We operate a table-top-sized press: a Kelsey Excelsior, with a 5″ x 8″ chase (which defines the press’ printing area), built in 1951. This press was produced from 1875 until 1975, with very few changes.

We have a collection of metal type and printer’s ornaments, which we set by hand. The type is inked by the press’ rollers, and the paper is literally pressed on to the inked type. Hence, “letterpress”!

Occasionally we will set type digitally, and use this to etch a copper or brass plate. This can then be locked into the press’ chase and used for printing in the same way as movable type.

It depends on what we are using in printing. All letterpress printing has something of an impression, or bite. However, the recent fad for a very deep bite has become a source of great controversy in the letterpress community.

Traditionally, type was cast using an alloy containing lead, antimony, and tin. This resulted in type which matched almost perfectly with the type designer’s original pattern, or matrix; however, this alloy is fairly soft. Therefore, using vintage type to make a deep impression will wear it out quickly and, in view of the limited amount of this type available, is the height of irresponsibility.

Additionally, certain presses are capable of a deep bite, but others are not. Our Kelsey is a platen press: with each impression, the plate holding the paper swings up to meet the type. This is a very effective way of printing, but the mechanics of the press itself are such that it cannot stand the 400-600 psi required for a deep impression. If we tried, sooner or later it would break.

All this being said, our press still leaves a noticeable impression, just not a hugely deep one.

To further complicate matters, letterpress simply does not suit all papers. Type impression is lost on coated and glossy papers. However, the thick, soft papers that do suit letterpress are often the worst culprits for absorbing fountain pen ink.

We test a number of high-quality papers, using a variety of pens and inks. At one end of the spectrum is a Parker 51 with a 0.45mm “accountant” nib, which lays down a very fine, dry line. At the other is a Waterman 52, with an extremely flexible nib, called by some a ‘fire hose’ because of the amount of ink it can leave as it writes.

Our ink of choice for testing is a J. Herbin. This ink is of the highest quality, from a manufacturer which has been making ink in France for over three centuries. Known as an ink with a higher flow rate, it is perfect for testing the ‘creep’, or ‘bleed’ tendency in paper.

Using magnification is a great help. What initially presents itself as a sloppy appearance is shown for what it really is: ink creeping out along individual paper fibres. A number of factors involved in paper manufacture can have a bearing on this effect, and it is very difficult to know which papers will do it, and which will not.

We have searched out, and ink-tested, the paper that is best-suited for use with both letterpress and fountain pens. We use Strathmore 110# “writing wove” cover stock for our cards. This paper strikes a balance between the soft, textured look that suits letterpress, and your need for the best vehicle for a wide variety of inks. As well, we augment this with an undetectable surface treatment, which will withstand even the wettest fountain pen line.

With any of our products, you can pull out your favorite pen with confidence. Should you be dissatisfied for any reason, simply return your card, and we will happily issue a full refund.