Archive for the ‘Kindred Spirits’ Category

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No stay at the Empress is complete without sitting down to Afternoon Tea.

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Now, I love a good cuppa no matter where I am, but leaning back in a squashy chair and gazing upward at something like this makes every sip a little more special.

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The Empress has been pouring tea every afternoon since it opened in 1908—it was the first venue in Victoria to offer it to the public.

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For over a century it’s been one of the city’s biggest tourist draws, but it was easy to forget all about the crowds. Somehow it felt like a quiet, private meal at the home of a dowager aunt. Not normally my, uh, cup of tea, but I loved how unexpectedly cozy it was.

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The scones made me miss the Tailor. He would have loved them—and then tried to figure out the recipe.

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The savory course, however, was to die for. It was a curious, perfect mix of England (curried chicken, cucumber finger sandwiches) and the Pacific Northwest (best smoked salmon ever). Two months later, I can’t even look at this photo without the memories flooding my taste buds and making me salivate.

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The Inner Harbour just outside the window, a good friend across the table, and a seemingly endless array of flavors to hand:

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the perfect recipe for a relaxing Sunday afternoon.

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Yeah, I know. It’s a week before Christmas, and Hanukkah starts tomorrow. Our tree is up, and we even had our mega-huge holiday party last night (62 people—a new record!). But somehow, my mind is occupied with red-gold maples, not flocked evergreens. Maybe it’s the fact that everyone’s lawns are at their greenest at this time of year. Or maybe it’s the knowledge that once these Festivals of Light are over, there’s still a whole lot of actual winter darkness and that Northwestern silver-grey pall to overcome before the sun returns. Whatever it is, I’m not quite ready to let go of autumn yet. So in between the holiday records and the hall-decking, I find myself poring over my fall photos.

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Autumn is always my favorite time of year, and this was a particularly good one. We had far more sunny days than we have any right to expect in the Northwest, but that’s not the half of it. This was my thirtieth fall, so for me, there just seemed to be a hint of celebration in the air.

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And so to start our next decade off with a bang, Nicole (who also turned thirty this fall) and I spent three glorious days in Victoria, British Columbia.

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In order to catch the the morning ferry to Vancouver Island, we had to leave T-Town at oh-dark-thirty to reach Port Angeles at sunrise.

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With views like this as a reward, though, it was hard to complain about the pre-dawn slog. The tall cups of hot, strong coffee keeping our hands warm didn’t hurt, either.

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After a ninety-minute crossing over the Strait

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—and a tight squeeze through the snug Inner Harbour—there we were.

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We checked into our hotel,

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and then set out to see the sights—those just around the corner,

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and a few slightly farther afield.

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We couldn’t have asked for better weather for exploring the city,

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or better light for showing off its photogenic side.

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And whenever our overstimulated brains needed a break from all the grandeur, we could turn our attention to sights both quaint—

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and cute (as a button).

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My favorite thing about Victoria, though, was discovering a visual melting pot of Old-World and New-World,

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of East and West.

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When I think of the American West, what usually stands out in my mind are dramatic natural vistas with little or no human presence. So standing on the other side of the border, and seeing an English-style Parliament complex just a stone’s throw from rugged mountains and First-Nations totems was a little jarring at first glance. But then I realized that Victoria isn’t necessarily a city of contrasts, but something else altogether: a blend of all the best parts of the cultures and environments that have come together here. It was both comfortably routine and utterly foreign at the same time.

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And I remembered that all my experiences in Canada have been like that: an unexpected twist on something very familiar. Always at hand is the feeling of great adventure in a strange land—and the sense that home is just around the corner.

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The last of our guests will be arriving any minute, and then today will be complete.

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This year we have visitors who made a thousand-mile trek, bearing gifts of California wine and citrus—

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as well as callers just a short neighborhood stroll away, wrapped in scarves against the damp chill in the air.

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Each friend is a gift, and we raise our glasses to them in gratitude and love.

Wishing you a bountiful table with friends at every place. Happy Thanksgiving.

