FAQ

What is letterpress printing?

Letterpress is an artisanal, high-end printing process that is still used today on traditional printing plates from the 1950s to the 1980s, before the advent of offset printing.

It was the German company Heidelberg Druckmaschinen with its emblematic Heidelberg Original Model T, also known as the Red Ball, OFMI or Windmill (due to the movement of its paper feed system) that became the world’s leading distributor of printing machines in the mid-20th century.

Graphic design was originally restricted to the exclusive use of lead typefaces, aligned one after the other to form compositions of words, lines or paragraphs. These same typefaces (or fonts) are stored in drawer cabinets (called cassettes) according to their font, size, style and weight. Both lower case and capital letters are still called “lower case” and “upper case” respectively, according to their position in each drawer.

Today, the use of modern laser micro-engraving technologies (on brass and copper) or surface treatment (on polymer and magnesium) allow the use of the plates without graphic constraints, for typography, logotype or illustration.

What is the difference between digital, offset and letterpress printing?

The rise of offset printing and then digital printing is best linked to the desire to produce a photorealistic printed visual following the democratisation of colour in the 1970s, both in television and in photography.

Indeed, these two processes are based on the successive superposition of 4 primary inks (cyan, magenta, yellow and black), in the form of subtractive colour synthesis to give rise to the visual.

The result is two versatile printing processes – well suited to photography and its nuances – productive but above all profitable for professionals in the sector, sometimes to the detriment of quality.

So 4 inks to rule them all! Yes, but… the happiness of photography has made the misfortune of typography, illustration and graphic design.

Letterpress printing is based on 15 primary inks – instead of 4 in the standard industry – mixed by hand according to the Pantone colour chart. The colour created is then applied in “direct tone” on the plate, offering an intensity unmatched by CMYK printing.

Moreover, this technique is mainly used on creative papers with high weight – above 350gr/m2 – which are impossible to use in offset or digital printing.

Finally, the pressure exerted on the paper allows embossed printing.

Why print my communication tool in letterpress?

More specifically used in the graphic arts, craft and luxury sectors, letterpress printing remains today – in relation to the advantages mentioned above – the most qualitative tool for your printed communication.

Choosing letterpress printing means choosing your creative paper, white or tinted, more or less textured, uncoated, metallic or fluorescent Pantone colours, as well as finishes: debossing, embossing, curved embossing, hot foil stamping, customised cutting, colour on edge, etc.

The workshop also offers tailor-made support for your prints and communication tools, with a real exchange on your small or large projects and over 10 years’ experience in visual communication, for the love of meaning and beauty.

Is there anything you can’t do in letterpress?

In principle, no, but there are aesthetic choices inherent in the printing process depending on the desired result.

Printing shades and colour gradations (as in a photograph for example) are not recommended in letterpress, except for certain art prints where the artist prefers to highlight the grain of the paper and the texture that a half-tone screen brings to his visuals instead of definition.

Furthermore, large flat areas of colour in letterpress will always have a “shaded” aspect called “moutonnage”, giving a retro finish to the illustration. If the background of the illustration is a solid colour, it is preferable to use a paper that is tinted in the mass.

Finally, on a dark paper, it is advisable to opt for a gilding or hot stamping rather than an ink. As inks are semi-opaque, they partially blend with the paper colour.

How is the price of my project calculated at the workshop?

Several factors determine the cost of a project in the workshop:

• The choice of paper and its thickness (significant differences depending on the range and manufacturer).

• The number of colours on the print (each colour requires a plate, a clean matrix and a machine setting) or any additional finishing (embossing, hot foil stamping, special cutting and creasing).

• The size of the document (larger plates) and double-sided printing (2 plates and therefore 2 passes through the machine) can also influence the price.

• The number of copies to be printed (the unit price of a document decreases according to the volume, since the plates and makeready remain the same for 100, 1,000 or 10,000 copies).

• The urgency of a project, which would be treated in priority at the workshop, can be invoiced.

Is it possible to come to the workshop to discuss my project and define together the choice of paper, colours and finishes?

It is with pleasure that the .b-art workshop welcomes you for the development and the realization of your projects!

In order to offer a quality service to each customer, you have the possibility to make an appointment with the workshop to come and define your needs.

The workshop has paper and colour charts, hot stamping and printing examples to enable you to visualise the desired result before production.

The workshop is also a graphic studio which, with over 10 years’ experience in the craft and luxury sectors, will be able to help you design your communication tools.