Archive for the ‘Behind the Scenes’ Category

chandleroleary_focalpoint_1

If you earn your living by drawing pictures, you have to spend a lot of time with your head down and your eyes on your paper. Yet at this time of year, with spring coming along fast (at least in the Northwest…), life hurries by at a frantic pace. I hate the idea of missing any of it—so I’m always happy for any reminder to stop and really look around me. So for our newest Dead Feminist broadside, we’re heeding the words of one of America’s greatest photographers:

The seeing eye is the important thing.  — Imogen Cunningham

This piece is a major departure from what we’ve done in the past—as you can plainly see. For the first time ever we’ve printed the broadside on black paper—which helped us “pull the focus” (if you will) onto the quote. It also provided a beautiful backdrop for a tribute to someone who spent her life creating black-and-white images.

Surrounding the quote is an intricate metallic silver filigree of spring botanicals and portraiture, creating a pastiche of the subjects of some of Imogen Cunningham’s most iconic photographs—while the color choice references the traditional silver-gelatin photographic process. In the eye of the storm of imagery is the all-seeing camera lens, looking out onto the world.

chandleroleary_focalpoint_3

Jessica has her own secret-sauce recipe for gold ink, and while we’ve used it before in our series (like in Gun Shy), nothing makes it look so fabulous as a dark background. The gold ink looked amazing on press—we kind of wished we could just leave the ink on there permanently, because that’s some serious bling. (It almost made the Vandercook feel like some sort of super-cool Bond gadget.)

chandleroleary_focalpoint_2

As always, we donate a portion of the proceeds of the series to a nonprofit that aligns with the message of each piece. To help sharpen the seeing eyes of the artists of tomorrow, this time we’ve chosen Youth in Focus — a nonprofit that puts cameras in the hands of at-risk youth to “teach them how to develop negatives into positives.”

Focal Point: No. 19 in the Dead Feminists series
Edition size: 164
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

Colophon reads:
Imogen Cunningham (1883 - 1976) graduated from the University of Washington in 1907, earning a degree in chemistry with her thesis on chemical processes in photography. Shortly afterward she was hired by photographer Edward Curtis, who taught her platinum printing and portraiture. She opened her own successful studio in Seattle, and published an article entitled “Photography as a Profession for Women.” In 1917, Cunningham and her husband and son relocated to California, where she gave birth to twin boys. Her children and the plants in her garden then became key subjects of her work. Her experiments with double exposure throughout the 1920s and 30s contributed to a growing appreciation of photography as art. She was a founding member of Group f/64, a collective of influential west coast photographers including Ansel Adams and Edward Weston. The group mounted a 1932 exhibition at the de Young Museum in San Francisco, united by a manifesto declaring “photography as an art form by simple and direct presentation.” Cunningham’s vision came through in both her personal and commercial work: unvarnished celebrity portraits for Vanity Fair; documentary street photography; nudes and botanical images — a lifetime of work that continues to challenge and intrigue viewers.

Illustrated by Chandler O’Leary and printed by Jessica Spring, grateful for artists who remind us to focus.

Available now in the Dead Feminists shop!

chandleroleary_focalpoint_4

chandleroleary_youllliketacoma_1

It’s the new year—time to hang some new artwork. I’m pleased to announce that I’ve got a new solo exhibit opening this Thursday!

chandleroleary_youllliketacoma_2

The show is in the most unlikely of places: a dentist’s office. I kid you not. But Dr. Jamie Brooks (we all call her Dr. Jamie) is no ordinary dentist, and her space is no ordinary clinic—it’s an absolutely stunning piece of modern interior architecture, and twice a year she adorns it with new work by regional artists. Dr. Jamie really understands the value of adding art to the mix of our everyday lives, and has turned a utilitarian space into something really special—and supporting local artists while she’s at it.

chandleroleary_youllliketacoma_3

Once the show opens and local folks get the chance to see it first, I’ll post all the images here—but for now, here’s a little taste. Each of the 16 illustrations in the exhibit is a hand-lettered homage to Tacoma’s blazing neon history, told through iconic signage of days past. The images are arranged as day-and-night diptychs, painted on white and black paper, respectively.

chandleroleary_youllliketacoma_4

So if you find yourself in the Northwest in the coming months, be sure to stop by!

