History of Typographic Style

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A history of Typographic Style

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Typo A History of Typographic Style Presented by Graphics West and Nation Wide Graphics.

[Origin: 1445–present]

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In the beginning, monks labored side-by-side, in silence, in the cloisters of their monasteries. From sunrise to sundown, they transcribed entire Bibles and books for hours by hand, one page at a time. It took many years for a monk to produce a single book.

Upon completion, the monk would start afresh on a new version of the same book. Lifetimes were lived toiling in this way. The laborious method plus the scarcity of paper meant that books were rare commodities, possessed only by those who held the requisite position in society.

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In the 1440s, in the German town of Mainz, a craftsman named Gutenberg

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figured there had to be a more efficient way to put words to paper. “What if,”

Not only did the idea work, it caught on. By enabling a more efficient way to share ideas in the form of words on pages,

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Gutenberg’s printing method changed the pace of history.

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create words, sentences, and entire pages?” He gave it a try.

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little metal block that could be fit against other tiny little blocks to

Although various hand-written or hand-chiseled scripts had existed since the beginning of time, the craft of typography did not exist until Gutenberg invented his press. As the first true typographer, Gutenberg strived modestly to approximate the handwritten scripts of monks and scholars. However, it did not take long for others to recognize the expressive possibilities of typography. By the end of the fifteenth century, there were more than one thousand printertypographers whose names we still know.

By reviewing typography’s half-millennium of existence as a whole, one can see that its progression was not steady, but happened in spurts.

In each case, an individual would become obsessed with improving on the limitations of all previous typefaces. A profoundly innovative new typeface would result. The world would quickly emulate it. And so on. This calendar presents the fIve-century evolution of typography as a series of these milestones. Each month features a breakthrough typeface, and tells the vivid story of how it came to be, as well as the influence it has had.

As you will see, the changes in typography are remarkable. So is the fact that the earliest typefaces are used actively to this day.

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he wondered, “each individual letter were produced as a tiny

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Fraktur’s story is exactly 500 years old, and filled with controversy. It begins when Holy Roman Emperor Maximilian I commissioned the typeface in 1507 for a series of books. At that point, Gutenberg’s moveable type invention had only been around 70 years.

Fraktur caught on quickly, eclipsing the popularity of two predecessors, Frak·tur [frahk-toor] Schwabacher and Textualis.

1. German black-letter text.

With this popularity came division.

2. Fraktur improved upon the earliest typefaces created for Gutenberg’s new printing On one hand, Fraktur was endorsed invention, which were mere rudimentary adaptations of calligraphic scripts.

by Martin Luther and his Protestant 3. The elaborate calligraphy used in frakturs. followers. It became the typeface of [Origin: 1507] choice for literary works published in German. Chancellor Otto von Bismarck refused to read a book unless it was set in Fraktur. On the other hand, the Catholic establishment favored Antiqua over Fraktur. An Antiqua-Fraktur dispute arose, and reached full stride in the 19th century. Prominent Germans including Goethe, Nietzsche, and Jakob Grimm spoke out publicly against Fraktur. Anti-Fraktur sentiment culminated in 1941, when the Nazi regime outlawed it on the grounds that it was “Judenlettern” (Jewish letters).

Today, Fraktur and other gothic typefaces adorn the front-page titles of most daily newspapers. Individual letters in Fraktur denote algebraic symbols in mathematic textbooks. And of course, Fraktur lends its authenticity to the bier steins of the world. Prosit!

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In the early 16th century, a Parisian named Claude Garamond had one burning ambition: to publish the finest books in the world. Previously, Aldus Manutius of Venice had set the standard with a series of masterpieces that saved Greek literature from oblivion, thereby fulfilling his life’s mission.