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It’s hard to ignore the news of protests occupying the attention of cities around the world—of the many and diverse thousands of people unified under one simple, yet infinitely faceted mantra. As members of the, well, vast majority of folks without any real political or financial clout in the world, Jessica and I can get behind their message—but that’s not so much the point. What really amazes us is that with a little tenacity and strength in numbers, the powerless can suddenly become very powerful, indeed.

It made us think of a woman who, despite having a famous sibling, would have disappeared into obscurity but for the simple act of picking up a pen.

My power was allways small tho my will is good.  —Jane Mecom

Jane’s eminent brother, on the other hand, had a little more faith:

Energy and persistence conquer all things.  —Benjamin Franklin

Jane had both energy and persistence in spades, although we marvel at how she managed it, with twelve kids, a family business and a house perpetually full of boarders to occupy her attention. Yet of Benjamin’s sixteen siblings, Jane is the only one whose story has survived the 200+ years since her death—all because she committed her thoughts to paper. So in honor of Ben and Jane’s relationship, and in solidarity with those who find the strength to speak up, we present our first dual Dead Feminist broadside, Signed, Sealed, Soapbox.

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Since this is also our first print that features a male Dead Feminist (nope, you don’t have to be a woman to be a feminist), we thought it deserved a little something extra. So we set it up like a conversation—or in this case, a written correspondence. Besides, there was just so much historical ground to cover—even condensing the information to a blog post is a challenge, let alone plucking two sentences from a lifetime of dialogue. (If you haven’t already guessed, this post is a long one. Grab a cuppa if you dare to settle in!)

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Buried in the stacks of our excellent public library, I uncovered an obscure tome: The Letters of Benjamin Franklin and Jane Mecom by Carl van Doren. The book chronicles their entire surviving correspondence—98 letters in all, printed in full. I was a little worried that the writing style of the day would make even skimming for quotes a chore—but in truth, I couldn’t put it down. It was like peering into the lives of any two ordinary people who happened to care for each other very much. There’s humor, and worried advice, and gossip, and gentle sarcasm, and the occasional scolding (usually on Jane’s part) when one or the other let too much time pass between letters. Most of all, there’s love—it’s there on every page. After all of that, we couldn’t just limit the broadside to a couple of one-liners. So the quotes are accompanied by excerpts from their actual letters, each calligraphed as closely as possible to Ben and Jane’s actual handwriting. Even the spelling errors and colonial-era grammar are intact; we figured it was better not to mess with history.

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Jane’s excerpted letter:

I have wrote & spelt this very badly but as it is to Won who I am sure will make all Reasonable allowances for me and will not let any won Els see it I shall venter to send it & subscrib my Self yr Ever affectionat Sister, Jane Mecom.

Ben’s reply:

Is there not a little Affectation in your Apology for the Incorrectness of your Writing? Perhaps it is rather fishing for Commendation. You write better, in my Opinion, than most American Women. Believe me ever Your loving Brother, B. Franklin.

There are few Founding Fathers more famous than Ben Franklin, but Jane was somewhat of a mystery. What we do know is that she had a very different life than her illustrious brother. Thanks to the simple fact of having been born female, her youth was spent having babies rather than obtaining an education. Her life was marked with misfortune, poverty and the deaths of nearly everyone she loved. Yet through it all she craved knowledge, and read everything she could get her hands on. She was a skilled craftsperson, making the famed Franklin Crown Soap and teaching the trade to others. And she followed her brother’s career with pride—and he supported her in return, both financially and emotionally.

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On my epic road trip with the Tailor this summer (about which I still owe you serious bloggage), our path took us through both Boston and Philadelphia—ye olde stomping grounds for Doctor Franklin. I had the library book of letters with me on the trip (thank goodness for online renewals), so their words lent an interesting depth to my wanderings.

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In Philadelphia, I visited Ben’s print shop and post office, and, well, geeked out a little bit.

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It was my first trip to Philly, but even without prior knowledge of the place,

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Edit: not actually Ben. This is William Penn. Shows how much I know. Still, from 500 feet below, that haircut looks awfully Franklin-like.

it didn’t take long to discover that Ben is everywhere.

