Ironically, it was through the art of letterpress and old-fashioned typesetting, that I truly began to understand the fundamentals of web-based typography. Typography, like code, is a system. Every element is thoughtful, intentional, and created to work together.
My first experience setting type. Lessons centered around understanding measurements like points and picas to properly space with leading.
Neutral Milk Hotel Lyric set in 30 pt Arrighi, with ornamental border.
This Arrighi font beautifully showcases a swash that breaks the bounding box! If this were code, what would happen? Well, luckily side bearings (which exist in metal type), also extend to digital typography.
I took my love for old type and created a series of buttons featuring fonts from the nineteenth century. This project was inspired by the TJ Lyons Collection at MassArt in Boston.
L; Skjald, Y; #183 (name unknown), O; Tuscon Extended, N & S; Bradley
Here’s a short description I wrote (and set in 11pt type) about a relating project— The Letterpress Puzzle.
This poster design combines old-school letterpress and new-school Adobe Photoshop. I printed the headline (Toys for Typography) on a Vandercook letterpress at MassArt, in black ink on white paper. Once dry, I scanned to digital, slightly increased the size, altered the color, and arranged into a poster. This method allowed the rough-beauty of old wood type to shine through in it’s most natural form (without being restricted to paper-size constraints of the letterpress).