To achieve his dream, Garamond had to Gar·a·mond [gar-uh-mond] excel at more than typography. He also had 1. A printing type designed by Claude Garamond, French type founder. to master all artistic and technical aspects of 2. Garamond was a thorough refinement of roman typefaces designed by Aldus Manutius. More book production, including punch-cutting, than any previous typeface, Garamond is recognized for its timeless beauty and readability. type-founding and bookbinding. Before [Origin: Early 16th century] producing books independently, Garamond performed these services for other publishers.

Garamond endeavored to deliver an easy, pleasurable reading experience. Therefore, every page was an achievement in pure composition, with wide margins, simple arrangements, and of course, flawlessly consistent and legible text set in Garamond’s own typeface. Based partially on the handwriting of François I’s librarian, Angelo Vergecio, Garamond’s typeface appears contemporary to this day.

More than four centuries later, a young American, Steve Jobs, discovered calligraphy at Reed College prior to founding Apple Computers. His passion for type influenced the evolution of Apple’s products, which paved the way for digital type development. For the 1984 release of the Apple Macintosh, Jobs commissioned Apple Garamond, a tribute to the world’s first modern typeface.

Gara Garamond

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Arrighi

In renaissance Italy, fascination with ancient Rome’s classical lettering paralleled interest in Roman art and architecture. Consequently, Roman typefaces (such as Garamond) became popular.

However, for those who had established their reputations as master calligraphers, it was a natural progression to adapt elegant, “humanistic” handwritten letterforms to moveable type. Most A·rri·ghi [A-ree-ghe] surviving 16th century Italian books are set 1. An Italic printing type designed by Ludovico degli Arrighi, an Italian type founder. in italic typefaces. The modern convention of 2. Although Ludovico degli Arrighi was not the first to develop the italic style of typeface, his designs were the most emphasizing words by setting them in italics did elegant – and emulated – italic letterforms of their time. not emerge until the end of that period. Today, [Origin: Early 16th century] virtually every text typeface includes a matching italic component.

Ludovico degli Arrighi was a prominent calligrapher employed by the Apostolic Chancery in Rome. He saw the early, rudimentary italic typefaces developed by Aldus Manutius of Venice, and was inspired. Improving on Manutius’s efforts, he designed a typeface that was more consistent and had fewer ligatures. His first of many publications, a 32-page instructional pamphlet on handwriting, was a woodblock printing. Subsequent works, produced using moveable type, were emulated widely.

When mercenary armies sacked Rome in the 16th century, Arrighi’s life was likely cut short. But his influence survives. In the early 20th century, designers Stanley Morison and Frederic Warde resurrected Arrighi’s typefaces as Blado and Arrighi, respectively.

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Kerville

In 1763, when John Baskerville released a Bible set in his namesake typeface, its perfection so unnerved the typographic establishment that envious peers claimed the letters’ stark contrasts damaged the eyes.

Of course, Mr. Baskerville approached typography with fanatic obsession. So much so that it took him no fewer than seven years to produce Bas·ker·ville [bas-ker-vil] his first book. Along the way, he innovated 1. John Baskerville, 1706–75, English typographer and manufacturer of lacquered ware. a sturdier printing press, blacker and 2. Baskerville is recognized as the best of the “transitional” typefaces, whose structural more consistent ink, and wove paper as an refinements of the existing roman typefaces paved the way for “modern” typefaces. alternative to laid.

[Origin: 1758] As much as Baskerville’s perfectionism benefited his typography, it nearly sank his business. While refining the historic aforementioned Bible, he lost so much money, he had to request a subsidy from the government. Although Baskerville received little acclaim in his homeland during his lifetime, he did win admiration from such foreigners as Pierre Simon Fournier, Giambattista Bodoni and Benjamin Franklin.

Today, a modified Baskerville typeface appears in the ‘Canada’ wordmark as part of the Canadian government’s corporate identity. Also, in 1996, designer Zuzana Licko of Emigre used Baskerville as the basis for her popular Mrs. Eaves typeface.

BASBaskerville

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DOT

DI Didot

Invented in 1783, Didot helped usher in the age of the modern typeface. A Parisian named Firmin Didot developed it in collaboration with family members, after being inspired by Englishman John Baskerville’s typographic innovations.

