Juried Exhibition (August 11 – October 7, 2018)
Tieton Warehouse (Tieton, WA)

A juried exhibition, 10x10x10xTieton exhibits around 175 small works from around the globe each year, creating one of the most diverse shows in Washington’s Yakima Valley. With no media restrictions, the exhibition has a broad range of pieces on display, from sculpture to painting, book arts, photography and everything in between. IH7!JT is the first in an on-going series of iterative letterpress prints in which I’m exploring type forms as composition. {Opening Reception: Aug. 11, 2018, 12–4pm}

Why Letterpress: Experimental Adventures

Group Exhibition (March 31 – April 12, 2018)
Mainframe Studios (Des Moines, IA)

Five of my editioned prints appear in this exhibition featuring over 100 works by contemporary letterpress artists from around the United States. Presented in conjunction with the free screening of Pressing On: The Letterpress Film the show’s opening at 6pm on Saturday, March 31 follows an artist panel talk about the importance of preserving letterpress, printing history, community connections, experimental methods and the age-old question of “Why Letterpress?” Prints are available for sale at the show. Hosted by Red Door Press, AIGA Iowa, and Mainframe Studios. {Reserve tickets / Details}

Great Hope: Print Show & Exchange

August 10–31, 2018
Tiny Town Gallery (Tucson, AZ)

February 12–23, 2018
University of MA / Student Union Gallery (Amherst, MA)

This show of editioned print-based work is comprised of two parts, shown in unison, about the people, places, and experiences that encourage and sustain us. The first part is a collection of work created by Zach Clark (National Monument Press) in response to stories and ideas of hope. The second part, in which my print St. Lawrence River is featured, is the work of 50 American artists, each print measuring 7”x7” to create a unifying and democratic field for both the artist and the viewer. After the show, each artist received a portfolio of the full body of work, allowing the exchange to continue well beyond the physical exhibition.

End of Times 2: The Time is Now

Traveling Letterpress Print Exhibition (2017–2018)
College of Saint Benedict; St. Joseph, MN + other venues

Scavenger (2017), composed of handset metal & wood types with an image hand-carved from linoleum, is 1 of 41 prints in this traveling exhibition of work by contemporary letterpress printers. It was curated and coordinated by artist Mary Bruno on the theme of perseverance in challenging times. Venues to which the show traveled include, but are not limited to:

This traveling letterpress exhibition first premiered at the College of Saint Benedict Clemens Library in St. Joseph, MN and included a panel discussion with 7 of the artists, including me, about how the exhibition’s theme of perseverance relates to their work.

Pressing On: A Celebratory Exhibition

Group Exhibition (May 25 – June 12, 2017)
Haley Gallery / Hatch Show Print (Nashville, TN)

In celebration of the world premiere of Pressing On: The Letterpress Film, Hatch Show Print’s Haley Gallery hosted this exhibition of the work from over 50 letterpress artists. I was honored to have three of my works from my past 19 years of printing in this show.  {Learn more}

Ink + Metal + Paper

Letterpress Print Exhibition (Feb. 4–27, 2016)
23 Sandy Gallery (Portland, OR)

This invitational exhibition was curated by C.C. Stern Type Foundry, a working museum and non-profit organization dedicated to preserving the art and industry of the typographic form. The show features letterpress work from a select international roster of 24 renowned printers and includes books and broadsides showcasing the use of metal type, ornaments, and border elements in relief printing. My 2015 broadside How to Fix a Laptop was one of 31 pieces selected for this show.  {View full catalog}

Yea Big! Tiny Pop-Up Print Show

Traveling Letterpress Print Exhibition (2011–2012)
Stumptown Printers (Portland, OR) & other US venues

Yea Big! is a world-traveling group exhibition of miniature letterpress prints made by 50 contemporary letterpress printers, each measuring 2×3 inches. The show was curated and coordinated by Stumptown Printers in Portland, Oregon. My print, One Percent, was composed of metal type and vintage advertising cuts. Venues to which the show traveled include, but are not limited to:



Amada Press is honored to be featured alongside some of my favorite letterpress contemporaries in Janine Vangool’s latest addition to her UPPERCASE Encyclopedia of Inspiration series, Print/Maker (Volume P). The book profiles designers, artists and craftspeople who use printmaking and print technology to make things for themselves and others. It includes in-depth interviews with printers, stationers, publishers, zine-makers, homeware and clothing designers through studio pictures, portfolios and sound advice from print/makers from around the world. Published October 2018 by Uppercase Magazine. (Pre-order the book.)