You’ll Like Tacoma: a solo exhibit
On display through June 30, 2014
Opening reception Thursday, January 16, 5 to 7 pm
Brooks Dental Studio
732 Broadway, Tacoma, WA 98402

chandleroleary_holidaycard_teaser

When you’re an illustrator, you have to start celebrating (or at least gearing up for) every holiday months in advance. So that means I’ve got Christmas music stuck in my head already. That’s okay, though, because it means I’m churning out new work for the holiday season! And I’m having an extra fun time this time year, because I’m trying some new things, in a little bit of a different style.

If you’re local, you can be the first to grab the new crop of goodies (including brand new illustrations from the Drawn the Road project, and the new Red Deck of the Tacoma Playing Cards) at this year’s city-wide Studio Tour circuit, held during the first weekend in November. I’ll be open both Saturday and Sunday, as usual—more info and maps/directions here.

If you’re not in the Seattle-Tacoma area, look for the new items to appear online during the first week of November. Or you can find out the moment they’re ready by signing up for the mailing list.

Hope to see you at Studio Tour!

olearyspring_nightsong_1

This is a busy time of year—as the school year begins again and the pace of life quickens, the easy pace of summer has made way for a season of bustling, planning, and dreaming of times ahead. Yet worldwide, over and over again, the plans and dreams of so many women and girls are cut short by violence. In light of recent high-profile crimes halfway around the world, Jessica and I though it was high time we spoke up. This time we drew inspiration from the Nightingale of India:

What hope shall we gather, what dreams shall we sow?  — Sarojini Naidu

“Nightsong” honors the hopes and dreams of women and girls in every culture—in defiance of the world’s dangers. The illustration depicts a lush dream menagerie printed in bright, exotic hues. Tigers, peacocks, elephants and nightingales stand sentinel around our heroine, surrounded by detailed paisleys and florals drawn in the style of Indian mehndi designs.

olearyspring_nightsong_2

To make this print more dreamlike, we decided to throw a tricky technique called split-fountain printing into the mix—or “rainbow roll,” for short.

olearyspring_nightsong_5

A split fountain is extremely difficult to control (advanced Eagle Scout printing here, folks), but the results are so lovely that it’s absolutely worth the effort. As an added bonus, we were careful to keep our inks translucent—so when we registered the second color, that mixed the colors even further, giving us an entire rainbow spectrum with just two passes on press.

olearyspring_nightsong_6

I should add, though, that while we love printing with a rainbow roll, the process is completely unpredictable, and the finished prints are far from uniform. So rather than an edition of absolutely identical broadsides, we ended up with a beautiful range of yellows, oranges, pinks and even reds, that vary from print to print. So my scans here are representative of the edition in general, but no two prints are exactly alike (so if you order a print, please allow for some slight variations from what you see here).

olearyspring_nightsong_3

To help restore hope to victims and in honor of our dreams for the future, a portion of our proceeds will be donated to Take Back the Night. In order to create safe communities, Take Back the Night seeks to end sexual assault, domestic violence, dating violence, sexual abuse and all other forms of sexual violence.

Nightsong: No. 18 in the Dead Feminists series
Edition size: 147
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

Colophon reads:
Sarojini Chattopadhyay Naidu (1879 - 1949) — also known as “The Nightingale of India” — was born in Hyderabad, the eldest of eight children. She was a gifted student, proficient in five languages, and by age 16 left the country to attend King’s College to pursue her interest in poetry. Inspired by the suffragist movement in England, she joined the struggle for Indian independence, traveling the country to lecture on social welfare, women’s rights and nationalism. Naidu played a leading role during the Civil Disobedience Movement and was jailed along with Gandhi. Naidu wrote beautiful lyrical poetry, focused on Indian themes, to inspire the nation. She was the first woman to serve as president of the Indian National Congress, and the first woman to become the Governor of the state of Uttar Pradesh. Though Naidu humbly claimed, “I am only a woman, only a poet,” her birthday is celebrated as Women’s Day throughout India.

Illustrated by Chandler O’Leary and printed by Jessica Spring, calling for an end to violence against women all over the world.

