Ham at 20 is a collaborative poster project celebrating the twentieth anniversary of The Hamilton Wood Type & Printing Museum. For each month of 2019, a new poster (or two!) will be released via the Hamilton website shop in an edition of 50; 25 will be reserved for year-end portfolios that include all prints. The posters are being created by a roster of accomplished letterpress printers and promising up-and-comers starting in the field.
Amy Redmond, Amada Press
Seattle-based visual designer and artist Amy Redmond started letterpress printing in 1998, when her job as a book designer turned into a quest to learn the finer points of typography. This led to a multi-year apprenticeship with Chris Stern and Jules Faye (Stern & Faye, Printers), whose mentorship cultivated an appreciation for traditional and experimental typography.
While the line between Amy's personal art and professional design is sometimes blurred, one distinction remains clear: her artistic process is strictly non-digital. Exploring the duality of letterforms as language and image, she composes editioned work using metal and wood typefaces, at times incorporating linoleum carving, pressure printing and collographs. Precision requires planning, but migration is occasionally allowed once ink hits paper: color organically shifts; misfeeds inspire future compositions. Committing an idea to paper leaves a tangible impression, simultaneously inviting resolution and opportunity.
Amy holds a BFA in Graphic Design from James Madison University and partners with clients whose work positively impacts community well-being through the outdoors, education, and the arts. She prints in her private studio (Amada Press) and teaches letterpress at the School of Visual Concepts.
What Hamilton means to me:
Like many others, “community” is the word that comes to mind when I think of HWT. My first trip to Two Rivers was for the 2011 Wayzgoose, with a group of printers from the School of Visual Concepts in Seattle. Upon arriving in Milwaukee we excitedly piled into a mini van and pointed it north towards "the letterpress motherland," stopping only to gather provisions. We bonded over wood type and presses, exploring the dark dusty corners of the old factory, and perfecting the perfect group “jump shot” in front of the Hamilton chimney stacks. (An annual tradition now continued below the blue script sign outside of the Museum.)
That inaugural trip strengthened my relationship with my local letterpress community, and every HWT Wayzgoose since has expanded it to include printers from around the world. While the Museum's type, presses, and sharing of knowledge continue to lure me to Wisconsin each fall, it is the promise of spending time with a wide variety of friends that excites me most. I’m not alone when I say that the Museum — home to letterpress family reunions and guardian of treasured heirlooms — holds a special place in my heart, along with its staff and volunteers. May it stay inky and print fond memories for many generations to come.