Archive for the ‘Kindred Spirits’ Category

Please ’scuse the absense. The Tailor and I have been in and out of town lately (mostly in the woods, far away from computers and civilization), and I’m still going through the mountain of photographs. Travel details this week, pinky swear. In the meantime, today felt like a whole vacation all by itself—just plain old good for the soul.

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This is Carol, a fiery Sicilian kindred spirit and one of my favorite-est people on the planet. She and her fabulous husband, Jeff, hosted a Fourth of July shindig in their garden today, threats of rain be darned.

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There was a little music,

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a healthy dose of croquet,

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(heaven help you if you hit the ball into the fig/rhododendron tangle, or launch it over the wall and down to 30th Street far below)

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a whole lot of laughter,

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and a walloping smörgåsbord that included plenty beyond your typical Fourth o’ July fare. Hey, hummus goes great with stars-and-stripes cake!

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We contributed our ice cream crank, plenty of mashed strawberries, and our upper body strength.

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I’m glad there were plenty of people to share the job of cranking, because I like to cut to the chase.

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Namely, this. My favorite part is when everybody grabs a spoon and helps clean off the dash,

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though I’m sure the novelty alone was the highlight for some. Sure, it was a little cold for ice cream (we’re not exactly known for hot summers here, but this year we’ve been sporting March temperatures for months), but everyone just threw on another clothing layer before digging in.

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After we had all eaten ourselves silly, everyone gathered on Carol and Jeff’s porch, which faces the Sound and provides a front-row seat—

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first for the warm-up act,

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and then for the main event.

And judging by the snap-crackle-popping still echoing through the neighborhood, I’d say the party ain’t over yet.

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Happy Independence Day!

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Poster designed and printed by the amazing Ric Matthies

I meant to post this last night, but it was all I could do just to get to bed, and not fall asleep on the floor, buried under all the receipts and mailers.

So as of last night, twenty-four hours after posting Drill, Baby, Drill online, we are down to eleven numbered copies. Eleven! And I haven’t even finished hailing all the subscribers yet (don’t worry, subscribers, your copies are safe!). I am just completely floored. I think the response you folks have given us may have burned a hole through my computer screen.

To give a few more local folks a chance at ‘em, I’m going to set aside five of those last eleven, and bring them with me on Sunday to the next Tacoma is for Lovers craft fair. No reservations for these five, no snagging them before Sunday; just first-come, first-served. So come say hello at my table—you’ll recognize me, because I’ll be the one who looks a little punchy after all these orders!

Tacoma is for Lovers! (no disrespect to Virginia)
Sunday, June 13, 2010
11 a.m. to 4 p.m., free!
King’s Books
218 St. Helens Ave., T-town

As for the rest (and any unsold after Sunday), I’ll post them one at a time on Etsy, unless somebody orders by email first.

Thank you to everybody who had to put up with my dropping the ball when it came to updating the quantities on Etsy. I wandered away from the computer a couple of times—once for this, on our garage:

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and once more for this:

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So thanks for being patient and flexible—we’re all straightened out now.

Now, to all of you: I simply can’t find the words to express my thanks. Your emails poured in; you called to congratulate us; you posted comments; you told your friends; you spread the word like wildfire on Twitter and Facebook; you shared your stories. You have continued to show your unflagging support for a gal trying to make a living by drawing pictures. And you have reminded me that on the whole people are good, and that we want to come together to heal the damage in the Gulf—and to come up with a better solution for everyone. That brought me to tears all over again—this time, the kind that come with a smile.

I’m off to send our donation to Oceana. With everything I have, thank you all. I can only hope my drawings can be worthy of your hearts.

Update: we are now completely SOLD OUT. Thanks, everyone!

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Tomorrow is the first day of the 64th annual National Stationery Show in New York City, the largest paper goods trade event in the country. Around 1300 exhibitors and 15,000 national and international retailers will be there, and my friend Allison Chapman will be showing off her Igloo Letterpress products in her own booth!

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Among Allison’s impressive collection of cards and paper goods will be these newest additions to our collaborative greeting collection.

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(This pun is all my fault, I’m afraid. I know, I deserve to go to a punitentiary in Punnsylvania for that.)

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NSS isn’t open to the general public, but the goal of attending is to expose our cards to a wide variety of retailers, and to meet like-minded letterpress folk.

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If you’ll happen to be there (either as an exhibitor or with a guest pass), say hello to Allison for me—she’ll be in booth 1550. The National Stationery Show runs from May 16 to 19, at the Javits Center on West 34th Street.