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But Boston is a hometown of sorts, so it was there that I did the most digging.

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And it turned out that digging was necessary. With so many Revolutionary War heroes to honor there, the Franklin family’s presence is far more subtle. And Jane? Well, she’s almost nowhere to be found.

Almost.

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This plaque is all that’s left of the house where Jane spent all her life.

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It was knocked down to make room for a memorial to this guy. The plaque does mention her briefly, but not by name. Another hazard of being female in the eighteenth century, I suppose.

But Jane did live through the Revolutionary war—in fact, as a resident of the North End, her home was right in the thick of it. In 1775 she fled the British-occupied city and took refuge with friends near Providence, Rhode Island. There, Ben came to rescue her. He took her to Philadelphia, where she spent a year with him before returning to a liberated Boston. While that year was full of turmoil and uncertainty for the citizens of the newly declared United States, 1776 was quite possibly the best year of Jane’s life. For the first time in ages, she could bask in her beloved brother’s company—and he made time for her despite being busy with other things—and as the honored guest she was largely free from work and family duty.

As far as I can tell, it was also the last time she ever laid eyes on him. And even that was a rare treat—between Ben’s high-profile career and the then-formidable distance between Boston and Philadelphia, it was impossible for them to visit one another more than a handful of times in their entire lives. And since it would have taken weeks for a letter to cross five states, and months to traverse the ocean to reach Ben in France, it’s a wonder they remained as close as they did all their lives. Lends a whole new meaning to “snail mail,” doesn’t it?

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Signed, Sealed, Soapbox is illustrated with the sweeping curves of ornate penmanship and the detailed linework of colonial engravings. A faux-bois forest of branches and flowers resembles the printed toile fabrics of the day. The swoops and swirls of the calligraphy rest in stately Wedgwood blue (complimented by a telltale vase at the bottom!), while Ben and Jane’s correspondence occupies a buttery yellow letter edged like a vintage postage stamp.

And though there is no surviving likeness of Jane Mecom, she deserves so much more than the portrait of a Jane Doe. Instead, she is made in the image of The Comtesse d’Haussonville by French painter Jean-Auguste-Dominique Ingres.

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Ben was the best big brother Jane could have asked for. So in honor of his positive influence, we’ll be donating a portion of our proceeds to the Puget Sound chapter of Big Brothers, Big Sisters—an organization dedicated to providing children facing adversity with mentor relationships that change their lives for the better, forever.

Signed, Sealed, Soapbox: No. 14 in the Dead Feminists series
Edition size: 176
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:
Jane (Franklin) Mecom (1712 – 1794) was born in Boston’s North End, the youngest daughter of a soap maker. Married at fifteen, she had no formal education but was a voracious reader of books supplied by her brother. She ran a boarding house and made soap to support her ailing husband, her elderly parents and her twelve children. She outlived all but one of them. Her “Book of Ages” chronicles the deaths of these loved ones, but what little we know of Jane herself can be traced to a lifetime of correspondence with her beloved brother.

Benjamin Franklin (1706 – 1790) attended school for just two years before becoming a printer’s apprentice at age twelve, but was eventually awarded honorary degrees from Harvard, Yale and Oxford. He founded the first lending library in America, reformed the colonial postal system and became the first U.S. Postmaster General. He espoused the values of thrift, hard work, education, community spirit and tolerance, and opposed authoritarianism in both religion and politics.

Despite the differences in their education and circumstances, Benjamin largely treated his sister as an equal, and penned more letters to her than any other person in his life. He sent his writings and political essays to get Jane’s opinion, and notable figures of the day visited her to pay their respects out of deference to the famous Franklin. Benjamin provided decades of financial support for Jane and her children, and upon his death bequeathed her a comfortable living — as well as public trusts to the cities of Boston and Philadelphia to fund mortgages, school scholarships and eventually establish the Franklin Institute of Technology.

Illustrated by Chandler O’Leary and printed by Jessica Spring, 100% occupied with Benjamin’s wise words — and deeds — as he signed the Declaration of Independence: “Yes, we must, indeed, all hang together, or most assuredly we shall all hang separately.”

