Since 2009, I have dedicated between 1-3 days a week to my 'passionate practice'. This self-initiated creative time is a vehicle for typographic research and exploration. I work on publications like the TypographJournal, collaborative projects with designers I admire, write and research content for books and articles. And I ‘play’ with my letterpress machines in my #printpavilion (a glorious inky garden shed!) I find using my hands is a fantastic antidote to the work I do on my Mac for clients.

You can see some of the outcomes of my inky play on the Glyphs page. Keen to see more? Follow along on instagram where I regularly post work in progress from the print pavilion. Or check out some past print experiments via this pinterst board.

I do NOT print letterpress on commission. My time in the print pavilion is self-indulgent, satisfying and most importantly fun. The outcomes don’t need to be disciplined, efficient, economical or perform against the usual client driven criteria. In my passionate practice, design responses need to be emotionally rewarding and stimulate and/or satisfy my curious mind. I experiment I print for pleasure and to advance my understanding of typography.

Press info -

  • Advance Showcard Press - 1950’s (Vince)
  • Chandler Price Cutter - 1901 (Calvin)
  • Farley No25 Self Inking Proof Press - 1961 (Frank)
  • Gordon Old Style Platen - 1867-69 (George)
  • Harrild Albion - 1872 (Albert)
  • Hot foiling press
  • Heidelberg Platen T Redball Windmill - 1960 (Harvey)
  • Miehle V45 - 1934 (Milo)
  • Portable Mimeograph - 1880’s
  • Saroglia proof press - 1910 (Sergio)
  • Various book and Nipping presses

I try not to play favourites (but I do most of my printing on Albert, George and Frank)!