Firmin belonged to a familyoperated print foundry and bookDi·dot [dahy-doh] selling business established in 1713 1. French type founder, Firmin Didot. by his grandfather, François Didot.

2. D idot is considered one of the earliest “modern” typefaces, evident by thinner horizontal Firmin’s father, François-Ambroise, lines, finer serifs and overall greater contrast than preceding roman typefaces. achieved renown in his own right [Origin: 1783] after developing several refinements in printing technology, including a forerunner of today’s point system of measuring type.

Even before Firmin and his brother Pierre took over the family business, printing had come to be seen as an art form. The Didot typeface represented an aesthetic improvement over the others popular during that time. Firmin earned acclaim after producing an ambitious 12-volume book series that presented examples of costumes from all parts of the world. Forty years after he produced this collection, entitled “Racine,” it was deemed the world’s most perfect typographic achievement at the London Universal Exhibition.

Today, Harper’s Bazaar continues to display its name in Didot across its covers. From 1997 through 2002, and currently in reruns, the TV show Ally McBeal also has used Didot for its title.

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ley

In 18th century England, the written word was all-important. Considered a privilege, handwriting was taught only to aristocrats, professionals, scholars, clergymen, clerks and secretaries. A person conveyed eloquence not only through choice of words, but also an expressive manner of handwriting. And if a person were especially gifted with a quill, he could rise in prominence as others sought his talent.

Shel·ley [shel-ee] Because handwritten scripts in that day were so 1. An English script printing type designed by George Shelley and Matthew Carter. ornate, there was no way to adapt them to moveable 2. Although recreated in 1972 to suit contemporary technology, Shelley is modeled after a premier example of type printing. Instead, mass-production was 18th century handwritten scripts used for “copperplate” calligraphy printing. achieved using the “copperplate calligraphy” printing [Origin: 18th century] technique. A master calligrapher would look into a mirror and write the text backwards onto a copper plate using a steel graver writing device.

One English writing master whose penmanship was recognized beyond his lifetime was George Shelley. Only in the latter 20th century did printing technology become advanced enough to accommodate the elaborate scripts of Shelley and his contemporaries. In 1972, a British typographer named Matthew Carter chose George Shelley’s handwriting as the basis for his new script typeface, which he called Shelley.

If you wish to examine a superior modern-day example of engraved printing, simply open your billfold and pull out a dollar bill.

shel Shelley

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In 1927, a renowed “book artist” and teacher named Paul Renner developed the sleek, modern Futura in an effort to make his native Germany seem less old-fashioned. If that seems an ambitious aspiration for a typeface, understand that Renner was a man who took design very seriously.

Throughout the 1920s, Renner began Fu·tur·a [fu-tur-a] lecturing regularly on design, and 1. A German geometric sans serif typeface designed by Paul Renner. joined the ardent debate between 2. F utura is the ultimate geometric sans-serif typeface. It is absolutely devoid of roman and gothic type styles. From decorative elements, and is based on simple, near-perfect geometric shapes obsessive research, Renner concluded with strokes of unvarying consistency. gothic was to be decadent. While he [Origin: 1927] acknowledged that gothic’s compressed curves conserved space in lengthy words, he refused to tolerate such design ugliness, even when it had practical justification. He championed roman as the foundation for typeface development.

In 1933, Renner prepared displays to represent Germany at an exhibition in Milan. Upon reviewing the displays, the pro-gothic Nazis concluded there was too much roman type, and they imprisoned him.

Rudolph Hess appealed to Hitler on Renner’s behalf, and he was released. The Nazis gradually reversed their stance on gothic versus roman, to the extreme that they outlawed gothic altogether in 1941.

In 1959, the Doyle Dane Bernbach agency debuted the VW Beetle using Bauhaus-style ads set in Futura.