Price: $35

Available now in our new Dead Feminists shop!

We’re hiding a whole bunch of new things up our sleeves—to be revealed as soon as we can. But we’re going to take a little bit of time to make sure we do them right. So we’re taking February off—the next Dead Feminist broadside will be released in May 2012. In the meantime, keep your eyes peeled for other surprises!

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Every three months my all-time favorite magazine, UPPERCASE, arrives in my mailbox, and productivity in the studio comes to a screeching halt while I drool over each gorgeous page. I’ve been a subscriber since almost the very beginning (if only I could get my paws on those first two sold-out issues!), and impossibly, every new issue is even lovelier than the one before.

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So you can imagine my giddy delight to be included in the latest installment. They had a submissions call for a feature on “labor-intensive illustration,” which was so squarely up my alley that I had to laugh at myself. But I never imagined my little birds would actually be accepted—let alone given a full page. A letterpress colleague received her copy a day or two ahead of me and tipped me off, and I swear I did a little dance around the room.

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UPPERCASE is the brainchild of a gallery by the same name in Calgary, Alberta. The magazine is tailor-made for anyone with a creative soul; every page is devoted to sharing visual inspiration, shedding light on obscure or vintage art and design work, and detailing the work lives and creative spaces of people who do what they love for a living.

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The whole thing is a perfect mix of vintage nostalgia and cutting-edge design, all wrapped up in a sumptuously printed package. If only everything in the world had this much thought and craft behind it.

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But my favorite—I mean, favourite—parts of the magazine are the recurring features. There’s an abecedary in every issue, each with a different theme (which does my bookish* heart good), as well as a series of collections of vintage objects: bottle caps, cereal boxes, even alarm clocks and—in this issue—fishing lures.

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This magazine is truly a thing of beauty, and I hope it’s around for me to keep my subscription going for many years—and issues—to come. You can buy single issues, or start your own subscription, right here.

(* Pssst! Try adding a coupon code to your order!)

Speaking of hodge-podge collections of odds and ends, you should see the piles of things, er, occupying (hint!) my drafting table this month. You see, Art at Work month is almost here, and I’m scrambling to get ready for all the events coming down the pike.

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Who is this, I wonder?

First up is Studio Tour, that crazy-amazing weekend where it seems like half of Tacoma (the entirely wonderful half, as it turns out) stops by for a visit. This is my third time on the circuit, but our fair city is celebrating its tenth fabulous year of shop crawls and arts extravaganzas. So stop on by next weekend—you can print your own letterpress keepsake (trust me, they’re über cool this year!), pick up free Tacoma swag (better get here early, because it’ll disappear fast), shop for a whole bunch of brand new art and handmade items, and be the first to catch our brand new Dead Feminist, a mystery maiden indeed.

10th Annual Tacoma Studio Tour
Saturday and Sunday, November 5 and 6
10 am to 4 pm, Free!
For more info, full artist list, maps and directions, see here

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Look! New stuff!

If you can’t make it to Studio Tour, you can catch a whole bunch of Tacoma artists at the annual Holiday Artist Craft Fair, put together by the lovely folks at Indie Tacoma and Tacoma is for Lovers. Jessica and I will be sharing a table both days, and it’ll stuffed to the brim with bunly goodness illustrated and letterpress goodies.

Holiday Artist Craft Fair
Saturday and Sunday, November 19 and 20
11 am to 4 pm, Free!
King’s Books
218 St. Helens Ave., Tacoma

Last but not least, a gigantic virtual heart-shaped thank you to everyone who made a pledge to fund the Apocalypse Calendar! The project is officially a “go,” and we’ll be on press in November. We’re expecting to ship calendars and Kickstarter rewards in early December, and you’ll find calendars in various retail shops this holiday season. If you missed the Kickstarter project, you’ll be able to place online orders here, starting later this week.

Happy Halloween, and see you in November!

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You already know that I have a thing for hidden, quiet spaces tucked away within large cities. So imagine my delight when Jessica turned me onto this place.

