I started working with letterpress almost eight years ago, when I was looking for a way to print a mixed-media piece for a gallery in Brooklyn. I fell in love with the medium:  the richness of the inks, the juxtaposition of typography and imagery, how different paper types interact with ink and pressure—the list goes on. There are so many ways to create something unique, even if you are making multiples.

I also write poetry and both facets of my work have a profound influence on one another. There is poetry in presswork. Nothing makes you understand the weight of words like laying them out by hand.

Laying out type at the London Centre for Book Arts
Laying out type at the London Centre for Book Arts

Squall and Sunset, the two pieces featured in the Land and Sea exhibition, were printed at the London Centre for Book Arts. The prints were created on a Stephenson Blake press, a manufacturer that is common in the UK but rare in the US. For a pressure print, the ink is applied to a base instead of onto the rollers. The paper is then rolled over the ink, and the weight of the press is what makes the print. The cylinder on this Stevie B is very heavy, which makes for great pressure. As for inks, the LCBA has a wonderful collection of vintage, oil-based inks that were great fun to play with.

Some of the vintage orange inks at the LCBA
Some of the vintage orange inks at the LCBA

Printers love this Stevie B model because it has a very wide bed. This let me print on 22-inch squares (I used Redeem 130gsm, a 100% recycled paper), which are quite large for a single letterpress page. I printed each piece four times; the paper became so supersaturated with ink that it took over a week to dry.

Prints drying on the racks
Prints drying on the racks
Finished prints
Finished prints

Then I took the plunge and cut each sheet into four strips.

Cut down to size
Cut down to size

While living in the UK, I was particularly struck by the vitality of the countryside. Everything seemed so lush—the sea off Cornwall, fields of grass and hay with poppies growing by the side of the road, summer sunsets and rainy days—it was all on my mind as I mixed and applied the ink.

The individual strips were getting overwhelmed when mounted with traditional matboard. I decided to use acrylic for the front and back, allowing the vibrancy of the inks to stand out. I also like how the colors seem to float within the frame when hung on a wall. 

RBR  for R&T
RBR for R&T
Green Flash
Green Flash

As a person with a long-term disability, I find there is a lot of synergy between my art and how I try to live my life. Working on a press could be all about its limitations. Instead, I find that the structure inherent in presswork grants me greater freedom by giving me something to lean on. I may not always be able to hold a pen, but I can create something beautiful by working within the constraints of the press in order to transcend them.

You can find out more about my work at my website: www.zitternpress.com.


KS Lack is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. The exhibition runs through June 29, 2018.

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One Response

  1. Amazing! I am mentally searching for a new and powerful adjective to apply here. Extraordinary. My best regards, ray

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