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In the meantime, since I won’t have these cards in my shop until next month (and since she’s closed until May 25), you can find them in the current edition of Poppytalk Handmade Marketplace, and Igloo’s new blog.

Best of luck, Allison!

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Inked up,

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hand-pulled,

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and voilà! Our second collaborative steamroller print, an unofficial Dead Feminist, inspired by Cora Smith Eaton King, who in 1909 climbed Mt. Rainier with a party of Mountaineers and placed a “Votes for Women” banner at the summit.

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This year’s Wayzgoose was the biggest bash yet! Outside we had all the regulars, like the steamroller sorcery of Chris Sharp,

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Ric Matthies and his seriously-amazing perfection under pressure (no pun intended),

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Jessica Spring, my partner in crime,

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and the gifted-as-ever Stadium High School printmaking students.

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Inside, folks were printing their own copy of the excellent new Beautiful Angle poster,

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and many other talented book artist and printers (like Lisa Hasegawa here) were showing their stuff.

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The whole shindig had a befezzed flavor, thanks to C.L.A.W. and the inimitable R.R. Anderson,

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and the Dockyard Derby Dames rounded out a whole host of newcomers.

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We had an enormous crowd (thank goodness for the good weather!),

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and even a few unexpected audience members.

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This year I got to try my hand at driving the steamroller,

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but I think pretending was plenty enough for this little guy.

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Thanks to everybody who stopped by to say hello, or stuck around to lend a helping hand.

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And of course, a huge bucket of gratitude to the Tacoma Arts Commission for making it all happen!

One more acknowledgement: photography by Michael O’Leary. Thanks, Dad!

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Allison of Igloo Letterpress and I have been doing some more cross-country collaboration lately. This time we’re working on a Bookshelf Series of handmade journals. This first set is called “Brownstones”—one of my favorite types of houses, and a recurring theme in my drawings.

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I’m so lucky to work with Allison—despite the distance, and the fact that we haven’t seen each other for two years, I feel like I we’re on the same wavelength. I love the fact that we can trust each other to make independent creative decisions, and have faith that they’ll come together into a harmonious whole. But my part of the project is finished when I send her black-and-white illustrations for printing—since I can’t exactly pop into her shop whenever I want, I really have no idea how the finished product will look until she sends it to me.

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So imagine my delight when a package arrived containing four beautifully-bound hardcover books, with my illustration splashed on the cover in gorgeous color—

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—and printed right onto the book cloth, no less!

I did a little hopping dance around the living room after that.

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Here’s the best part, and a flash of Allison’s brilliance: not only do the books fit together thematically, but when they stand together on a bookshelf, the spines line up to complete the picture!

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Since these are so labor-intensive to make, I think Allison is binding them in very small batches, and only offering them for sale as they are ordered. But they’ve already been a big hit in Ohio, so I’m sure there will be more in the future. If you’re interested in ordering a set, drop her a line here.

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This is my friend Adam Agee, one of my favorite people on the planet.

Adam and I go way back—we were at RISD together, and shared a house in Rome, where he rode a unicycle everywhere and taught me to juggle. He also planted the seed that grew into an artist book: many years ago he told me of a fountain in Bologna, Italy, with a shocking secret that was obvious from a single vantage point, and invisible otherwise. No matter how much I pressed him, he would only answer that I had to go there myself to find out. The year we lived in Italy he finally took me there personally (it’s true: shocking!), and the experience became a clue in A Riddler’s Compass.

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Adam is probably the most talented person I know. In art school a teacher of ours was always saying Adam was born in the wrong century, and I’m inclined to agree. But like any Renaissance Man, his interests and skills range far and wide, from inventions (he majored in Industrial Design) to graphic design to painting to comics and back again.

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Many artists with diverse interests turn to printmaking for its versatility, and Adam is no exception. A few years ago he invested in a floor-model platen press, and created an ambitious series of prints called the Dream Press Cycle. You’d never know this was his first attempt at letterpress, but then this is Adam we’re talking about.

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Since then letterpress has been a staple in Adam’s personal and professional work.

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I’ve been able to have a front-row seat for his growth as a printmaker,

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and have collected a few pieces myself.

Now it appears that a golden opportunity has presented itself to Adam: a Vandercook cylinder press (the press every letterpress printer—including myself—dreams of having one day) in perfect working order is for sale, just minutes from his studio (Boulder, CO), and he’s got first dibs. The trouble is, he’s only got a few days before he has to say yea or nay.