The new campaign became regarded as the most revolutionary in advertising history, thereby establishing Futura’s immortal popularity.

FU Futura

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City is a celebration of the machine age. It came out in 1930, at the height of the modernist era when machines and industry fascinated us, much as computers and the internet do today.

Categorized as a slab serif typeface, City has a modern geometry with perfect angles and a unified structure. Just like a beautiful industrial machine.

Cit·y [sit-ee] Appropriately, City was a product of the 1. A printing type designed by Georg Trump, German type founder. famously innovative H. Berthold AG Type 2. City is a predominant example of “slab serif” or “Egyptian” genre of typefaces, so named for their Foundry based in Berlin, Germany. The rectangular, slab-like serifs. company’s founder, Hermann Berthold, first [Origin: 1930] made his name by inventing a technique for producing circular lines using brass, as opposed to lead or zinc. He also co-invented the modern “point” system of typographic measurement. Established in 1858, Berthold’s foundry became the largest in the world by 1918. Among its inventions are the Diatype (a phototypesetting machine) and the Diatronic (a keyboard-controlled phototypesetter).

City’s designer, Georg Trump, spent most of his career as a teacher of graphics and typography. He fought for Germany in both world wars, and retired in the 1950s due to a battle-related stomach wound.

City’s popularity escalated when designer Jan Tschichold used it for a 1935 book entitled “Typographische Gestaltung.” Since 1956, IBM has used City for its logo.

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By looking at the understated, san-serif Optima, one would never suspect that its creator, Hermann Zapf, has held such an interesting life. Born in Nuremberg on the final day of World War I, he survived political revolution, the Spanish Flu (which claimed 20 million Europeans, plus two of his siblings), Op·ti·ma [op’t -m ] and a raging famine – all by age two.

1. A Humanist sans-serif printing type designed by Hermann Zapf, German type founder.

With a father that supported the 2. Optima is a gorgeous example of a “synthesis” typeface. Although it is sans-serif, it worker’s union, Zapf was barred from incorporates both roman and calligraphic influences to achieve a striking elegance. the study of engineering. Instead, Zapf [Origin: 1958] completed a four-year apprenticeship as a photo-retoucher, during which he discovered his life’s passion: calligraphy.

Drafted to fight in World War II, he was assigned as a cartographer after failing artillery school. He concluded the remainder of the war in French captivity.

Following the war, Zapf taught calligraphy, and served as the artistic head of the in-house printshop at the Frankfurt-based D. Stempel AG Type Foundry.

Zapf designed Optima in 1952, although the Stempel Foundry did not formally release it until 1958. Zapf is also renowned for two other creations: Palatino and Antiqua. He has been married to fellow typographer (and former rival) Gudrun von Hesse since 1951.

By visiting the Vietnam Veterans Memorial Wall in Washington, D.C., you can see 58,195 names of fallen service members displayed in Optima.

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ema Emigre gre

Rudy VanderLans emigrated from the Netherlands to study photography at UC Berkeley. There, he met Zuzana Licko, a fellow student from Czechoslovakia who studied graphic communications.

They fell in love, and in 1983 they married. The following year, they became the proud, loving parents of Emigre.

What is Emigre? It is the passion for design Emigre [em’ı-gre] experimentation which VanderLans and Licko 1. A printing type designed by Zuzana Licko, U.S. type founder. share, manifest in several forms. For starters, 2. Emigre was among the very first typefaces to be designed exclusively on Apple’s Macintosh desktop Emigre is their gone-but-not-forgotten cultural personal computer. journal. During Emigre’s 21-year lifespan, [Origin: 1884] some hailed it as revolutionary, while others howled that it was garbage. Ultimately, Emigre entered the permanent collections of MOMA, the SF Museum of Modern Art, and the CooperHewitt Design Museum.

Emigre is also their merchandising company, whose books, T-shirts, wrapping paper, posters, ceramics, photos, prints and collectables are showcased at emigre.com.