Available now in the Dead Feminists shop!

olearyspring_nightsong_4

tacomapubliclibrary_northwestroom_1

More than a thousand towns and cities in the U.S. are lucky enough to have had a Carnegie Library under their belt, and Tacoma is no exception. Today, our Carnegie Library is a wing of the expanded main campus of the Tacoma Public Library—and the rotunda now houses the fabulous Northwest Room, the ultimate resource for Tacoma and Northwest history. It’s a gorgeous space, and beloved in these here parts. So I figured it would be a perfect addition to the Red Deck of the Tacoma Playing Cards.

tacomapubliclibrary_northwestroom_2

I didn’t think they’d take kindly to me breaking out the watercolors in a room full of rare books, but I was at least able to do the line drawing on-site. (’Scuse the wobbly iPhone photo.) And that’s always a tricky prospect for me—I always do as much drawing from life possible, but I’d much rather disappear into the woodwork while doing so. My drawings are always better when I can concentrate uninterrupted. The trouble is, the only place I can consistently sketch in public without anyone noticing me is New York. Here in Tacoma—where I run into someone I know at least once a day—it’s a different story.

In the Northwest Room there was a table right in front of me, which would have made me far less conspicuous while sketching. But in order to get the point of view I wanted, I had to stand dead-center in an aisle, right in the middle of the room. Yet not once in the hour-plus I stood there, sticking out like a sore thumb and obviously not doing what people normally do in there, did anyone bother me—or ask me what the heck I was doing, or make eye contact, or even register my existence.

I think I just found my new favorite sketching spot.

Reminder: the shop is getting rearranged on Monday, so this weekend is your last chance to snag letterpress prints at lower prices, and the last few bird prints before they’re discontinued!

oldtowndock_droplets_1

Okay. Now that Old Town Dock is officially open, I feel like I can finally give away some juicy details. Here are all 24 medallions (portholes?) in my new public art piece, Droplets. Since not everyone reading this post is local to Tacoma, I won’t go into great detail over every image. But to give you some context, Old Town Dock boasts one of the best vantage points in the South Sound, with beautiful views of land, city and sea in every direction. That’s what first drew me to the site: I wanted the chance to encourage people to look all around them, because there was something to see everywhere you look.

But when I started researching the history of the place, I was even more struck by how much had happened in Old Town over the years—and how much was still going on, every day. Because of its prominence in so many lives and livelihoods, Old Town Dock has stood witness to a staggering number of true stories since it was built in 1873. Family histories, booming industries, important events, Native traditions, beginnings, endings, drastic changes, slow growth, celebrations, tragedies, and a thousand everyday narratives—the stories we tell are as commonplace as raindrops, yet as precious as the water that defines and sustains Tacoma as a city.

Droplets references just a handful of these stories, yet hopefully hints at the diversity and richness inherent in our public spaces.

oldtowndock_droplets_2_5426

Going from a painted picture to a tangible, finished object was nearly a two-year process, and I was only one small piece of the puzzle.

oldtowndock_droplets_3

And the 24 medallions barely hint at the number of drawings I did along the way. Back when I was a finalist for the commission, I needed to demonstrate my understanding of the space, and convey how I wanted the artwork to function to the selection committee. In this area, pictures really were worth a thousand words apiece; time after time, sketching out what I meant was infinitely more effective than trying to explain it in words.

As I was working on my presentation, all this drawing and imagining every angle gave me a little epiphany. I realized that while the view from the site was spectacular, the Dock itself was part of the view, too, depending on where you stood. Since Old Town Dock is a gateway between land and sea, I wanted to engage the folks who’d be arriving from the water, as well. So I presented this drawing—and while some other things have changed along the way, the reality of this particular piece is almost exactly as it appears in this sketch.

oldtowndock_droplets_4_2682

Anyway, back to the nuts and bolts. As you’re well aware, I’m an illustrator—I work in paint and pixels, not industrial components. I didn’t have the skills or tools to make outdoor pieces out of durable materials (in public art, durable materials include metal, glass, tile, stone, brick, and other permanent industrial media; a mural, for instance, is not considered “durable”). So I turned my designs over to the good folks at Winsor Fireform, just down the road in Olympia, and they fabricated each Droplet as a small porcelain enamel disc.

