Nineteenth-century American wood type was the loud voice of the broadside era — giant relief letters cut from end-grain maple, inked with oil-based vermilion and carbon black, and proofed in tight grids on the iron bed of a press. Faces like Fat Face, Clarendon slab, and ornamented Tuscans were sold through specimen catalogs that crowded the page with mass and contrast. This system rebuilds that surface: heavy display letterforms, two-colour overprint, and the dark, oiled sheen of an inked press bed rather than blank manila stock.