Behind the Plate with Concord Engraving
In the world of letterpress printing, the magic is in the details—and often, that magic begins before ink ever touches paper. At the heart of this intricate pre-press world is Concord Engraving, a small, family-run business in New Hampshire that’s quietly become a cornerstone for letterpress printers across the country.
Founded in 1933, Concord Engraving is now helmed by fourth-generation owner Max Otto, who, alongside his wife Shelley, has brought the company into the modern era while staying rooted in the rich history of print. What began as a traditional engraving business when letterpress was the only method of commercial printing has evolved into a streamlined, tech-forward operation specializing in photopolymer plates for both flexographic and letterpress applications.
For Max, the legacy runs deep. His great-grandfather started the business during the golden age of print, and over the decades, Concord Engraving has shifted to meet the needs of a changing industry. “We’ve made every necessary technological change to stay relevant,” he says, pointing to the company’s flexibility and forward-thinking approach as key to its longevity.
But it was Shelley’s entrance into the business about eight years ago that sparked a renaissance in their letterpress division. “I was working for another retailer when Max saw an opportunity,” she recalls. “We had this huge base of flexographic customers, but letterpress was a much smaller part of our operation. He asked me to help grow it—and that’s what I set out to do.”
Shelley dove in headfirst, building a client base almost from scratch. “I was emailing people constantly, hoping for a reply,” she says. “Now, word of mouth in the letterpress community has given us a momentum I could’ve only dreamed of.”
Today, Concord Engraving has served close to 600 letterpress printers, ranging from major commercial shops to hobbyists printing on tabletop presses in their garages. While their flexographic division handles massive plate orders for large-scale commercial printing, the letterpress side thrives on relationship-building and attention to detail.
Despite their growing reputation, the company remains refreshingly small. With a team of just six—including Max and Shelley—they’ve built a nimble operation that punches far above its weight. “Max has done an incredible job investing in machinery that can handle the bulk of the work,” Shelly says. “But we’re all cross-trained, and everyone jumps in wherever they’re needed.”
That small-but-mighty team model allows Concord Engraving to offer what’s arguably their most competitive edge: same-day turnaround on plates. “We know press time is expensive,” Shelly explains. “If someone’s waiting on plates, that’s lost time and money. We’re committed to keeping our customers profitable.”
This high-speed production is aided by careful planning and intelligent material management. “Every plate has its quirks,” Max adds. “Photopolymer is fickle—it’s washed out with water, and even the moisture from your hands can affect it. That’s why we minimize how much it’s touched and rely on precise equipment to get the best possible results.”
From an outside perspective, it’s easy to assume that such fast turnaround times require a large-scale production line. But the secret is actually their ability to make micro-adjustments based on years of experience. “We maximize every inch of our materials,” says Shelly. “Sometimes it makes more sense to run something on scrap film. Other times, we build a full sheet. We always consider what’s most efficient for us and cost-effective for our customers.”
Shipping and packaging play a major role in that efficiency, too. A seemingly small tip—like designing your plate file to fit within a 9x14-inch area so it ships at a flat rate—can save printers considerable money. “I try to cut oversized plates down if I know they won’t be used all at once,” Shelly says. “That way they still fit in the envelope and get to the customer quickly.”
That level of thoughtfulness has earned Concord Engraving a reputation for going above and beyond. When printers ask about trying something new—like embossing—Shelly is quick to offer advice and even walk through test runs. “We’re here to help,” she says simply. “We want to see our customers succeed.”
Technically speaking, one of the most complex parts of making a photopolymer plate is the exposure process. Max explains it in detail: “It’s all about light. The exposure affects the ‘shoulder’—the wall of the raised image. If you get too much or too little light, details can get lost or fill in on press.”
To avoid this, Concord uses high-resolution imaging at 4,000 DPI and measures every plate with a Stouffer scale to ensure consistency. They’ve also invested in new technology, like an inline processing unit that washes, dries, and exposes plates in a single pass—saving time and reducing the risk of human error. “It’s manufacturing at the end of the day,” Max says. “You want fewer hands on it to minimize mistakes.”
Shelly agrees. “Even changing something as small as a cover sheet can throw off exposures. It’s a constant process of testing and tweaking.”
And while new equipment and techniques are always on the horizon—like LED-based exposure systems with much longer lifespans—their commitment to analog quality remains strong. “Even as we modernize, our goal is always to make the best possible plate,” Max says.
They’re also transparent about what plates can and can’t do. “Photopolymer doesn’t last forever,” Shelly points out. “If you’re printing on super textured paper or doing long runs, it’s worth stepping up multiple plates in your layout just to have backups.”
Storage and cleaning are also essential for plate longevity. Their recommendation? Store plates in their original bag with the plastic cover, avoid direct sunlight, and keep them in a temperature-controlled environment. For cleaning, a mild industrial degreaser like Work Beater and a lint-free cloth do the trick—though Shelly notes that some customers have started drying out baby wipes to make a more affordable lint-free option.
When it comes to DIY plate making, they’re candid: it’s doable—but not always worth it. “The biggest barrier is imaging,” Shelly says. “You can expose a plate in the sun, but it won’t match the quality of a professional setup. And a good imager? That’ll cost you upwards of $250,000.”
That said, they understand the appeal of doing it all in-house—so long as the printer is realistic about their goals. “If you’re after perfection, outsourcing your plates is going to be a better experience,” Max adds. “You can always add texture or distress by hand, but you can’t fix a poorly made plate.”
It’s clear that for Max and Shelly, this isn’t just about manufacturing. It’s about collaboration, craftsmanship, and keeping an old art form alive with modern tools and fresh energy.
“We’re not printers,” Shelly says with a smile. “We’re plate makers. And we’re proud to support the artists who put those plates to paper.”