Porcelain enamel is the most durable sign medium available. Each piece is made by reproducing the image in pigmented powdered glass onto a steel base. Then the piece is fired at kiln temperatures to fuse the glass to the steel, creating a permanent, totally nonreactive surface.

oldtowndock_droplets_5_3171

Porcelain enamel won’t fade in UV light, won’t react to water or salt, and is resistant to dirt and graffiti. That makes it ideal for public art, and the perfect medium for the harsh marine conditions at Old Town Dock.

oldtowndock_droplets_6

Now all that was left was to install the rounds. I came armed with my scale drawing—and lots and lots of warm clothing for a long shift in the early morning rain.

oldtowndock_droplets_7_2989

Basically, I stood and pointed, and Pat routered out 24 perfectly positioned circles.

oldtowndock_droplets_8_3147

Then he inlaid each disc, affixing them to the wood with some seriously heavy-duty marine sealant, and Bob’s your uncle. Actually, it wasn’t always that easy; some of the rounds required some acrobatic feats to install. Just passing him tape measures and things gave me vertigo sometimes—but at least he didn’t have to drill while standing in a choppy rowboat (which was plan B, if hanging off the edge didn’t work).

oldtowndock_droplets_9_4953

Twenty-four hours later, the adhesive was fully cured, and I could call it done.

oldtowndock_droplets_10_5401

The day we installed, nothing on the Dock was completely finished—benches and planters were still piled up at random, and I wasn’t entirely certain that the final placement would match my scale drawing.

oldtowndock_droplets_11_5397

But now it sort of feels like the artwork has always been there—

oldtowndock_droplets_12_5405

and maybe you just never noticed it before.

oldtowndock_droplets_13_3122

I love being there to witness whenever a Droplet catches someone’s eye, and they stop whatever they’re doing to look more closely.

oldtowndock_droplets_14_5413

And just maybe that moment of noticing will lead to the words, “Let me tell you a story…”

wayzgoose2013_carving_3406

It’s that time of year again: the trees are blooming outside, and inside we’re playing with knives. The ninth (!) annual Tacoma Wayzgoose is one week from today—and if we’re really lucky, Jessica and I might just finish carving our design by then. As usual, we’ll reveal the whole design that day, but until then, this little peek might look familiar…

If you’re new to my tiny u-bend of the Intertubes, you might ask: what the heck is a Wayzgoose? It’s a festival celebrating the art of printing, a tradition that goes back hundreds of years. Here in T-town, our party mobile is a steamroller—yes, ma’am—and we churn out giant-sized linocuts in the street to mark the occasion. If you’re local, come on by and get ink on your jeans:

9th Annual Tacoma Wayzgoose
Sunday, April 28, 2013
11 am to 4 pm, Free!
King’s Books
218 St. Helens Avenue, Tacoma, WA

In the meantime, you can whet your appetite with a stroll down Amnesia Lane—take a look at the ghosts of Wayzgeese past:

2009 (Tacoma)
2010 (Tacoma)
2011 (Tacoma)
2011 (San Francisco)
2012 (Tacoma)

See you next week, rain or shine!

gunshy_1

This has not been an easy post to write—and yet in a way it’s been writing itself over and over again, for years now. To be honest, Jessica and I designed this broadside months ago, and planned to release it shortly after last year’s theater shooting in Aurora, CO. Other projects got in the way, and then the 2012 election persuaded us to table the piece for the time being.

We should have known: until there’s serious change in our society, this subject will always be hatefully relevant.

So here we are again, on the heels of yet another rash of terrible violence. But this time feels different—not only because of the sheer horror of the Newtown tragedy, but because at last, our country is having the conversation it needs to have.

At the center of the debate is the precarious balance of right and responsibility—and here’s where I need to keep from shooting my mouth off. I’ve written and deleted a hundred sentences about Jessica’s and my personal thoughts on the subject—but I have a feeling you can already guess what they are. And we also recognize that our beliefs represent just one side of our divided culture. So the thought of pontificating just wearies and saddens us; we’d much rather focus on how we might move forward, together.

gunshy_5

For us, that meant starting with an attempt to comprehend the other side of the debate. So in hoping to understand the love of guns many in our country share, we looked to legendary sharpshooter Annie Oakley, whose words pierce the heart of the matter:

Aim at a high mark, work for the future.

gunshy_4

This piece is a stark, steely contrast to the bright colors and detailed embellishments of the rest of the series. Annie stands her ground beside a blazing metallic bullseye, representing the golden target of sanity amid the scatter-shot opinions and half-cocked sniping of those on the extremist fringes. And let me tell you: there’s real gold in that ink. Jessica mixes her own formula—maybe it’ll shine all the brighter, and help steady our collective aim.

