Documentation of creation of studio based on hand-printing, letterpress and paper creation. From the initial vision to the current production.

The word impression encompasses a dual meaning which desires to be more fully explored in the built realm. An (im-print) has a powerful impact because the message becomes an indelible mark embedded within the material. Physically, an impression is made by the pressure of one object on or into another, leaving behind a trace of this interaction on the surface. This process has the potential to create a vivid memory within the participant who comes into contact with it. The idea of imprint can become a part of the process of design both physically and conceptually. As polished concrete can be marveled for its beauty in craftsmanship, so too can the manipulation of surface serve as a valuable haptic communicator for those who interact with it. Sight is a powerful sense, but it remains devoid of any physical relationship with the world surrounding us and provides a level of separation which discourages us to examine our environment on other sensorial levels. By (im-print)ing a material it transforms from a purely visual statement into a haptic experience, engaging the user and introducing a visceral dialogue. Inspired by the process of letterpress print-making, surface can be explored to tactilely communicate narratives of craft, materiality, and process, and open a new haptic dialogue to the body; subtly but powerfully. Through a tactile investigation of materials' expression, we can gain a greater connection to that which envelops us and encourage a corporeal dialogue between user and built environment. This process sets out to create an assembled space through the process of making, molds and prints, and to relay this education of process and materiality to the user hapticly, engaging the senses and in turn (im-print)ing upon the user an indelible quality of experience which inevitably impacts further exploration within the built environment.

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Master thesis "Letterpress - Origin of Manual Typesetting" consists of the theoretical and the practical part. Theoretical part describes the origin and development of book printing and printed Latin script - proces of type casting and typesetting. Then, the life Johannes Gutenberg is briefly described. The information was partially ontains printed graphical compositions created using wooden letters for script printing in combination with two other graphical techniques of printing from height - monotype and linocut. The part of this work became the experimenting with graphical creative means.

The aim of the theoretical part of this diploma thesis is to clarify the issue of creating worksheets as didactical aids in the intermediate form of teaching. The aim is also to partially introduce the history of book printing and the life and work of Michael Jindrich Rentz. The work is also devoted to the Rentz Museum itself as an inspirational resource for creating worksheets and teaching art education. The practical part of the diploma thesis tries to create functional and representative worksheets for pupils of middle and upper school age to the Rentz Museum of Baroque Printing at Kuksu. This part of the thesis contains the definition of worksheet objectives, pupils age specification, analysis of individual tasks, description of the format and appearance of worksheets. At the end of the thesis, reflection and evaluation of the resulting sheets will be made.

Points of Contention, an MFA exhibit, features fifteen works of relief-printed images from carved linoleum and layers of type printed with antique letterpress wood type. The work constitutes a visual exploration of dissatisfaction and disenchantment presented through the context of odd stories in the news and major current events, such as election politics and the closing of Hostess bakeries, as well as, NSA data collection and gun violence. This supporting thesis explores the conceptual and physical processes of creating the pieces, including researching other artists who have wrestled with similar topics and produced their own unique reaction and resolution through art. The paper also discusses the technical and mechanical side of the artistic process, especially the anachronistic attraction to the methods of letterpress and printmaking in a digital age. Finally, this thesis chronicles the artist’s sources of inspiration from cartoon monsters and brand mascots during childhood to letterpress printmaking.

Catholics is an artist's book, a limited-edition memoir that makes use of text, image, and tactility. It relates the author's Catholic upbringing as it interweaves several themes: Church history, pre-Christian mythology, and the places where such spiritualities resonate with twentieth-century pop culture.

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A limited variable editioned artist book, by measure of depicts an allegorical conversation between medieval author Christine de Pizan and a contemporary woman. It is, in essence, an exploration of edges in which the characters examine the parameters of identity, both personally and societally designated–how to define/re-define/emphasize/blur them, and what happens in the space where they meet.