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Bell’occhio has quickly become my favorite (and most regularly visited) haunt in San Francisco. It’s easy to miss—it’s just a few steps off of the main drag of Market Street, but the little lane upon which it’s situated is so quiet that it seems transplanted from a different era.

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The feeling doubles as soon as you step foot inside the shop. The place is a living, breathing Kunstkammer, with all manner of beautiful odds and ends you never knew you so desperately needed.

My favorite part, though, is the overall presentation. All her inventory is kept in baskets, drawers and wooden cabinets, like a Victorian general store. Each price tag is hand-calligraphed in flowing script. And whenever you purchase something (and I just dare you to visit and not buy something!), your items are packed in vellum envelopes and muslin drawstring bags. Which just about makes me swoon.

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The owner, Claudia Schwartz, was very kind to let me take a few photos and spread the word about the place. She opened Bell’occhio in 1988, but now that this sort of aesthetic is all the rage again, I’m sure she runs a huge risk of having her ideas lifted by copycats. Ever walk into an Anthropologie? I’m pretty sure they stole their whole schtick from her. So Claudia, thank you for allowing me to share your world.

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Now, whenever I return to San Francisco, I have a separate Bell’occhio budget—as crazy as that sounds. It’s the one recommendation I can offer if you’re going to come here. Otherwise, this place will have you impulse-buying before you can say, “I’ll take three of those!”

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Since I’ve had parrots on the brain for so long, I thought it would make a fitting end to my San Francisco trip to go in search of them. You see, according to legend documented fact, San Francisco has a wild population of feral parrots—if that isn’t nautically themed, I don’t know what is. Yarr!

So I recruited Sarah and Jesse to complete the quest, and we planned to set out after breakfast. I’d been told, however, that while popular culture has named them “the parrots of Telegraph Hill,” they didn’t actually spend much time there—so we had no idea where to look for them.

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Jessica’s uncle, who’s lived in SF for decades, came to the rescue. He told me that actually, Telegraph Hill was a good place to look on Sunday mornings in September, and even if I didn’t find any birds, it made for a nice wooded walk. He even scribbled a little map to show me a likely spot. Somehow, that little gesture made the whole thing a hundred times more exciting—I tend to explore cities without atlases or guides (or Googles) anyway, so this little scrap of paper turned a morning hike into a treasure hunt.

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Now, I’m not sure exactly what I was expecting, but I’m a northern gal, so when somebody suggests walking through the woods, this is what pops into my head.

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This, on the other hand, was a surprise.

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Compared to the mossy pines and cedars in my frame of reference, Telegraph Hill felt like a tropical jungle.

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We had the place almost entirely to ourselves—it was a dark, dreary day, which discouraged all the sun-lovers. So as we wound our way up the steps, it felt like we’d stumbled upon our own private garden, or maybe a path to some other world.

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It was easy to forget that we were in the heart of a densely packed city (in California, no less)—this felt more like a secret, slightly English enclave through which we’d been granted safe passage.

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Around every bend was a door, or a courtyard, or another track. Each felt like a gateway to something else, to maybe more and more and more worlds beyond our little slice of perception. It was a hint that what we could see was just the beginning—that what we couldn’t see was out of reach, and all the more tempting for it.

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That sort of feeling is just my cup of tea, you know?

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Every time that pleasant disorientation threatened to overwhelm me, though, out popped little hints of where I really was.

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And whenever the trees gave way to open sky, guide posts appeared, showing us the way back—

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and reminding us that reality was a stone’s throw away.

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I almost forgot that we were even looking for parrots.

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At the top of the hill, we heard a telltale squawking. I glanced up to catch a quick glimpse of two green birds with long tailfeathers speeding away to the west—unfortunately, my shutter finger wasn’t fast enough on the draw.

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It’s like a ‘Where’s Waldo’ of SF—can you spot Lombard Street? The Golden Gate?

Oh, well. The view alone was the perfect end to the walk.

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The vista of pastel stucco seemed like a gift, a reward at the end of an uncertain journey. It reminded me of what I love most about the place: that the city itself is like a garden of color—an urban forest in bloom.