Then there is Emigre the type foundry. In 1984, at a time when designers spurned computers, VanderLans and Licko embraced their 128k Macintosh as a tool for typeface experimentation. One of the Emigre foundry’s earliest efforts, the Emigre typeface, is so ridiculously aliased that it is no longer popular. And yet, history may just remember it as the twentieth-century corollary to Gutenberg’s first typeface.

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For five centuries, typographers have devoted their lives to making letters, numbers and a myriad of punctuation look more beautiful, more readable, more perfect. Not Dutch designers Erik van Blokland and Just van Rossum. They began with a lousy typeface, and tapped the furthest reaches of their Trix·ie [trik-see] creativity to make it worse.

1. A distressed printing type designed by Typographers Erik van Blokland Their abomination emerged from a and Just van Rossum, Netherlands. series of typographic experiments 2.

Trixie was one of the earliest and most prominent typefaces created called Instant Types, produced by by using a computer to alter and “distress” the appearance of repeated scanning, digitizing and existing letterforms. “distressing” existing letterforms.

[Origin: 1990-91] One fateful day, they borrowed the battered manual typewriter of their friend Beatrix Gunther – who went by “Trixie.” As van Blokland puts it, “Her typewriter was suitable and so was her name.”

Upon feeding the typewriter’s output into their computer, van Blokland and van Rossum tweaked the images day and night to achieve the proper roughness. When they showed Trixie around, people laughed. “They thought it was a joke, really,” van Blokland recalls. In 1991, he and van Rossum persuaded FontShop International to publish Trixie. Defying all reason, it caught on.

If you were among the tens upon millions of viewers who tuned in Sunday nights to watch FBI agents Mulder and Scully chase aliens, then you know Trixie. It was used for the “X” in the television series “X-Files.”

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Which typeface best suggests the future of typography?

Dead History is as worthy of that distinction as any.

After all, it was created on a computer, once the computer finally emerged as the ultimate tool for type design. It is an intensely personal expression. And it mashes together geometric sans-serif Dead His•to•ry [dead his-tuh-ree] and Didone serif typefaces, in the 1. A Geometric sans-serif; didone; postmodern printing type designed by U.S. typographer way two entirely different songs are and designer P. Scott Makela “mashed up” by many contemporary 2. Dead History is a deliberate reaction against any traditional typeface family, influence musician-experimenters. or development process. Could this suggest the future of typography?

Dead History’s creator, P. Scott Makela, [Origin: 1990-91] is celebrated as a design pioneer.

He and wife Laurie Haycock Makela co-chaired Cranbrook Academy’s 2-D design department. During off-hours, he did work for Nike, Propaganda Films, Sony Music and Warner Brothers Records. The animated type in the opening credits for the movie “Fight Club” was his doing.

In conceiving Dead History, P. Scott Makela embarked on a radical exploration using the most advanced software available, and the least traditional creative process. He intended it to hark the transition from centuries-old notions of typographic development to the new techniques, new aesthetic and new thinking that have arisen with the computer age. It does.

Regrettably, P. Scott Makela passed away in the last year of the last millennium, at age 39. As Dead History, his statement lives.

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IT’S IN THE MAIL. Graphics West provides a variety of mailing services to keep things

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WE’VE GOT YOU COVERED.

Graphics West’s state-of-the-art services save our customers the time and expense of transporting printed materials from location to location. A full service, single source marketing partner, we can print your message, prepare it for distribution, and mail it. Personalized digital messages with variable data can be printed and sent on their way in hours rather than days. Our in-house print capabilities include an 8-color press, die cutting, embossing, foil stamping, extensive bindery, and computer to plate. We offer digital variable printing to personalize your direct mail pieces; the Argosy eCommerce System that allows you to print and distribute from your own computer 24/7/365; and full database and mailing services.

Whether it’s a web, sheet-fed, digital, letterpress, or mailed product… we’ve got you covered.