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So to help fund the spur-of-the-moment purchase, Adam is offering extra-super-cheap custom poster printing and original artwork right now. Since this isn’t a chance that happens every day (try every decade or so), I told him to jump at it, and signed up to be his first customer. So if you’re looking for some seriously affordable custom design or handmade artwork, or if you’re in a band in need of a concert poster, read more about it here.

Best of luck, Adam!

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It’s just about that time again: Jessica and I are working hard on the next Feminist Broadside. She’s poring through texts and historical facts, and I’m pencilling as fast as my tendonitis will let me. This time we’ll be unveiling the new piece at the Washington State Library near Olympia; the staff invited us to give a lecture about the series next month.

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The library boasts the entire collection of letters and personal papers of Emma Smith DeVoe (pictured above, right), women’s rights activist and leader of the Washington suffragist* movement. And since this year marks the 100th anniversary of women’s suffrage in Washington, we figured Emma would be a perfect fit for the new piece.

state_library_8318So a couple of weeks ago, Jessica, Zooey (R.I.P., J.D. Salinger) and I took a field trip to visit the archives and conduct a little research. When we arrived, we realized what they meant by “collection:” twelve enormous boxes packed full of letters, clippings and souvenirs. A “little” research obviously wasn’t going to happen.

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Luckily, the incredibly knowledgeable and helpful library staff (thank you, Sean!) let us take as much time and as many photos as we needed. So we cozied up to a work station and dived in, one box at a time.

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What we found was a fascinating collection of souvenirs, business cards, newspaper clippings,

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leaflets, propaganda,

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fan letters (Emma had an impressive array of admirers),

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telegrams, notes from sitting U.S. senators and presidential aides, and reams and reams of correspondance between the members of the Washington suffragist movement.

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The trouble was, most of these documents were utterly mundane—letter after letter simply acknowledged receipt of previous correspondance, or gave detailed instructions for planning events and delegating tasks. Worst of all, Emma rarely made carbon copies of her half of the correspondance, so there was very little in her own voice.

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We spent nearly four hours poring over every folder and box, and the only potential Emma quotes we found were mined from this instructional card. Still, it didn’t feel like we had found our inspiration—just a few weeks from our talk, we had no quote and no social topic for the piece.

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What we did have, however, was a much clearer picture of the women behind the fight for suffrage in our state (that’s May Arkwright Hutton above; she and Emma didn’t exactly get along), right down to addresses of homes and buildings still standing in Tacoma (the headquarters of the movement).

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From the documents themselves to the individual script hands of each letter writer, we had an incredible window into political life from a hundred years ago.

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And we found a good lead. Just as interesting as Emma (and more forthcoming with their own voices) were Cora Smith Eaton King, M.D. (pictured above, right)—correspondent, fellow leader of the movement, and one of the first women to scale Mt. Rainier!—and Bernice Sapp—friend, activist, and the one who compiled this collection of documents and donated it to the library.

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Bernice’s letters were full of quirky character and wit. We loved how she called Emma “the General,” and referred to herself and other suffragists by male titles: “Brother King,” “Mr. Hutton,” or simply “him.”

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Cora, on the other hand, was a real firecracker. Her letters (often scribbled on scraps of paper, even her own prescription pad!) revealed an eloquent intelligence and a sizzling sense of humor. We fell head-over-heels for Cora, and began to doubt that Emma was the right voice for the broadside—still, though, we had no quote from any of these women.

A few days later, Jessica hit up the astounding Northwest Room at the Tacoma Public Library, and hit the jackpot. She discovered a document that linked all of these women together, which decided us on a slightly different approach to quoting historical feminists. That’s all I’ll say for now, except that the new broadside may or may not depict a certain quivering, questionable “food” substance:

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If you want to be one of the first to see what the heck I’m talking about, I invite you to come check out our talk at the Washington State Library. Here are the details:

Pressing Matters: an evening with Chandler O’Leary and Jessica Spring
Wednesday, February 10, 2010
6:30 p.m. (doors open at 6:00), free!
Washington State Library
6880 Capitol Boulevard, Tumwater, WA
For more information and directions, click here

Libraries and archives face a tough reality in the current economy—especially here in Washington, where a regressive tax system has left the State Library with a 30% staff reduction and major cuts to its operating and acquisitions budgets. The 2003 earthquake damaged their building on the historic capital campus in Olympia, and forced them to relocate “temporarily” to a suburban office park a few miles south in Tumwater. Even when the economy recovers, it is unlikely the library’s funding will return to the levels it enjoyed in more prosperous eras, so the move to Tumwater is looking increasingly permanent. Despite these setbacks, the State Library continues to acquire new items (including our artwork!) for the collection and provide an essential service in preserving our state’s history. So please come and show your support for the library—a good turnout will help them provide more public events in the future, and might just go a long way toward saving them from another visit to the chopping block.

