, participants will create their own prints that abide by our workshop motto: “If you can think it, you can ink it.”
Heather Moulder is a designer, printer, and musician in Nashville, Tennessee. She earned her BFA in Graphic Design from Middle Tennessee State University, and since 2011 has been designing, printing posters, and more recently, helping teach the internship program at Hatch Show Print. She creates her own design projects as Lordymercy, and regularly performs and records piano with some of her favorite folks in Music City.
Cory Wasnewsky was born and raised in Pittsfield, Massachusetts. In the spring of 2014, he earned his BFA from Montserrat College of Art with a focus on Book Arts. The fall of that same year, Cory and his wife moved to Nashville, Tennessee so he could join the team at Hatch Show Print as a printer, designer, and press mechanic. On the clock, Cory enjoys learning the traditional ways of the letterpress trade, so he can then bend the rules, and push the boundaries of letterpress. In his spare time he works under the press name “Three Cheers Press” where he does job printing, designing, and press repair house calls. He also spends some time printing type instruments as an ongoing project that further explores the limits of letterpress.
Friday Workshop Presenter
Gather around Hamilton's fleet of Vandercook Letterpresses and learn about the presses, routine maintenance, and wear and tear.
Paul Moxon is a studio letterpress printer and independent educator (MFA, MLIS). He has lectured at over sixty book arts centers and universities throughout the U.S. and Canada. He is the author of Vandercook Presses: Maintenance, History and Resources and moderates vandercookpress.info. Paul is also website editor for the American Printing History Association and has held fellowships at Rare Book School and the Newberry Library. His letterpress work can be found in several public collections and at fameorshame.com.
Saturday Featured Presenter
American Documentary Inc.
Typeface: Why then and so what?
Ten years after the release of the Hamilton documentary, filmmaker Justine nagan reflects on the process, the need and the lasting impact of the film.
Justine Nagan is the Executive Director of American Documentary, Inc., and an Executive Producer on its two signature series, POV (PBS) and America Reframed (World Channel in partnership with WGBH). POV is the longest running independent documentary series on television. She is a strong believer in the important role of public media in a democracy; diversity and independent voices in popular culture and of documentary as a tool for civic dialogue, new thinking and social change.
Prior to coming to AmDoc, Justine led Kartemquin Films (KTQ) as Executive Director for seven years, as well as being an Emmy Award-winning Executive Producer on KTQ films including Abacus, Life Itself and The Interrupters by Steve James and The Trials of Muhammad Ali by Bill Siegel. Justine successfully transitioned to the ED role in a historic founder-led organization, and under her leadership the organization significantly expanded its programs to assist documentary filmmakers and saw unprecedented levels of production and financial growth. During her tenure over 20 projects had world premieres including the ambitious Dupont Award-winning six-hour series Hard Earned for Al Jazeera America. She left the organization with a robust production pipeline and a strong financial footing.
With Kartemquin, she also directed Typeface, an award-winning documentary on American typography and graphic design and the doc short Sacred Transformations.
Justine has a certificate in Non-Profit Management from Harvard Business School, and a Masters from the University of Chicago in the Humanities/Cinema and Media Studies. She is active in the media community and was one of the founding board members of Good Pitch Chicago. Justine lives in Brooklyn, NY with her husband Matt and two young sons.
Pablo Pivetta & Nicolas Rodrigues Fuch
Saturday Featured Presenters
Los Ultimatos Film
Facing the deterioration of the machines and the advance of new technologies, the printing presses are closing their workshops. At the same time, a group of young people rediscovers the greatest technical innovation in the history of the written word: the typesetting printing. But it will be difficult for them to learn the trade since it has always been passed down from master to apprentice – and they are outsiders. The last graphic mechanic of the country will be in charge of teaching them. Will this ancient handcraft withstand the passage of time?
Pablo Pivetta graduated as a graphic designer at the University of Buenos Aires (FADU-UBA), photographer and wood type collector, Pablo Pivetta combines all these interests to turn into filmmaking. Starting with short documentaries, ENDLESS LETTERPRESS is his first film.
