Then again it could be that this business card, designed by Leslie Plesser, is just a beautifully thought out piece.

In this simple, but stunning card, a well proportioned use of white space lays the solid foundation for a soaring asimetric architecture of airy typography and classic ornamentation.

Is it a serious work? Or maybe just a lark.

My contact within the organization, Joe Isaak, made it easy to work with such a formidable group of people. In the end it was not difficult to print the job given the clean design that they presented me with and the Classic Crest 165 pound paper which was donated to AIGA by Neenah.

While the movement focused on an examination of esthetics, with an eye open toward identifying a Black sensibility in arts and crafts that was distinctly separate from that of the current White culture, some of the great works of art of the 20th century were created.  During this period painting, music and literature underwent dramatic changes.

Publishing was not immune from the enthusiastic energy of change. Many of the most powerful works of African American writing were produced during this period and the printers of the time were not without their say. A number of works were produced using black paper and printed with white ink. 

This was, perhaps, an idea that was technically ahead of its time.

Although lithographic printing using paper plates was invented in 1914, the bulk of printed matter was still produced using the relief (or letterpress) process. With the letterpress process it is difficult to print effectively with either white ink on black paper or to print a flood of black ink with the type dropped out.

Perhaps this is an experiment that is worth investigating again. With the sophistication of offset printing and the advent of direct-to-print computer processes, as well as the invention of the digital book, a firmer technical foundation exists today to play with the relationship between black and white on the printed page.

Weather the paper or the ink is black or white, the strength one takes from the contrast between the two is undeniable. This business card designed by (and for) Kristin Krantz is fine example of the dynamic that is highlighted by the simple use of these two , I would say, primary colors.

The air in the garden level shop is moist and richly scented from shelves of freshly cut flowers. The windows onto the street are rippled with age but clean and bright.

The florist, who’s family’s shop has served generations from this slim brownstone in this close-knit neighborhood, smiles as she recognizes me.

Oh, wait. Chicago Avenue in Minneapolis? My mistake. (But can’t you just feel the long history of this brand new shop in Brad Surcey’s evocative card design.)

This is because it can tun out badly.

This business card, though, turned out just fine. For some reason the lighter shades of blue seem to work for this sort of thing better than, say dark brown.

I like the way that the thinner line of black presses deeper into the card than the larger areas of blue.

I will still try to discourage you from having me print work with large coverage areas, but sometimes . . .

The press performed well on its first outing and, even then, I could anticipate many decades of serviceable work coming henceforth from its jaws.  

Actually, this is one of the pictures that photographer John Noltner took of Nomadic Press work. It shows, in wonderful detail, the texture of the paper and the depth of impression that can be achieved when working with such heavy, soft stock.

The ampersands in circles are printed using transparent ink, which does not impart a new color but rather changes the way the light comes off its surface. 

The blotter stock is a very long and loose fibered paper that is also a bit inconsistent in its thickness. These qualities make it a pleasant paper to work with that is full of nice surprises. Which is to say that it can be a bit unpredictable (but in a good way).

It is a fairly cheap paper too.

Let’s talk.

The problem that I run into is the same problem that I expect all of the designers who hire me at the last minute are confronted with. How does one find cold and snowy inspiration in the middle of summer? 

It is, understandably, difficult. So, go ahead, enjoy the weather this coming summer and I’ll be ready (again) for the December holiday rush of 2010.

Modern letterpress printing enjoys the advantages of using printing plates made from polymer. These plates are tough and relatively easy to produce, and since they are job-specific, they can by sorely abused while leaving a clean and deep impression. If one plate gets trashed in the process of executing the work, a new one can step in to take its place.

Typographer and sculptor Eric Gill wrote that “A print is properly a dent made by pressing; the history of letterpress printing is the history of the abolition of that dent”. Today that ‘dent’ is what letterpress is all about. A sculptural impression, or heavy kiss, pressed into a sensuous paper is exactly what people are looking for when they turn to letterpress printing to convey their message.

After all, a passionate kiss leaves quite a memorable impression.