Gun Shy: No. 17 in the Dead Feminists series
Edition size: 151
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

The edition number we choose for each print in our series is always significant in some way—whether we call attention to it or not. In the case of Gun Shy, we’ve created an edition of 151 prints to represent each person injured or killed in a shooting rampage in 2012. In light of that sobering number, we’ve chosen to donate a portion of our proceeds to Demand A Plan. A campaign of Mayors Against Illegal Guns, Demand a Plan is a national, bipartisan coalition working to make America’s communities safer by keeping illegal guns out of dangerous hands.

gunshy_3

Colophon reads:
Annie Oakley (1860 – 1926) was born Phoebe Ann Mosey (or Moses) near Greenville, Ohio. Her Quaker parents raised seven children on their farm until Annie’s father was caught in a blizzard and succumbed to pneumonia. By age ten, Annie was sent to the poor farm, then to live with an abusive family for several years. She escaped back to her mother’s home, taught herself to shoot a rifle, and quickly paid off their mortgage by selling game. In 1875 Annie defeated well-known marksman Frank Butler in a shooting contest — and married him shortly afterward. Annie became Butler’s assistant in his sharp shooting show, but as audiences clearly preferred Annie, the two soon switched roles. Annie was a curiosity, dressed in a homemade costume that modestly covered her petite frame but also allowed her to shoot with athletic grace. The couple joined Buffalo Bill Cody’s Wild West show, where Annie performed for 17 years, traveling to New York, Paris and London. Upon seeing her shoot the wick off a burning candle, the famous Chief Sitting Bull adopted Annie, bestowing the nickname “Watanya Cicilla” (Little Sure-Shot). In 1894 Thomas Edison captured her performance on film at his studio in New Jersey, making her the first cowgirl to appear in a motion picture.

Despite not being from the West, Annie defined our notion of a cowgirl as a self-reliant, strong woman. She advocated for equal pay, and went to great lengths to defend her reputation. She challenged William Randolph Hearst in a series of libel lawsuits over a false newspaper story, winning 54 of 55 cases at great personal expense. After her retirement in 1913, Annie continued to tour the country, teaching over 15,000 women how to use firearms responsibly.

Illustrated by Chandler O’Leary and printed by Jessica Spring, demanding that our federal government enact strict controls to end gun violence.

Available now in the Dead Feminists shop.

The next Dead Feminist broadside will be released in May 2013.

I can’t believe I missed my annual Thanksgiving post! Sorry about that—lately Chez Anagram has been a bizarre mix of hotel, restaurant, warehouse and factory. You should see my dining room these days: it gives new meaning to the term cottage industry.

Right now the factory is churning out Christmas—starting with this year’s letterpress ornament collection. This is the second year in what I hope will be an annual tradition, and I have been dying to show you this year’s crop.

Thankfully, I can finally let the…ahem…cat out of the bag.

kittycommittee_1_0265

Photo by Laurie Cinotto

There are two sets of ornaments this year, and for one of them I collaborated with my friend Laurie Cinotto, the fabulous fine-craft genius and kitty wrangler behind the insanely wonderful Itty Bitty Kitty Committee. A year ago I asked her if she’d be interested in doing a set of kitty ornaments, and for months now we’ve been positively chortling over these things. (Curious fact: we make nearly identical chortle sounds.)

The really hard part was picking which kittens from Laurie’s nearly endless alumni and gorgeous photographs to illustrate. In the end, I settled on a few of my all-time favorites: Clovis Ashby, who is a bit of a Tacoma celebrity. Extra-pretty Victoria Anne McGillicuddy in all her calico glory. Aloysius Petrie for his “Who, me?” look. My particular friend Baxter Lamm, who now makes mischief full-time at Jessica’s house. And Pearla Dearborn, to whom my secret heart belongs forever (even though she doesn’t live with me). And watching over the flock is Laurie’s own Empress Mama cat, Charlene Butterbean.

These kitties (and Laurie’s photographs) are T-town legends, as I found out this weekend. We did a little ornament test-drive at a local craft fair, and people kept saying things like, “Hey, that’s Clovis on that tree!” and “Wait a minute—what is Charlene Butterbean doing at your table?” But whether these guys are old hat for you, or you’re a dog person who’s never heard of such a thing as kitten blogs on the Internet—well, I just dare you to tear your eyes away from Laurie’s world.

There are just 200 sets of these ornaments to go around, and each one is ridiculously handmade. To give you an idea of just how ridiculous, I thought I’d walk you through part of the process.

kittycommittee_2_0081

Yes, there’s sushi on that press sheet. Three guesses as to what the other ornament set is this year!