Nicolás Rodríguez Fuchs After studying graphic design and film at Universidad de Buenos Aires (FADU-UBA), Nicolás Rodríguez Fuchs takes his first steps working on post-production as vfx compositor and animator for TV series and commercials. ENDLESS LETTERPRESS is his first film.
Saturday Featured Presenter
In the summer of 2017, Hamilton Wood Type and Printing Museum began a collection management pilot program designed to process the first five of 107 crates containing a seemingly infinite number of diverse relief blocks from Cincinnati’s Enquirer Printing. Fast-forward to the present and join Paul LG Pegnato as he discusses the ongoing real-world intersection of observation, theory, instinct and practice underlying the varied tasks of physically and intellectually arranging the Enquirer Collection. As well as revealing various discoveries and gems contained within the collection, Paul will also examine the process and considerations behind developing a fluid organizational system that responds to the needs and requirements of Hamilton’s unique working museum environment.
Paul LG Pegnato has been managing museum collections since he completed his MA in Photographic Preservation and Collection Management at Ryerson University (Toronto, Ontario) in 2010. Prior to beginning work with the Hamilton Wood Type collection over three years ago, he worked with collections at Masterworks Museum of Bermuda Art, George Eastman House, as well as serving internships at both the Library and Archives Canada (Ottawa), and the National Gallery of Art in Washington, D.C. In earlier years Paul studied letterpress and bookmaking at Arizona State University under John Risseeuw while earning a BFA degree in Photography. After several years of senior project management positions in the web development implementation and digital agency worlds in Chicago, London and San Francisco - Paul decided to refocus his interests back toward the Fine Arts, undertook studies in Museum Collection Management, and has since positioned himself happily within the gig-based economy. Based in the Central Coast area of California, when not working on collections, Paul continues to develop his painting, photography and object making skills. He is an audiophile and has been habitually collecting records at an alarming rate since he was 10 years old.
Paul Shaw & Grendl Löfkvist
Friday Workshop Presenters
Blackletter Without Blackletter : A Neuland Workshop
This workshop will combine calligraphy and letterpress printing. Neuland is a typeface carved directly into metal by Rudolf Koch in the early 1920s based on chunky letterforms he wrote out for manuscripts and carved into wood. Blackletter fanatics Paul and Grendl will show you how to make these powerful capital letters with a calligraphic, broad-edged tool in the morning. You will then convert your letters into a medium for letterpress printing in the afternoon, and come away with a stunning poster of your own making.
Paul Shaw is a calligrapher/typographer/graphic designer/design historian. He taught calligraphy in New York City area universities and design schools from 1980 to 2015 along with workshops in Chicago, Washington DC, California, Italy and Denmark. He is the co-author of Blackletter: Type and National Identity and Blackletter Primer. He has been fascinated by Rudolf Koch's typeface Neuland and its calligraphic models since he taught himself calligraphy in the mid-1960s.
Grendl Löfkvist, Education Director at Letterform Archive, teaches type history and theory in the year-long postgraduate Type West program in type design. Grendl also teaches the history of graphic design, book arts, calligraphy, and letterpress printing at City College of San Francisco, as well as several classes at the San Francisco Center for the Book. Grendl has ink in her veins: she was an offset press operator for 20 years; she is currently a letterpress printer, and she serves on the board of directors of the American Printing History Association. Her interests include the study of printing as a subversive “Black Art” and she’s always on the lookout for bizarre or macabre print, type, and lettering lore (she is a bit of a goth).
Sunday Featured Presenter
At p98a.berlin, we develop new production methods (our own laser plate maker) in order to bring historical printing presses and other related machinery from the analog into the digital age. We call it post-digital printing. Our motto is Preservation through Production. Quite a few of the old machines and processes are still around; they work mechanically and will probably survive all of us, but they cannot easily be used economically. Digital pre-press enables us to make productive use of the old equipment which connects us with our industrial and cultural heritage. Apart from the hardware, we need to maintain expert knowledge and professions otherwise threatened by extinction.