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Thank you so much for the amazing response you’ve had to the Apocalypse Calendar! Literally overnight you’ve helped us raise over $1000. We have until the clock strikes midnight on Halloween to reach our goal—thank you for helping us get there!

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Just wanted to give you a peek at what I’ve been doing these days. I try not to think about it too hard, because I officially unveiled the thing almost a year ago, but I’m still working on my book.

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Big dang pile of box parts; coffee cup provided for scale.

You see, it’s one thing to get the prototype done for the exhibition, but when you’re making an edition of books, that means you have to finish all the rest of the copies, too.

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Obviously, I have my work cut out for me.

Now, to hear the ancient Mayans tell it, I’d best hurry—because time is running out. And there are still so many pictures to draw!

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Illustration by Zander Cannon

So my good friend and old-tyme RISD buddy Thomas Quinn had the ingenious idea to count down our remaining days in style by designing and curating a 2012 Apocalypse Calendar, featuring a different artist for each month. The result of all his hard work (read: herding cats) is a fabulous collection of artwork—and possibly a niggling sense of dread as the days count down.

Besides the added bonus of working alongside old friends (Maris Wicks! Dan Hertzberg! Ryan Browne!) and rock-star artists I’ve admired for years (Jay Ryan! Zander Cannon!), I loved the fact that T.Q. let me interpret the theme however I pleased. Rather than going down the illustrated path of mass carnage or Biblical archetypes (I figured those topics would be well covered by the other folks), I decided to time-travel back to my favorite mass-hysterical era, the 1950s.

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I did a little research, and dug up a whole bunch of vintage advice on how to survive the end of the world—including a handbook on how to build a fallout shelter, and how to keep yourself amused once you’re in there.

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This thing just cracked me up. It has all kinds of “expert” wisdom (like how to fend off the roving bands of contaminated neighbors who will inevitably stop by to borrow a cup of sugar) and cheery photos of housewives preparing dinner with a can opener while dear ol’ Dad bonds with the kids.

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Which, of course, reminded me of my other favorite relic from the 50s: illustrated cookbooks. Talk about a goldmine! Everybody from uncredited production interns to the late, great Charley Harper did a cookbook back in the day. The fact that these illustrators were often limited to cheap, two-color printing actually made for surprising, innovative and beautiful results.

And of course, as you already know, I am completely fascinated by the sheer number of terrifying Jell-o recipes and ill-advised casseroles that crop up in old cookbooks.

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And since that got me thinking all sorts of wonderfully twisted things about housewives at the End Times, and how Jell-o can probably survive a nuclear holocaust, I decided to combine the two.

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So here’s my contribution to the calendar: how to bury your head in the sand, in style. I asked T.Q. for October, since it’s my birthday month, and he was kind enough to oblige. So I went nuts with the pumpkin orange and threw a Halloween party. Complete with absurd salad recipe (that you could actually make, but I wouldn’t advise it), shelter decorating hints, and just a little untold destruction, for garnish.

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Illustration by Steve Seeley

We decided that spiffy, large-format, high-quality offset printing is the best way to show off the artwork, so we’ve set up a Kickstarter project to fund the thing. (We even put together a nifty and hilarious video!) Kickstarter is a fairly new phenomenon, and it’s proven to be a wonderful resource for artists, especially—and since the Kickstarter logo uses the same font as the Dunkin Donuts logo, it makes my designer’s lizard brain happy.

Kickstarter works the way an NPR pledge drive does—you get various gifts in return for your support amount. Twenty bucks will buy you a calendar, and there are a bunch of goodies available at other pledge levels, like signed calendars, original art, and even the ability to make the artist of your choice do your bidding and draw your apocalyptic portrait. (Yes, you read that right.) As of today we’ve got 24 days left, and if we meet our goal, we’ll be shipping calendars in December.

Now, the tricky thing about Kickstarter is that it’s an all-or-nothing kind of thing. If we don’t make our set funding goal by the time the clock runs out, the apocalypse will come early we don’t get any of the moolah pledged so far. So pretty please, do us a huge favor by doing your annual calendar shopping a wee bit early—you can make your pledge here.

