Here’s the newest addition to our letterpress studio… An American Type Founders Little Giant No. 5 cylinder flatbed letterpress from ca. 1948. It’s an automated production press with a maximum sheet size of 12”x18”. Basically it’s a Vandercook on Meth & we are super stoked to add this new baby to our shop. Stay tuned!
Stay patient and trust your journey.
Markus Hartel @raghaus raghaus.com
Studio visits by appointment only. Custom orders take 14 to 21 business days to completion.
Some really cool things can come from this high-tech lo-fi machine with proper file preparation and care. 4/4-color zine print on 100# Mohawk Via Vellum. Yellow, Fluorescent Pink, Medium Blue and Black
The question comes up on a regular basis… Crane’s Lettra is one of our favorite papers to letterpress on, since it’s 100% cotton, has a very luxurious feel to it and takes the letterpress impression extremely well.
Weights for business cards and invitations, RSVPs and the like are 110# cover and 220# cover. Paper colors available are
Fluorescent White (very bright, cool white)
Pearl White (slightly yellow, warm white)
Ecru (yellow, warm white)
Envelopes are available in various sizes with pointed and square flaps.
4-Bar, Square flap, 3-5/8 x 5-1/8
4-Bar, Pointed flap, 3-5/8 x 5-1/8
A2, Square flap, 4-3/8 x 5-3/4
A6, Square flap, 4-3/4 x 6-1/2
A7, Square flap, 5-1/4 x 7-1/4
A7, Pointed flap, 5-1/4 x 7-1/4
A7 Inner, Pointed flap, no glue 5-1/4 x 7-1/4
A7 Outer, Pointed flap, 5-1/2 x 7-1/2
A9, Square flap, 5-3/4 x 8-3/4
Baronial, Square flap, 5-1/2 x 5-1/2
Marquis, Square flap, 7 x 7
No. 10, Square flap, 4-1/8 x 9-1/2
No. 10, Pointed flap, 4-1/8 x 9-1/2
This wedding invitation came out really nice, with letterpress printed invitations and envelopes. The “Save The Date” insert shown is printed digitally on Mylar – a very cool & modern approach to an old-school invitation.
The beauty of modern letterpress is the deep impression, or “bite” we’re getting when we punch the form into the paper. Back in the day, when I apprenticed to become a typesetter (ca. 1987), the tradesmen would commit suicide if they’d see anything other than a kiss impression, where the ink touches the paper without leaving a visible impression. Today we are using the letterpress punch for beautiful texture and tactile feedback, with or without ink.