Erik Spiekermann is information architect, type designer (FF Meta, ITC Officina, etc) He founded MetaDesign (1979) and FontShop (1988). He designed well-know brands such as Audi, Bosch, VW, German Railways; information systems for Berlin Transit, Düsseldorf Airport and for publications like The Economist & exclusive typefaces for Deutsche Bahn, Bosch, Cisco, Mozilla, Autodesk, et al.
Founder of Edenspiekermann, Berlin, Amsterdam, SF, LA.
A book about his life and work “Hello I am Erik” was published by Gestalten Verlag in 2014. He runs p98a, an experimental letterpress workshop in Berlin.
Joanne Price & Robert P. Hale
Friday Workshop presenters
Star Pointe Studio
Wood Engraving: Miniature Letterpress Images, Ornaments, Monograms & More
The delicate details, and bold woodcut characteristics of wood engraving make perfect images, ornaments, and typographic elements for letterpress cards, artist’s books, or broadsides. Learn to cut a design into end-grain hardwood blocks and walk away with a collaborative broadside! Workshop will cover material basics, creating and transferring images, engraving, and proofing. We will be working on 2 x 3 inches hard rock maple end grain blocks.
Joanne Price is the President of the Wood Engravers’ Network as well as an elected member of the Society of Wood Engravers. She is founder of Starpointe Studio, specializing in wood engraving, letterpress, and book arts while teaching part time at the University of Kentucky in Print Media.
Price exhibits nationally and internationally while she builds on illustration commissions primarily with Larkspur Press authors, such as Wendell Berry and Frank X Walker. Joanne has received several grants and residencies including from the Kentucky Foundation for Women (2017) and a Jerome Book Arts Fellowship grant from the Minnesota Center for Book Arts (2009). Price’s work is represented in public collections including: Guangdong Museum of Art, China; Museu da Casa Xilogravura, Campos do Jordão, Brazil; Walker Art Center, Minneapolis, MN; Scripps College, Claremont, CA; Yale University, New Haven, CT; University of Colorado, Boulder, CO; Vanderbilt University, Nashville, TN.
R.P. Hale is an interdisciplinary artist-scientist who maintains long family traditions in printing, wood engraving, calligraphy and illustration. He revived a 19th-century family business name for his own shop and studio, La Imprenta Azteca, specializing in calligraphy, wood engraving, Letterpress, illustration, paper marbling and teaching, as well as in presenting interactive public demonstrations at museums and historic sites as an 18th-century "cultural" re-enactor. A native of Tucson, AZ and Mexican-American, he is a member of the Wood Engravers Network.
His work is in exhibits, museums and private collections worldwide and he is heavily commissioned for commemorative engravings, including 250th-anniversery commemoratives and historic-site scenes. He devised the first Apprenticeship in Letterpress/Printmaking for the NH State Council on the Arts' Traditional Arts Program, and he is one of the appointed State Arts Councilors as well. He taught traditional arts, music and folklore, including wood engraving, for 33 years at the Augusta Heritage Center in Elkins, WV, and taught harpsichord, archaeo-astronomy and physics as an adjunct with a prep school for 22 years.
Friday Keynote Speaker
Lynne Yun Design
Material Creativity: Finding Inspiration in New Mediums
From analog to digital, from paper cutouts to code-generated animations, being fearless in exploring new mediums has always been the driving force in Lynne's typographic practice. As a central theme to her work, she continuously explores the endurance of latin letterforms, in both their historical background and their formal outlines. An ‘A’ has looked like an A for over two thousand years, and people can recognize it even when it gets distorted. In this Keynote, Lynne will share her winding typographical journey from hand-lettering, digital typography, then to wood type. She will talk about the different starting points of projects and the sometimes unexpected end results that those processes can lead you to.
Lynne Yun is a Type Designer who specializes in all types of letterforms. From crafting handwritten calligraphic pieces to designing type for the screen, she enjoys the balancing act of form and function that is required when designing tools for communication. She enjoys sharing the joy of her craft through public speaking engagements and teaching workshops for organizations such as AIGA NY, TypeCon, and the Society of Scribes. Lynne’s previous positions include being a designer at Apple, Publicis, and Deutsch. Her work has been recognized by organizations such as AIGA, Type Directors Club, and Art Directors Club. She currently works at Monotype and serves on the board of AIGA NY.