After all, if the Mayans have their facts straight, this is the last calendar you’ll ever need to buy, right?

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Jessica and I are back from Asheville, with fresh memories of hazy heat and sweltering summer on our minds. Back home in Washington, however, we’re having the kind of chilly summer that demands a cozy sweater, a cup of tea and time spent curled up with a good book (and thanks to our sojourn in the South, we want to do that curling up in a rocking chair!). The news of bankrupt corporate bookstores and dire warnings of an electronic apocalypse swirl around us as we read. Yet the world contained between a pair of unassuming cloth covers begs to differ. The e-readers and tech gadgets of the world are carving out their niche—but we breathe a contented sigh at the simple truth that books are here to stay. In honor of the tactile power of fresh ink and crisp pages, we’ve shared our composing stick with a fellow letterpress printer, the celebrated English author Virginia Woolf:

Books are the mirrors of the soul.

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Paper Chase is teeming with letterpress references and the tools of Virginia’s trade. A type case helps sort the problem of minding one’s Ps and Qs, while an inked-up chase is locked and loaded and ready to print. Above that is a staple of any writer: a messy bookshelf overflowing with stacked volumes.

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Reflected in the mirror of Virginia’s work is the beauty—and sadness—that veils her prose. Ghostly silver ink floats like a lingering afterimage, and an ethereal garden blooms from spectral soil. Lilacs and lilies, thistles and honeysuckles take root—each planting a seed of meaning from the Victorian tome The Language of Flowers. Do a little digging and discover layers of rich symbolism that reveal the woman behind the words.

And for those of you who are into historical printers like we are, there’s an extra little goody hidden in the hand mirrors: a nod to another great Victorian printer and Renaissance-person, William Morris. And if you know your roses, thistles, daffodils and clover, you’ll discover a link to both Virginia’s and William’s homeland.

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We’ll be donating a portion of our proceeds to the Independent Publishing Resource Center in Portland, Oregon, a non-profit organization that provides individual access to the resources and tools required for the creation of self-published media and art. The IPRC offers workshops, digital technology for writing and design, a research library, and even a letterpress print shop and bindery to aid in the publication of original work. We think Virginia—and anyone else who loves making an impression—would be proud.

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Speaking of independent publishing centers, we got an eyeful of a dang good one on our trip South last weekend: Asheville BookWorks. It was unbelievably inspiring to stand amongst a room full of heavy equipment—

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and even more exciting to hang out with 150 fellow printers. The first-ever Ladies of Letterpress Conference was a smashing success, and we were both surprised and heartened to discover just how many of us are out there!

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The three days of LofLCon were jam-packed with panel discussions with the most prominent and skilled members of the letterpress community;

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demos and presentations that had us all itching to print;

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an exhibition to introduce us to a vast array of talent;

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and a whole lot of hard-won know-how—like when to salvage an old press, and when to hold a funeral. (Sigh.)

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Between events, we could glean even more inspiration from the fabulous facilities at BookWorks—and from the jaw-dropping collection of Hatch Show Print posters lining the walls.

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Absorbing letterpress goodness by osmosis was wonderful, but the best part was meeting dozens of long-admired artists and brand-new, fresh faces alike. And then there was the joy of running into old friends—

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look who it is! It’s the lovely Allison from Igloo Letterpress, one of my favorite partners in crime!

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I can’t express enough how excellent the weekend was—Jessica White and Kseniya Thomas (pictured here in white, giving a die-cutting demo on the platen press) deserve a standing ovation for organizing such a fabulous event, and wrangling so many printers to make it happen.

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And for those hundred-plus people who shoehorned themselves into that tiny space to attend our Dead Feminists talk, we can’t thank you enough. Your support and enthusiasm for what we do was completely overwhelming—and it was so much fun to be able to get technical with y’all! (Sorry, the accent rubbed off a bit.)

One more thing: I know it somehow didn’t come across in my photos, but we were blown away by the sheer number of feminist fellas who came out of the woodwork and outed themselves as fans of the series. We love you guys—you make us feel like we must be doin’ something right. And thanks to the conference, we’re fired up and ready to get back to the drawing board.

