In the ever-evolving world of graphic design and typography, where digital tools dominate and trends shift at the speed of light, there remains a pocket of artisans who keep tradition alive—by hand. Theo Hersey, now at the helm of Alan Kitching’s iconic Typography Workshop in London, is one of those craftsmen. Having taken over from Kitching, a legend in letterpress, Theo is continuing to explore the beauty and creative potential of this 500-year-old printing process, while blending it with the demands of modern design. In this interview, we dive into Theo’s journey into the world of letterpress, the future of this time-honored craft, and his recent collaboration with Bastille for their new album.
How did you first get involved in letterpress?
It’s been quite a journey! I went to university to study graphic design, and it was there that I first got exposed to letterpress. The tactile nature of it—the way you physically engage with the type—really resonated with me. After I finished my course, I was incredibly lucky to do a work placement with Alan Kitching just before the pandemic hit. That was a game changer. Working alongside him gave me a deeper insight into the industry, and I began to truly understand the potential of letterpress as more than just a historical technique. It became clear to me that letterpress was an art form in itself, and I wanted to be part of that legacy.
The Typography Workshop has such an impressive collection of fonts and equipment. How does that impact the work you do now?
The collection is incredible. From Caslon Old Face to Futura, in both metal and wood type—it’s like having a piece of history at your fingertips. Some of the typefaces are over 100 years old, and the range we have is astonishing. You’re not just designing with type, you’re creating with something that has a story, a heritage. Every letter, every font carries the weight of history, and that definitely impacts the work I produce. It feels more personal, more connected to the origins of printing.
How many people are left in the industry today?
Not many—probably about 25 or so who are actively practicing letterpress at this kind of scale. It’s quite a niche field now, partly because the process is so hands-on and requires specific equipment that’s no longer made. With most people going digital, the demand for letterpress printers has really dropped, but for those of us still involved, that’s kind of what makes it special. It’s not just about printing; it’s about slowing down, thinking carefully about design, and appreciating the craft behind it. The process is painstaking and relaxing at the same time, it's kind of therapy for mental health. You set the type by hand, ink it, press it, and sometimes, you have to start over if something doesn’t quite work out. But that’s also where the magic is—the imperfections, the uniqueness of every print.
In this digital age, are you scared of the shift away from traditional methods like letterpress?
Not at all, actually. The way I see it, digital and traditional methods like letterpress can coexist. I think they complement each other. Digital design offers speed and convenience, but letterpress gives something that digital can’t—tactility, texture, and a certain unpredictability that brings the design to life in a different way. In fact, the digital age has kind of reinvigorated interest in letterpress. Designers are looking for ways to stand out, and more and more, they’re realizing that blending both digital and traditional techniques gives them a unique edge.
Speaking of blending modern with traditional, how did you get involved with Bastille’s new album, "&"?
It was one of those “right place at the right time” moments! Back in January, Dan [Smith] from Bastille just walked into the studio. He’d seen some of the work I’d been doing and was really interested in collaborating for their new album, “&.” We talked for a couple of minutes and 3 days later I got a message from him ... and before I knew it, we were working together. It wasn’t just me providing artwork or design ideas; it was a full collaboration. Dan had a really strong vision for the project, and I brought in the tactile, handmade element of letterpress to complement that. We worked side by side to create something that felt modern but still had that tangible, crafted feel. It’s been a surreal experience, to say the least.
What was the creative process like for the album?
Dan would come in with ideas—and we’d experiment with different typefaces, textures, and colors. Letterpress is great for that because you can try something, print it, and immediately see if it works or not. We played around a lot with layering ink, creating textures, and giving the artwork this depth that you can’t quite get with digital alone.
It's been a really long project but I'm so happy we got to work together.
What’s next for you and the Typography Workshop?
I’m really excited about the future. Taking over the workshop has been an amazing opportunity, and I’m looking forward to pushing the boundaries of what letterpress can do. I want to keep experimenting with typographic expression, not just in terms of design but also in terms of how letterpress can play a role in today’s culture. There’s so much potential in blending the old with the new, and I’m eager to see where that takes me.
As Theo Hershey continues to craft unique, tactile typography and keep the heritage of letterpress alive, he’s not only preserving history but also pushing the craft into new and exciting territories. From working with legendary musicians to mastering century-old fonts, his journey is a testament to the power of tradition in a digital world.
Stay connected with Theo and his works!
Words & Photos by Sal F.
Theo's work at the Typography Workshop sounds incredible, especially the way he's blending old and new techniques. It reminds me of how I combine digital photos with traditional printing methods. Speaking of which, I recently used the shutterfly phone number to order some custom prints with unique typography. Theo's collaboration with Bastille for their album "&" is so cool, and I can't wait to see what other projects he takes on in the future!