Archive for the ‘Mumbo-Jumbo’ Category

soapbox_1

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.

soapbox_2

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!)

soapbox_6

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.

soapbox_3

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.

soapbox_philada_0273

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.

soapbox_philada_printshop_0287

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

soapbox_philada_0489

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

soapbox_philada_0254

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.

soapbox_boston_8242

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

soapbox_boston_8547

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.

soapbox_boston_8486

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

soapbox_boston_8483

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?

soapbox_4

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.

soapbox_5

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!

I probably should just stop telling people I’m a blogger, for crying out loud. Between being buried under deadlines since I came back from Asheville, and trying to dodge the media blitz lately, I’ve been avoiding the internet altogether for awhile. Sorry about that.

italia_1

All this week the radio, the blogs, the instant media, and I’m sure the television, too, have been blaring with recaps and riffs and reflections and rage, on repeat, about that day when we all learned a little more about the nature of fear. And it’s not that I’m avoiding thinking about it—it’s that I don’t need any help from the talking heads to process my thoughts. So while I’m mindful of that anniversary, there’s another, tangential one that’s closer to my heart. You see, it was ten years ago today that I moved to Rome.

italia_3

It was my third year of college, but it wasn’t your average study-abroad program. Because my school owned a (haunted!*) house in the middle of the city, I was able to experience true immersion in the culture and language.

italia_2

*Built around 1590, the place was home to Beatrice Cenci, who was infamously executed for the murder of her abusive father. I’m not the superstitious type, but all I’m sayin’ is … well, weird stuff happened in there.

italia_4

Even at the time, I was aware of just how dumb-lucky I was, not only to have arrived there safely from New York the day before the world turned upside-down—but to have nearly an entire year in which my only responsibility was to experience and absorb the world around me.

italia_6

That, and to get it down on paper—which proved to be the hard part.

italia_5

With flawless weather almost year-round, it was easy to spend every waking minute outside. And with cheap, frequent trains bound for nearly every town in the country, I had no shortage of freedom to roam (sorry). But I’m the obsessive type. I needed to see everything, and though I knew how impossible that was, it didn’t stop me from trying.

italia_7

It was maddening, in the best possible way.

italia_8

So I did my level best to commit as much of the place to memory as I could. For once, the camera went into storage (I think I shot a grand total of about three rolls of film in ten months), and the maps went in the trash. I stuck to paint-and-paper, and my own two feet—and as a result, my memories and mental map of the place are still the clearest, the most vivid of any other place or time in my life.

italia_9

Needless to say, it was awfully hard to leave. Instead of going home, it felt like I was leaving it. And when I arrived back in the States, thanks to the previous year’s tragedy, everything had changed.

italia_10

But then again, so had I. And that made all the difference.

paperchase_1

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.

paperchase_2

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.

paperchase_3

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.

paperchase_4

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.

loflcon_3162_1

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—

loflcon_3395_2

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!

loflcon_3464_3

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

loflcon_3364_4

demos and presentations that had us all itching to print;

loflcon_3106_5

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

loflcon_3394_6

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

loflcon_3124_7

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.

loflcon_3137_8

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—

loflcon_3172_9

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

loflcon_3286_10

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.

loflcon_3305_11

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.

paperchase_5

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.

cranes_1

Today is Memorial Day in the United States, a holiday designated for the remembrance of those who have served in time of war. But on this day, Jessica and I can’t help but extend our thoughts to others as well, in the spirit of peace. Today our eyes and hearts are trained on the far shores of the Pacific, where the people of Japan are still reeling from the March 11 earthquake, tsunami and nuclear disaster. So for our twelfth Dead Feminist broadside, we remember them by giving wings to the words of our youngest-ever feminist, Sadako Sasaki:

I will write peace on your wings and you will fly all over the world.

As you can probably tell, this piece is a bit of a departure from our usual way of doing things. This time it just didn’t feel right to let the typography run amok, or to fill every inch of real estate with illustrated goodies. So instead, we simply opened the door and let our imaginations take flight. The quote stands quietly apart, running parallel to a flock of origami cranes rising upward from a persimmon sun. As they follow Sadako’s words and wishes, they transform into red-crowned tancho cranes, disappearing off the page.

cranes_3

Since the traditions and history of Japanese printmaking are a veritable goldmine, the sky was literally the limit when it came to inspiration. But I had something particular in mind:

cranes_hiroshige

This is Cranes and New Year Sun by Utagawa Hiroshige; I had the good fortune of seeing the piece in person earlier this year at the Tacoma Art Museum. Not only is it a beautiful image, but it has an interesting quirk that sort of stuck in my craw. See that line running halfway through the composition on the left? The piece is made up of two sheets of paper; it was originally designed to function as the front and rear endsheets of a book. As far as I know, the original viewer never would have seen the image as a whole—and maybe never would have given it a second thought. But together, the two halves of the image form a stunning vertical composition. That kind of brilliance blows my mind.

