With our screen printed art print series, we are trying to experiment with a combination of techniques. Amberlith or Rubylith is a form of masking film that is used to transfer a stencil to photo emulsion. It’s easy to use– the red hue of the material blocks the transmission of UV light to the emulsion, which causes the emulsion to wash out easily during development with water. At this point in time, it was my first time to work with any sort of masking film. In this particular print, I used amberlith to compose the large solids of the exclamation and question marks in these prints. Using a film, or even a solid piece of cut paper, in this way can eliminate the need for expensive toner when composing film positives for screen printing our art prints.
This series of animals on a bike came out of a desire on my part to
get a little more intricate with my use of antique cuts in my art
prints. And honestly, I had just adjusted to my new surroundings in
Austin, Texas, and found studio space at Coronado Studio, so I really
wanted to just make a print at that point.
Using a hand-cut, rubylith exclamation mark and question mark, I
decided to create a split edition by printing half of the prints with
cyan and the other with magenta. Eventually, I revisited the project
with orange and green color ways.
Ever wondered about combining letterpress and screen printing?
Over the past few months, we’ve been lucky enough to collaborate with Austin’s Church of the Friendly Ghost to
provide posters and various ephemera for their concert series. For
those not familiar with this organization, C.O.T.F.G. is a nonprofit
organization located under the Salvage Vanguard Theater’s umbrella.
100% volunteer run, and focused on organizing concerts for experimental
musicians, the gang at the church are definitely the kind of group we
like to offer our services to… did we mention this is all pro bono?
Sounds like a great opportunity to test out a hybrid letterpress and
screen printing project!
The New Media Art and Sound Summit, or N.M.A.S.S. is an upcoming
festival organized by the church, and we were super excited to have a
chance to provide a little hand printed ephemera to commemorate this
inaugural year. Printed on 100% cotton Lettra, this limited edition of
300 festival passes is a combination of a slate gray letterpress line
art and bright red screen printed text, which is actually drawn from an
1898 Hamilton Wood Type specimen book.
Although not illustrated in this example, screen printing and/or
offset printing can be used in tandem with letterpress to supplement
some of letterpress’s traditional weaknesses as a medium. Need a
consistent flood of color? Try designing for an offset flood, and then
have us add a deboss on top to give it a letterpress feel, with really
Now that we know that screen printing and letterpress can work together in harmony, expect to see a lot more in the future that takes advantage of this combination of hand printed techniques!
This is a legacy post from our work as Vrooooom Press. We are now known as Mystic Multiples, in Houston, Texas.
Sitting down with Christine to discuss her wedding invitation project, two things were clear. We needed to print a design that would look elegant for a traditional wedding, and we needed to throw some contemporary ideas into the mix.
Ultimately, we were able to satisfy both requirements while working with a strict budget. Saving on costs and tipping our hats towards more commercial print processes, we elected to design and create a traditional invitation with a not-so-traditional combination RSVP, save the date, and informational card that could be perforated by the recipient. I was really surprised at how easy it is to run a perforating rule on the N-series Kluge, as this project was the first excuse I had to test out the process. Using a 10 tooth-per-inch rule in two successive press runs, we perforated the reply card so that it could be filled out and returned in a separate envelope. A little extra accent was added to the project with a second run in green, which added extra ornamentation to the black text’s smooth curves and serifs.
Printed on 118# Reich Savoy cotton stock with rubber and oil based inks, we’re really taken with the final results, and think it gives a good indication of the kind of fine type-work that can be printed on photopolymer plates. Enjoy!