IT’S AN ‘E’ WORLD OUT THERE… Let’s assume that you

RIGHT WHERE YOU NEED US.

HEXACHROME, ANYONE?

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You, the customer, are our reason for being.

Graphic West’s goal is to give you what you need, when you need it; and make it profitable.We don’t assume the philosophy that “the customer is always right”, only because as “yes people” we cannot be properly responsive in fulfilling our customers’ needs. Our philosophy is that the customer always comes first, and that we consistently exceed their expectations, bringing value to everything we do. Our success has been a result of our ability to demonstrate a measurable difference to our customers, our employees, and our suppliers.With an eye on innovation and solution; we make doing business a pleasurable and profitable experience. Graphics West makes a point of “under-promising” and “over-delivering”; endeavoring to always exceed our customers’ expectations.

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PUTTING CUSTOMERS FIRST.

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Local presence, national reach, and global resources; It’s as good as it sounds. Graphics West is part of Nationwide Graphics, which is a nationwide organization of print houses. There are sixteen divisions with 20 locations across the United States. Our large footprint gives us superior buying power and the additional back up and capabilities we need to get your job done right. The Nationwide Graphics family includes: The Argus Press in Niles, IL, Cerqa in Nashville, TN, Austin, TX, and Kernesville, NC; Classic Printing in Nashville, TN, Dodd Printers, Inc. in Hialeah, FL, Graphics West in Las Vegas, NV, Haff-Daughery Graphics in Hialeah, FL, Harperprints in Henderson, NC, Jones Printing in Chattanooga, TN, McQuiddy Printing in Nashville, TN, Offset Atlanta in Atlanta, GA and Pontiac, MI; Original Impressions, Inc. in Miami, FL, Page/International Communications in Houston, TX, Saint Claire Press in Indianapolis, IN, Sutherland Printing in Montezuma, IA, Thomasson Printing in Carrollton and Marietta, GA, and U.S. Press Direct in Valdosta, GA.

SHINE ON!

MetalFX was born from the idea to create a virtually unlimited range of metallic colors by printing only five colors. MetalFX makes it possible to reproduce high quality metallic inks in a range of hues that has never been available before. Using the MetalFX prepress program simulations of holograms, three-dimensional effects and, with combinations of various MetalFX techniques, security elements can be designed and printed. In close cooperation with MetalFX, a new ink series has been developed meeting all requirements for wet on wet printing on silver. Taking in to account the most important parameters such as trapping, release, dot gain, etc. series MFX 5100 from the Hubergroup guarantees the reproduction of the shades as shown in the MFX color swatch book. Pigments of the highest brightness and transparency guarantee a minimum of dirtying. Graphics West is the only certified MFX printer in the State of Nevada.

DIGITAL VARIABLE PRINTING- INVARIABLY BETTER. Digital Variable Printing is a new and exciting technology that lets your sales message speak to your customers by name, company, or other suitable designation. Taking information from databases to create personalized text, images and graphics that get your messages read and bring you positive responses. Combining Digital Variable Printing and traditional offset printing can offer even more benefits. On the average direct mail campaign, combining DVP with offset cost 200% less than offset printing alone. Cost per response is 54% lower, customer response rate is 26% higher, and the average increase in sales is 93%.

Key Spelled Pronunciation Stress marks: [bold type] indicates the primary stressed syllable, as in news·pa·per [nooz-pey-per] and in·for·ma·tion [in-fer-mey-shuhn]

moving. Our expert staff can suggest ways of saving on postage while ensuring the piece doesn’t get delayed at the post office. Our finishing department can provide all the necessary services that are required, from simple to the most complex pieces. Graphics West can cut, score, perforate, fold, staple, insert, drill –you name it - right down to the shrink wrapping.We also have a saddle stitcher that can do it all; collate, saddle stitch, fold, and trim in one pass to save time on your smaller magazine or publication jobs. When your job is finished, we are equipped to deliver anywhere you like, any way you like. Whether it’s with FedEx, UPS, Freight Line, or one of our courteous drivers, we’ll get it to you.