There’s also a bit of a practical homage for us here: just as Hiroshige’s illustration is made up of two parts, each one of our Dead Feminist broadsides is also comprised of two halves. For us it’s purely a technical limitation—Jessica’s photopolymer platemaker can only make plates that are about 8 x 10 inches in size. So since each of our prints is 10 x 18 inches, we have to break the illustration up and print it in two sections: one set of plates for the top, and another for the bottom. So that means that somewhere in every one of our broadsides, there’s a little break running horizontally through the composition. We usually try to hide it as cleverly as possible, or at least blend it in with the overall design, but it’s always there. Take a look at some of our previous prints and see if you can find it. Mind the gap!

Anyway, making references to other artists is also a bit of a running theme in Japanese art. Recognize that wave at the bottom of Hiroshige’s image?

volcano_hokusai_greatwave

Yeah, I thought you did. I think Hiroshige would have understood.

Speaking of whom we have to thank for all of this, I’d like to send out a special, wingéd bit of gratitude to Hiroshi Oki for providing us with his exquisite kanji (Japanese calligraphy) rendition of Sadako’s name—and to his daughter Shiori for introducing us.

cranes_kanji

The thing that has just enchanted us both about this project is the very idea of imbuing paper with a wish—of creating something so labor-intensive and time consuming, and then sending it out into the world for a greater purpose. Sadako wasn’t the only person to fold cranes for a wish, but she might be the most well-known. Every year, on the anniversary of the atomic bombing, Sadako’s monument in Hiroshima is festooned with thousands upon thousands of cranes—so many that permanent shelters have been erected there to house and protect them. And even in Western countries, it’s become somewhat of a tradition to give senbazuru (a set of 1000 paper cranes) as a gift to cancer patients. Talk about a ripple becoming a tidal wave.

In that spirit, we’ll be donating a portion of our proceeds to Peace Winds America, a non-profit organization based in Seattle and dedicated to disaster response worldwide. The donation will be directed to the Japan Relief & Recovery Fund, used to rebuild local infrastructure and restore the livelihoods and communities of those affected by the earthquake and tsunami. We’d like to think of this as a little senbazuru of our own.

cranes_2

Peace Unfolds: No. 12 in the (Dead) Feminist Broadside series
Edition size: 166
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:
According to Japanese legend, one who folds 1000 origami cranes will be granted a wish. After being diagnosed with leukemia—a result of her proximity to the atomic bombing of Hiroshima—Sadako Sasaki (1943 – 1955) began folding paper, hoping to live. With her best friend Chizuko, she finished 644 cranes before her death at age 12. Sadako was buried with a wreath of 1000 cranes completed by her schoolmates, and is honored with the Children’s Peace Monument in the center of Hiroshima.

Illustrated by Chandler O’Leary and printed by Jessica Spring, with kanji by Hiroshi Oki, in memory of those lost and suffering in Japan—and with a wish for hope, peace and life, once again.

Price: $35

Available now in the shop!

The next Dead Feminist Broadside will be released on August 4, 2011, at the Ladies of Letterpress Conference in Asheville, NC (letterpress folks, hope to see you there!). Look for it online on August 10.

warningsigns_1

In honor of Black History Month, and of the might of the written word, our newest Dead Feminist is powerhouse poet Gwendolyn Brooks. Without further ado, I’ll hand over my pen to her:

Reading is important. Read between the lines. Don’t swallow everything.

I guess we’re done with the knitting needles and home canning for now; time to don the boxing gloves. This was a tough one, and we almost didn’t have the gall to go through with it. But Gwendolyn Brooks was never one to pull a punch; she faced and shed light on the most uncomfortable truths with bravery and eloquence. And there seem to be an awful lot of uncomfortable truths floating around lately; like a certain congressperson’s assertion that our nation’s founding fathers ended slavery, or the fact that no matter how many African American Presidents we elect, racism isn’t dead. (Don’t believe me? Even my most cursory historical research brought up all sorts of fresh, modern hatred. Try it for yourself and do an online image search for “watermelon stereotype”—if you can stomach it. Just keep an airsick bag handy, because it ain’t pretty.)

warningsigns_2

So in tribute to Brooks’s courage, Warning Signs is a riot of color, glowing like an urban beacon. Flashing neon and spattered graffiti confront us, sounding the alarm with every word. Beneath the fluorescent current runs a blood-red calico pattern of violence and cruelty—a tapestry that forms the unfortunate warp to the weft of our past and present.

warningsigns_3

And as an undercurrent to the undercurrent, behind the graffiti reads the first stanza of Brooks’s poem, “A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon.” The poem grapples with the brutal 1955 murder of 14-year-old Emmett Till, and weaves a tale of remorse and confusion from the perspective of Carolyn Bryant, the white woman whose accusations that Till flirted with her provoked her husband to abduct and kill the boy. But we didn’t choose the poem for its subject matter, per se—we chose it for the articulate beauty with which Brooks tells the story. It’s still a punch to the gut, but when she knocks you flat you see some awfully pretty stars.

warningsigns_4

A portion of the proceeds from Warning Signs will be donated to 826CHI, a non-profit Chicago writing and tutoring center. 826CHI is dedicated to supporting the writing skills of students ages 6 to 18, and to helping teachers inspire their students to write—their mission is to “strengthen each student’s power to express ideas effectively, creatively, confidently, and in his or her individual voice.” We think Ms. Brooks would approve.