* This is kind of neither here nor there, but I’ve been dying to say it. Jessica and I are grateful to have had a lot of buzz about the Feminist Broadside series—but despite our best efforts, there’s a bit of misinformation going around. Time and again we’ve seen and heard reference made to “suffragettes,” as it’s a well-known term. The trouble is, its original meaning has been lost in translation. The word “suffragette” was originally coined by the London tabloid Daily Mail as a derogatory term designed to belittle the efforts of the women behind the suffrage movement. Since we’d hate to steal history’s thunder with unintentional slurs, we’d like to set the record straight: the proper term is “suffragist.”

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Since my job description reads, among other things, “Draws pictures all day,” I often have to be my own model. (This is a common problem for artists—I once shared a studio with a seriously talented comic book artist, and I remember frequently turning around to find him suddenly shirtless and drawing himself in a mirror balanced precariously on one knee.) For the most part, this works out fine, but hands are a tricky business—especially when you need to draw both hands at once, and you need one to operate a pencil.

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Since I’m currently working on the illustrations for a cookbook being published this year by the Tacoma Community House, I’m drawing a whole lot of hands lately. Hands carrying dishes, maneuvering chopsticks, folding samosas, kneading dough, etc. And since I had the lovely Zooey here, I decided to enlist her as hand model.

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(Firefox and Internet Exploder users: hit the ESC key to stop the annoying animation.
Everyone else: hit the “stop reloading” button in your browser.
)

We spent a couple of afternoons shooting reference photos. Zooey rolled and unrolled pretend spring rolls made of fabric and made “samosas” with a scrap of denim. We took turns ripping a baguette to shreds for the camera (to mix up the hand anatomy, y’know), and mimed with nearly every dish in the house, just in case.

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One thousand and nineteen photos later, I was satisfied I’d have enough to go on. We made a mess of the bread, but my illustrations are better and Zooey has some pretty unique on-the-job training under her belt.

In other news, I did a little website tweaking over the weekend. My “commissions” page felt clunky, so I imploded it and replaced it with an F.A.Q. (I prefer to pronounce it “Fack.”) If you ever wondered what I mean about half the things I say around here (and judging by the volume of questions I get on a nearly daily basis, you might), go and check it out here—it’s a whopper.

It ended up being a lot of fun to write (less fun to engineer, although I feel like a complete rock star for actually figuring out the coding all by myself!), because I got to play the part of the snarky interrogator (not that I get many of those, but it’s fun to write like one). I did practice some restraint, however; I was tempted to include a question I get more often than I’d like to admit: “Wait, aren’t you a guy?” True story. Sigh.

Also in the running was “Will you print 1000 coffee mugs with ‘World’s Number One Dad’ for me?” Because I really did get that email once, along with quite a few others mistaking my business for something entirely different. Maybe this will clear things up just a bit…

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Sorry for the little absence there, but I find I’m spending more time at the drafting table these days, and far fewer hours chained to the computer. This month I am blessed with an assistant—a brilliant young woman who is helping me with my administrative and production work, in exchange for school credit, a little professional experience and the chance to beef up her design software skills.

We’re lucky to have here in T-town an arts-magnet public high school, and part of the curriculum for juniors and seniors is an internship opportunity during the winter term. I was completely ignorant of this until I received Zooey’s email last fall, asking if I would be willing to take her on. I almost turned her down, simply because I couldn’t imagine I’d have enough to keep her busy and interested for three 40-hour weeks.

But then it occurred to me that I might be able give her an accurate idea of what it’s actually like to make one’s living as a full-time artist—which largely consists of being one’s own secretary, account manager, bean-counter, marketing department, production assistant and gopher, as well as coming up with all the creative ideas. That’s something I wish I had known as a student, and yet was certainly never taught in art school.