Y’all know my printing process pretty well by now, so I’m going to skip ahead a bit. Just FYI, these are linocuts; check out my bird prints if you’re curious about that process. But as you can see, I printed both ornament sets all at once, on one press sheet.

kittycommittee_3_0186

Then I went ahead with my usual hand-coloring assembly line.

No, wait a minute. I said 200 prints, right? Well, that’s a small edition for retail goods, but when you’re hand-painting each one, 200 feels more like eleventy billion.

kittycommittee_4_0030

There, that’s more of an accurate picture.

Still, if the work stretching endlessly ahead of you to the horizon is a bunch of drawings of kittens, it’s impossible not to be happy about it, despite yourself. I know—I tested the hypothesis, and I’m still grinning like a fool.

kittycommittee_5_0069

This year I added a new step to the process: rather than hand-cutting all 1200 kitties in the set by hand (ahem, Local Conditions, I’m looking at you!), I made the design simple enough that I could semi-automate part of the assembly line. I bought a hand-crank die-cutting machine, created a digital dieline of my design, and sent it off to a friendly steel rule manufacturer in Kent.

kittycommittee_6_0077

I know that plank with all those pink foam bits doesn’t look anything like an ornament set, so let me zoom in. A die consists of steel blades embedded in a piece of wood. The blades are bent and arranged in precisely the configuration specified by the dieline. Those pink foam bits cushion the blades, hold the paper in place and help with cutting accuracy. When the die is run through the cutting machine (which works much like a Vandercook press), those pink bits squish down under pressure, exposing the blades and gripping the paper to be cut. Those metal pins sticking up are for lining up the press sheet—they’re spring-mounted, so they retract when the blade goes through the cutting machine.

kittycommittee_7_0070

Here’s the underside of the die—now you can see how the blades fit the press sheet.

Still, while the die is a total lifesaver in terms of cutting time, the lightweight paper I was cutting made for some wiggle room—even with the extra line tolerance I built into the design. After all that hand-coloring I didn’t want to lose a third of my prints by cutting them in the wrong place. So I still had to do some puzzling and figure out how to outsmart the limitations here.

kittycommittee_8_0079

Since the lightweight prints are mounted to a heavier board to complete the ornaments (the ribbon loops are sandwiched in between), I was basically using the die twice. I realized that the leftover blanks of board would make a good template, and wouldn’t wiggle under pressure.

kittycommittee_9_0085

A little masking tape,

kittycommittee_10_0090

some quick eyeballing,

kittycommittee_11_0097

and slow-and-steady cranking in the press—

kittycommittee_12_0114

—and Bob, as they say, is your uncle.

kittycommittee_13_0066

Individually taping down all eleventy billion 200 press sheets was a little mind-numbing, but still, the “finished” pile added up fast.

kittycommittee_14_0116

And it was awfully satisfying to see the whole edition completed in days rather than weeks or months.

kittycommittee_15_0123

Laurie stepped in and saved my sanity by doing a lot of the grunt work—rough-cutting boards, snipping lengths of ribbon, and cutting insets into the board-kitties so that the ribbon loops lie flush and disappear.

kittycommittee_16_0130

A quick coat of black around the edges,

kittycommittee_17_0281

and just a wee bit of cursive script on the back,

kittycommittee_18_0239

—and we have a litter of Christmas kittens. Laurie contributed one of my favorite photos for the packaging, and I basically have been unable to stop squealing ever since. Now the Tailor and I just need to hurry up and chop down our Christmas tree, so I can display these guys in the living room!

If you’d like a set, they’re up in the shop. To answer the foreseeable question, we’re just offering these in full sets—they were printed in sets, so we don’t really have any oddball solo pieces this time. And last year almost everyone wanted the full set of bird ornaments, rather than just one, so I let those votes carry the motion. Actually, there are still some bird sets left, so feel free to snag ‘em if you missed out last year. As usual, these are limited-edition—I won’t be reprinting them, so once they’re gone, they’re gone for good.

kittycommittee_19_0227

One last thing: to make sure that Tacoma pets also have a happy holiday season this year, Laurie and I will be donating a portion of our proceeds to help stock the Tacoma Humane Society’s emergency pet food bank. We want to make sure that while we’re all having a kitty-themed Christmas, the kittens who inspire us get to enjoy Christmas dinner, too.

Happy tree-trimming!