The guide center holds the working vocabulary behind the field notes, but sometimes you need a person rather than a page. Here is how to reach the writer directly, and where to look first if your question is really about a material, a machine or a method.
If a guide entry leaves something unclear, or you want to ask about a technique, a tool or a paper you are working with, send a note. Questions about specific materials and presses are the ones that get answered most usefully.
For anything that is easier to explain out loud, the phone is fine. If the line is busy, leave a short message and it will be picked up when the bench is clear.
Correspondence and small samples can be sent to the address below. This is a mailing address, not a walk-in studio, so please write before sending anything.
The Mills, 66 Carr Street,Many questions about type, paper, risograph behaviour and binding are already covered in the field notes. Browsing those before writing often saves a round trip.
For anything about how your details are handled, see the privacy policy. If you would rather send a longer message through the contact form, that route is open too.
Questions about a term in the guide center, a correction, or a note about a studio that should be listed here — the details below are the way through. No form on this page, just direct channels.
The better route for longer notes, supplier corrections or a term that needs a clearer entry.
hello@hunterashworth.comIf a guide entry left a question open, the fastest route is a short message. Tell me which term you were looking up, what you were trying to do with it, and what happened when you tried. A photo of the problem helps more than a paragraph describing it.
Useful things to include: the material or tool involved, the paper weight or grain direction if folding is the issue, the ink colour and drum if it is a risograph run, and the binding method if the spine is the problem. Corrections to a guide entry are welcome too, especially if a local supplier has moved or closed.
For anything longer than a quick question, the contact page has the full form. If you would rather read first, the field notes and the guide entries are the better place to start.
A few terms in the field notes get read in more than one way, so this page sets the record straight before you go looking for an entry. Nothing here is a rule for how you should work. It is just how the words are used across the guide center and the posts they link back to.
When a post says type was set by hand, it means individual pieces of metal type placed in a composing stick, one line at a time. It does not describe a digital font chosen on a screen and sent to a plate. The distinction matters because the corrections, spacing decisions and proofing steps are different in each case.
Where the notes mention paper stock, they mean the combination of weight, surface finish and grain direction, not a single number. Two sheets with the same weight can behave very differently under pressure. Grain direction in particular is treated as part of the stock, because it changes how a sheet folds and feeds.
Risograph quirks are described as the machine's normal behaviour, not as defects to be fixed. Misregistration, roller marks and uneven ink laydown are part of how the process works. The notes explain what causes them so you can plan around them, not so you can eliminate them.
When a supplier or an open studio day appears next to a term, it is listed because it came up in the work, not as a recommendation or a guarantee of stock, hours or availability. Check details directly with the studio or shop before you travel.
The guide center is arranged by what you handle at the bench, so a binder can move from paper grain to folding to thread choice in one pass. If you are searching for a single word, use the post links inside each entry rather than expecting an A to Z order. Notes stay short and tied to what actually happens at the bench.
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