Letterpress Printing Journeys: Amy Redmond of Amada Press

An interview with Amy E. Redmond of Amada Press, published in November 2017 by Boxcar Press.

A Boy and His Type: The Typographic Art of Christopher Stern

Article for Interrobang, written by Amy E. Redmond & published in 2007 by the Society of Typographic Aficionados (SOTA).

speaking + teaching engagements

Letterpress Workshop Instructor

AIGA “Into the Woods” Design Conference (Oct. 5–7, 2018)
Sleeping Lady Lodge; Leavenworth, WA 

My fave design conference is back! I’m loading up the wagon with toys from the School of Visual Concepts’ letterpress print shop for a weekend of creative fun in the American Alps. In my workshop we’ll use natural materials, foraged from the forest floor, to create pictorial & typographic monoprints. We’ll also play with wood type & experiment with hand-inking & overprinting! Produced by AIGA Seattle.  {Register / Learn More

Hello My Name Is… Most Likely Not Futura (A Letterpress Adventure in Metal Type Identification)

TypeCon XX (August 3–5, 2018)
Society of Typographic Aficionados (SoTA); Portland, OR

Abstract: The Panama Papers made waves as “Font Gate” in mainstream media last year, illuminating how forensic typography can authenticate documents in the digital age. But for letterpress printers working with analog type collections, an entirely different set of forensic techniques are needed to identify imposters.

In this reverent tale of an apprentice continuing the work of her mentors, Amy Redmond shares how a routine inventory review of Stern & Faye Printer’s metal house face, Futura, uncovered questions about its accuracy. Learn the techniques she used to unearth the true identities of its family members, and why she felt compelled to embark on an adventure in conscientious type stewardship.

Connecting the dots between Portland and Seattle’s living letterpress history, Amy shows how each generation bears the responsibility of custodianship and shares how amateur type-sleuths can help ensure these treasured collections get passed forward with their ancestry intact.

End of Times 2: A Panel Discussion with 7 Artists

End of Times 2 Letterpress Print Exhibition (April 2017)
College of Saint Benedict; St. Joseph, MN 

End of Times 2 is a traveling group print exhibition of 40 contemporary letterpress printers, curated and coordinated by artist Mary Bruno. In this opening reception panel discussion, 7 of the 40 artists gathered in Minnesota to talk about the exhibition’s theme of perseverance and how it relates to their work.

Festina Lente: The New Push to Hasten Slowly

Hive Design Conference (May2017)
American Institute of Graphic Arts (AIGA); Seattle, WA

Abstract: In a society that is rapidly changing with the rise of technology, why are some designers consciously choosing to hasten slowly, adopting more time-consuming, analog methods rumored to be on their way out? Digital progress is distracting us from one of our greatest human needs: the time to pause, reflect, and engage meaningfully with our community. The age-old adage of “Festina Lente” is new again as the analog experience becomes more valuable, not less, in the 21st century.

Visual designers Amy Redmond and Jenny Wilkson share how they’re successfully shattering the binary ceiling in the unlikeliest of places: the School of Visual Concepts’ letterpress studio in South Lake Union, ground zero of Seattle’s tech boom. Drawing on 15 years of experience teaching old tricks to new dogs, they’ll show that innovation doesn’t have to be an either/or battle between the analog and the digital. By embracing the future of technology along with its past, they’ve stumbled upon a formula for fostering social change and scratching the creative itch we’ve all been feeling.