DESCRIPTION "Recharge" Poster CLIENT The Art Institute of York Pennsylvania DATE May 2009 DESIGN CREDITS Greg Bennett, WORKtoDATE PRINT CREDITS Studio On Fire TYPE CREDITS Trade Gothic, Mrs Eaves, Snell Roundhand

QUANTITY PRODUCED 175 PRODUCTION COST $1,600 PRODUCTION TIME 2 weeks DIMENSIONS: WIDTH × HEIGHT × DEPTH 18 in × 23 in PRINT METHOD Letterpress PAPER STOCK Poptone 65 lb. cover, Whip Cream Uncoated by French Paper NUMBER OF COLORS 3 spot

The crazy-eyed duck with inspiring musings shooting out of its eyes as it hatches from an electric chair charged egg, invites faculty, alumni, professionals and visitors alike to the annual alumni art exhibit at the Art Institute of York Pennsylvania. Designer Greg Bennett created a poster brimming with details around the concept of recharging for all those involved and present. Printed in letterpress, the poster is a great example of the method's versatility showing off big solid blocks of color as well as small complicated details. Greg offers some tips on working with letterpress:

When selecting a letterpress printer be sure to request print samples that are representative of what you are trying to achieve. For example, if your piece has a lot of small type request samples with small type to see how well the printer can hold the legibility of small type. Other issues with small type you may encounter are how well the printer can hold small type that is being knocked of out solid areas of ink. Sometimes plugging may occur.

When printing letterpress you always want to be sure that a descent impression will be seen and felt once production is completed. Some paper takes the impression much better than others. This is not as much of a concern when printing with a 100% cotton paper such as Crane's Lettra paper because it's so soft. Sometimes clients cannot afford a premium of a grade of paper such as Crane so the designer must rely on the expertise of the print shop in recommending a paper that will take the impression well and still meet the client's print budget.

Proper ink distribution with large blocks of solid color is always a concern when printing letterpress. You want to be sure your printer can distribute the ink evenly while staying true to your specified pms color(s). Watch for banding as well.

Above and below: Polymer plates (left) and the resulting color impression. Image above has a previous plate printed on it.

Thanks for the detailed breakdown Gregg, it's a great piece. The contrast of large blocks of colour and fine details, as well as the contrast of fine lines and gritty details, are lovely.

The piece seems to have a nice tactile quality to it too.

that is one sweet poster. great type!

where can i find out more about the process and cost of getting polymer plates created?

cheers

Wow. This is a beautiful poster. Thank you for the great letterpress tips and for sharing this inspirational design. This is now up there in my list of some the best posters I've ever seen.

Are there any of these left for purchase by any chance?

Regards,
Gage Mitchell, AIGA

:: Graphic Designer
:: GageMitchell.com

Hi, Many many thanks for sharing your expertise and providing us with the great resource you have provided on print techniques. Its been invaluable. Its helped me pinpoint what to look out for when talking to printers and understand the various finishes available. Damn, i didnt know there were so many! Anyway, I wont be sounding like a dork when i speak to the printers anymore!
:)