As it turns out, there’s plenty of work for both of us, and it’s been a mutual learning experience. Zooey (not her real name, in keeping with my little privacy policy) is picking up design skills they aren’t teaching at the high school level, attending client meetings and press checks, learning the ins and outs of seeing a project from concept to completion, and contributing her own ideas to creative discussions and brainstorming sessions. And I’m able to spend more time actually creating artwork, rather than endlessly playing catch-up with back-burner projects that should have been done months ago (although I crossed my heart and made her a solemn vow that I would get my own damn coffee).

The best part is having good company during the day. Running a one-woman shop is pretty solitary work, and learning that Zooey is not only a talented artist but also a mutual audiophile and movie geek made her an instant kindred spirit. (It was funny to discover that we both have a habit of singing along with the background music, but often choose different vocal parts to follow: harmony is so much more fun than a solo.) So these days I’m churning out new work and ideas faster than ever, while Zooey keeps a hand on the metaphorical wheel—and all the while the studio is filled with music and laughter.

I’m a control freak by nature, so I’m pleasantly surprised to find myself capable of letting go of the reins a bit. And I was even more surprised to learn that Zooey is the only student working with an individual artist this year (everyone else is working with firms or large companies). Here’s hoping that other artists and freelancers open their doors and minds to future students—there’s so much to learn, on both sides.

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Monday was the last session of my Digital Letterpress class at the School of Visual Concepts in Seattle. For the past ten weeks my students immersed themselves in the joys and frustrations of letterpress printing, and discovered that old-school and new-school technologies can go together like peas n’ carrots. The class focused on taking digital images, processing them into photopolymer plates and then hand-printing the images on the Vandercook (just like the process behind the Dead Feminists; read more about it here). I added a little extra challenge, and required each student to create an image that combined a hand-drawn element, digital typesetting, and at least two colors that had to line up or “register” in some way. Well, the students all turned out to be folk after my own heart—every last one was an overachieving perfectionist, which is the absolute perfect combination for this kind of fiddly letterpress work. Everybody pushed themselves to create a beautiful, technically proficient piece, and they all exceeded my wildest expectations. Since the class was too big to include everybody’s project here, I’ve just highlighted a few examples:

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Andrew Saeger decided that two colors weren’t tricky enough for his first letterpress piece, so he added a third. He tackled all kinds of challenges (large color fields, on-press ink mixing, crazy-hard registration, etc.) with aplomb, and blew us all away with the result.

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Robin Kessler came with years of commercial pre-press experience, but had never laid her hands on letterpress equipment before. She received a crash course in Everything That Can Go Wrong with Ancient Communal Presses, and liked the challenge so much she ran out and bought two presses of her very own. I love it when students catch the printing bug as badly as I did!

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Mirka Hokkanen is a seasoned fine-art printmaker, but new to the world of letterpress. On the first night of class I outlined all the things that would make for a printing nightmare—large blocks of color, super-fine lines combined with heavy areas, tiny text. And Mirka turned around and put all of those elements into her design at once—just to prove that she could do it. I tip my hat to you, Mirka.

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Honora Gerbeck combined impeccable technique and tricky patterning to create a piece as yummy as the vegan cupcakes she brought to the last class. Since it’s clear that she bakes as well as she prints, you can bet I’ll be first in line when she opens up that vegan bakery someday.

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You’d never know it, but Honora was also a first-timer. Look at that registration!

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Sara McNally, another newbie printer, just seemed to get it. It took her all of three seconds to figure out what would work best within the limitations of the medium, and she whipped up a print that combines all the best features of digital letterpress.

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Veronica Velasco also tacked a three-color project for her first-ever letterpress piece, and the challenges she faced with this piece would have been daunting to the most seasoned printers. She spent hours getting the registration just so, and the finished product is lovely. And alliterative names? How cute is that?

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Laura Bentley is a teaching assistant for another SVC letterpress class, so she came with lots of printing experience. This is her first photopolymer project, however, and while it looks like a straightforward design, the process behind the piece was anything but. There’s a limit to the size of plate one can make in the platemaker we used—Laura had to cram all these design elements onto a plate that was about half the size of the finished piece, and then cut the plate apart to place each fragment of the design in the right spot on press. That made for ten separate puzzle pieces to measure, line up, and register.

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And her design is accurate to the millimeter. I think she’s some kind of analytical genius.

For me the best part of teaching is watching the look on the students’ faces when they pull their first-ever print off of the press. That moment of proud astonishment is its own reward, and I think it’s what makes letterpress so addicting. Working with students always makes me remember my own first printing experience, and reminds me of why I love this stuff so much. So thanks for having me, SVC. And to the students: I can’t wait to see what you come up with next.