CATEGORY

Letterpress

RANK

Best of Category


PRODUCTION DETAILS

Quantity

80

Page Count

Number of Colors

Washington and Lincoln 8
Roosevelt 6

Binding

Dimensions

11 × 17

Paper Stock

Borden & Riley #234 Paris Bleedproof Art Paper, 108lb

Special Techniques


DESIGN CREDITS

Designer and Illustrator

Ned Drew


TAGS

, ,


LINKS

brednation.com

Currency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BREDCurrency for Self-promotion by BRED


CLIENT

BRED focus­es on dif­fer­ent medi­ums serv­ing non-prof­it, cul­tur­al, and cor­po­rate envi­ron­ments while seek­ing clients that share their appre­ci­a­tion for cre­ative oppor­tu­ni­ties. The studio’s core belief revolves around effec­tive design, the orga­niz­ing force in defin­ing, cre­at­ing, and com­mu­ni­ca­tion of meaning. 


BRIEF

This self-ini­ti­at­ed project was inspired in part by W. A. Dwig­gins’ 1932 pro­pos­al Towards a Reform of the Paper Cur­ren­cy, Par­tic­u­lar­ly in Point of Its Design. This exper­i­men­tal inves­ti­ga­tion was also cre­at­ed to show­case and pro­mote a new type fam­i­ly, Ludd, recent­ly designed by the studio.


APPROACH

I want­ed to try and retain the spir­it of the cur­rent US bills while con­trast­ing the more icon­ic ele­ments with a humor­ous look at Amer­i­can his­to­ry and its myths. For­mal­ly, I was react­ing to the con­ser­v­a­tive nature and bland­ness of our bills, try­ing to devel­op a more dynam­ic com­po­si­tion and impres­sion with­out los­ing the nar­ra­tives. I assign a cur­ren­cy project to my stu­dents and I was curi­ous how I might respond to the same design prob­lem. Work­ing with­in these for­mal, con­cep­tu­al, and sys­tem ori­ent­ed para­me­ters, I have a greater under­stand­ing about the design process and the var­i­ous macro/micro issues involved.

PRODUCTION LESSONS

The most challenging part of this project was the registration within the letterpress process. These bills were printed on a Vandercook Universal III press, and no matter how precise you are, registration is always an issue. Each bill has six to eight different spot colors so I got to know my press very well and learned what I could and could not do during the printing process. 

Judge’s Comments
Another tour de force of letterpress printing. Each piece was developed via multiple passes through a letterpress, building up a density of color, image, and texture, until it virtually looked like engraved money. Frankly, it looked BETTER than money. Extremely impressive work. — Art Chantry

These pieces are shockingly brilliant. BRED exhibits a true mastery of the letterpress through perfectly applied soft impressions and the use of excessive overprinting. To put it bluntly, we all wanted to take them home. Badass. — David Dodde

Money is my favorite color; and when it’s well designed, well written, and letterpressed how can you not love it. — Pum Lefebure

This is an excellent example of old school letterpress taken to the extreme: zero impression, incredibly detailed halftones, with beautiful layering of inks. — brad murph

These are beautifully done and I really appreciate the humor. — DJ Stout

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