your rep today

CALL

702.798.9444

have about 30 seconds to interest your direct mail audience, and that more than a third of them prefer to interact online. Why not design your next direct mail campaign to maximize response by incorporating a full Multi-Media campaign? We can engage your clients and prospects with personalized, relevant content in direct mail while directing them to their own personalized web page, complete with personal URL. Here, we are able to capture info, provide hotlinks to your website, and furnish valuable leads to your marketing department. Outpace your competition by embracing the future. Allow us to launch your Multi-Media campaign today!

Having the only 8-color Heidelberg in the State of Nevada gives us unique capabilities. Our expertise in this provides you greater value. We all know that the Four-Color Process has certain limitations with its visual color spectrum.

Hexachrome is a 6-color process that adds special green and orange inks, allowing it to extend the visual color spectrum. Don’t try this at home. Let us be your guide. Call to find out how this process can benefit you.

IT’S IN THE DETAILS. Your problem is: You have an image that suffers from conventional screening. We offer less-than-conventional solutions. In addition to Hexachrome, Stochastic Screening on selected products can eliminate moiré patterns and sharpen the image. We can also use touch plates and florescent inks where needed to enhance the quality and value of your printed product. Let a Graphics West Consultant walk you through the process and help you to decide which technique will work best.

EFFICIENCY LOVERS. Reduce your print spending and improve efficiency by using our state of the art supply chain management tools.With Argosy, you can order product online; reduce your warehousing costs; see real-time inventory; access templates for variable printing; soft proof; and download your databases. Let us show you how to maximize efficiency by minimizing errors, simplifying the ordering process, maintain corporate branding, and reducing shipping costs. It could reduce your print spending by over 20%.

THE SUBSTRATE CHALLENGE.

We are up to it! For many printers, printing plus unique substrates equals a formula for failure. While our paper printing capabilities are second to none, we also pride ourselves on the quality of our special substrate printing.

We are a certified Magnecote printer, which allows us to print on their magnetized stock.

It’s not just for refrigerators anymore! We print on static cling materials, metallic stocks, on some plastics and just about everything in-between. Call on us to help you through your next substrate challenge.

PRESSING THE ENVELOPE.

Many know that our international award-winning letterpress department can give your product that extra zing with embossing, debossing, die cutting and foil stamping. What you might not know is that we now have a 40” full size die cutting system with stripping capabilities. Now, not only can we tackle the larger projects, we can do it faster and more economically. Yes, letterpress is alive and well at Graphics West.

CONSONANTS [b] [d] [f] [g] [h] [j] [k]

boy, baby, rob do, ladder, bed food, offer, safe get, bigger, dog happy, ahead jump, budget, age can, speaker, stick

www.graphicswest.com

VOWELS [l] [m] [n] [ng] [p] [r] [s]

let, follow, still make, summer, time no, dinner, thin singer, think, long put, apple, cup run, marry, far, store sit, city, passing, face

2008

[sh] [t] [ch] [th] [th] [v] [w]

she, station, push top, better, cat church, watching, nature thirsty, nothing, math this, mother, breathe very, seven, love wear, away

[hw] [y] [z] [zh]

where, somewhat yes, onion zoo, easy, buzz measure, television

[a] [ey] [ah] [air] [aw] [e] [ee]

Printed by Graphics West

apple, can, hat aid, hate, day arm, father, aha air, careful, wear all, or, talk, lost, saw ever, head, get eat, see, need

designed by eurie creative

[ eer] ear, hero, beer [er] teacher, afterward [i] it, big, finishes [ ahy] I, ice, hide, deny [o] odd, hot, waffle [oh] owe, road, below [oo] ooze, food, soup, sue

[oo] [oi] [ou] [uh] [uh] [ur]

good, book, put oil, choice, toy out, loud, how up, mother, mud about, animal, problem early, bird, stirring