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Paper Chase: No. 13 in the (Dead) Feminist Broadside series
Edition size: 129
Poster size: 10 x 18 inches

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

Colophon reads:
Virginia Woolf (1882 – 1941), born Adeline Virginia Stephen, grew up with a steady stream of notable authors visiting her London home. While Virginia and her sister Vanessa had unlimited access to their father’s extensive library, their brothers were sent to Cambridge. This inequality and other Victorian double standards figured prominently in Virginia’s writing. In 1915, she married Leonard Woolf and moved to Hogarth House. There they established the Hogarth Press, publishing the work of T.S. Eliot, E.M. Forster, Vita Sackville-West, the first translations of Sigmund Freud as well as Virginia’s own novels. As editor, typesetter and binder, Virginia had the freedom to control not just the content but the physicality of letterforms and space on a page, declaring herself “the only woman in England free to write what I like.” With Leonard as printer and Vanessa a frequent illustrator, the Hogarth Press published more than 500 books, many far too experimental to be considered by mainstream publishers.

Virginia’s life-long struggle with depression began with a breakdown at age 13 following her mother’s death, and ended after multiple attempts at suicide when she walked into a river with pocketfuls of stones.

Illustrated by Chandler O’Leary and printed by Jessica Spring, with roots firmly planted in ink-and-paper soil, and souls bound to bloom.

Price: $35

Available now in the shop!

The next Dead Feminist Broadside will be released on November 5, 2011, at the 10th-annual Tacoma Studio Tours. Look for it online on November 7.

Holy flying gaggles, but we upped the ante this year!

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I don’t know if it was the gorgeous sunshine that graced us after literally months of dreary rain—

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Colossal portrait by Hutch and the students of Charles Wright Academy

or if it was the near-superhuman feats of linoleum carving—

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or sweet pea’s extra-awesome 2011 poncho—

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but this year’s Wayzgoose was larger than life.

(In case you’re curious, that little Sigwalt press is inked up to print “I got goosed in Tacoma!” in an eye-frying safety orange that would make any Ducks Geese Unlimited hunter proud. I mean, come on—we have standards. This is some high-brow entertainment here.)

Anyway, speaking of geese…

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Ta-daaaa!

As you can see, we took our little Dead Feminists theme somewhat loosely this time. And in fact, we’ve dubbed our print Loosey Goosey, so there! There is a bit of a story behind this one, though. We’ve been equal parts amused and annoyed by the recent crafty and pop-cultural trends involving moustaches and putting birds on things—and for months I’ve been threatening to put a moustache on a bird on something, just to prove a point. I don’t know what that point is, exactly, but I figured it was time to put my moustache where my mouth is.

Which reminds me:

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we weren’t kidding about the ’stache wax. Hey, if you’re going to go, go all out.

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Jessica seemed perfectly at home while operating heavy machinery and sporting a full-on Wilford Brimley look—

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I mostly just looked like Ned Flanders.

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That’s okay, though—synchronized inking is serious business, and this duo don’t mess around.

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And we weren’t the only ones. Lance and Tom of Beautiful Angle, Tacoma’s original letterpress pair, were on hand to show everyone how it’s done. And they have real facial hair, to boot!

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Perennial crowd-pleaser Ric Matthies rounded out the accidental animal theme (we still don’t know how that happened).

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A ridiculously talented crop of newcomers included my friends Katy and Keegan, who comprise Portland’s Keeganmeegan & Co;

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the fabulously clever Sarah Utter of Olympia;

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and Tacoma’s own Audra Laymon, who rose to the occasion beautifully.

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Many, many thanks to all the supporters, enthusiasts and volunteers who turned out in droves;

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to Katy Meegan and Mary Holste for snapping ’stache shots for us;

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to King’s for being the host with the most;

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and to the Tacoma Arts Commission for sponsoring our steamroller shenanigans.

So … tell me.

Is it too soon to start cookin’ up next year’s ‘goose?