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Hamilton Type & Printing Museum Campaign Nears $$ Goal

Written by in Profiles

Boxcar Press: Two Ways to Help

Save Hamilton Type & Printing Museum

If you’re in need of letterpress printing, or if you’re a letterpress printer and you’re in need of equipment, chances are you know Boxcar Press. The Syracuse, NY-based shop has been printing and making plates for letterpress printers for over 16 years.

It’s only natural that this group of long-time letterpress lovers would want to step in and help save the beloved Hamilton Type & Printing Museum. And with only $1,564 left to reach the 30k goal, Boxcar stepped up to the plate (pun intended) and produced two limited edition letterpressed ways to support the effort: Chromatic the Issue Eight Beauty of Letterpress print, and a 12 x 12 letterpress poster, available now through the The Beauty of Letterpress (https://thebeautyofletterpress.com/contribute/). We talked with Erica Henricksen of Boxcar about this important project.

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JS: What enticed Boxcar to produce Issue Eight for the Beauty of Letterpress?

EH: We are a large family of letterpress-obsessed people. We wake up and want to letterpress, or make the equipment that helps other people become as obsessed as we are. The idea that Hamilton could be a thing of the past is something that anyone who loves letterpress wants to change. We were anxious to help make that change.

 

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JS: Tell us about Issue Eight.

EH: “Chromatic” was designed by Nick Sherman. Nick has a long history of researching and spreading the word about wood type. He had a residency at Hamilton and he was very active in the type design community rallying support for Hamilton when the museum lost its original location. So he was a natural fit for the project. Most recently Nick presented a paper on chromatic wood types at the American Printing History Association conference, which Boxcar Press helped sponsor. We reached out about his designing a chromatic type specimen, inspired by his work studying William Page’s magnum opus.

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JS: Boxcar also volunteered to do a second limited edition print, tell us about it.

EH: The scale of wood type is often large, and we wanted to produce a print in a format that when tiled could serve as chromatic wood type wallpaper. The format allowed us to create a pattern from the repeating pattern of the single letter. We ran both of these prints on our largest press, a Heidelberg SBB cylinder letterpress.

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JS: What letter makes the pattern?

EH: Can you guess? An “H” for Hamilton of course!

JS: So, did everyone have fun with this project?

EH: Oh yes, and we are happy to join in this effort to save Hamilton. We hope “Chromatic” helps catapult the Beauty of Letterpress project across the finish line. We look forward to continuing to support Hamilton’s efforts to educate and inspire the type community. Thanks Neenah, and “Go Hamilton!”

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Hey!?! What’s the Big Idea!?!

Want to help the Hamilton?

The Beauty of Letterpress is brought to the world by Neenah Paper featuring Crane® Papers. It is the world’s only online resource and showcase for modern letterpress, featuring the best and most innovative letterpress work in the industry today, with over 450 participating letterpress printers. Buy a print (https://thebeautyofletterpress.com/contribute/) and Neenah will double your donation, up to $30k.

All Issues for The Beauty of Letterpress project are printed on CRANE’S® LETTRA, Fluorescent White

Buy a Print: https://thebeautyofletterpress.com/contribute

Issue One: Form & Function, designed by Jennifer James, printed by Two Paperdolls
Issue Two: Printing You Can Feel, designed by Studio on Fire, printed by Studio on Fire
Issue Three: Rebuild Moore, designed by GHOST, printed by Two Paperdolls
Issue Four: Hang Loose, designed by Mikey Burton, printed by Cranky Pressman
Issue FiveThe Beauty of Letterpress, designed by Marian Bantjes, printed by Full Circle Press
Issue Six: Presstar, designed by Design Army, printed by Mama’s Sauce
Issue Seven: I love you, Man, designed by Robynne Raye, printed by Mandate Press
Issue Eight: Chromatic, designed by Nick Sherman, printed by Boxcar Press