Warning Signs: No. 11 in the (Dead) Feminist Broadside series
Edition size: 113
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:
Gwendolyn Tamika Elizabeth Brooks (1917 – 2000) grew up in Bronzeville, a neighborhood on Chicago’s South Side where she “wrote about what I saw and heard on the street.” Brooks published her first poem at age 13, and by 17 was a regular contributor to Chicago Defender’s poetry column. Her first book, A Street in Bronzeville, was published in 1945, bringing critical acclaim and a Guggenheim Fellowship. In 1950 she became the first African American to win a Pulitzer Prize for her second book, Annie Allen. After attending a Black Writer’s Conference at Fisk University in 1967, Brooks said she “rediscovered her blackness,” reflected through In The Mecca, a book-length poem about a mother’s search for her child lost in a Chicago housing project. Her work became leaner, more sharply focused, and she committed to publish only with independent African-American presses. Declaring “I want to write poems that will be non-compromising,” Brooks continued to confront issues of race, gender and class.

As a teacher, poet laureate of Illinois and as poetry consultant to the Library of Congress, Brooks encouraged young poets through school visits and inner-city readings, bringing poetry to the people she spent her life writing about. She sponsored and hosted numerous literary awards, often with her own funds, committed to the idea that “poetry is life distilled.”

Price: $35

Available now in the shop!

warningsigns_5

We’re down to just four copies of Get Handy, so grab yours (with both hands!) while you can (sold out! Thank you!). Just Desserts and On a Mission are also still available, as are reproduction postcards of the first ten broadsides.

The next Dead Feminist Broadside will be released in May 2011.

gethandy_full

Huh. Well, the sheep didn’t end up wandering in here after all, but the chickens sure did.

Maybe it’s the changing seasons. Or the fact that the farmers market runneth over with delicious autumn goodies. Or maybe we just wanted to talk about something that made us smile, for a change—because this time, for our tenth Dead Feminist broadside, Jessica and I have turned to a subject somewhat lighter of heart.

gethandy_thumbs_1

From the likes of urban homesteaders, artisans, D.I.Y.-ers, and hobbyists of all stripes, brilliant handiwork is all around us. We are in constant admiration of the power of one’s own two hands, and the good deeds they can do. And for the perfect symbol of a handmade life infused with joy and meaning, we’ve handed the microphone to Elizabeth Zimmermann:

One tends to give one’s fingers too little credit for their own good sense.

gethandy_hands

Now, as many of you probably know, Ms. Zimmermann was a knitter (that’s an understatement; I’d say more like All-Time Super-Queen Knitter of the Cosmos, Forever and Ever, Amen). But like every knitter, there is so, so much more to her than that. So rather than simply leaving it at yarn and wool, we discovered a cornucopia of the pursuits that fingers like to turn to when they’re not knitting. There are no idle hands here, to be sure.

gethandy_jars

Just in time for the fall harvest and in cozy preparation for the winter months ahead (or for our friends in the southern hemisphere, looking forward to a fruitful summer), Get Handy overflows with simple pleasures and home comforts. Elizabeth drafts a cable pattern and whips up a Fair Isle yoke. A little slow food takes root in the garden. Honeybees guard a new crop of candles. Fresh home-canned treats stock the shelves. Chickens scratch along a fence of golden (darning) eggs. Over a cup of tea, puzzles piece together and checkers crown kings. And when they’ve put down the yarn and scissors, the hands spell it out for you in American Sign Language.

Oh, and the Tailor’s blueberries and Jessica’s dilly beans make a cameo appearance. Yum.

gethandy_credit

A portion of the proceeds from Get Handy will be donated to the amazing healing hands of Médecins Sans Frontières / Doctors Without Borders, via Tricoteuses Sans Frontières / Knitters Without Borders, which organizes knitters to raise funds for MSF/DWB. MSF, winner of the 1999 Nobel Peace Prize, is a medical relief organization dedicated to assisting people in distress around the world.

gethandy_eggs

Get Handy: No. 10 in the (Dead) Feminist Broadside series
Edition size: 158
Poster size: 10 x 18 inches

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

Colophon reads:
Elizabeth Lloyd-Jones Zimmermann (1861 – 1955) was a British-born master knitter. EZ (as she was known by legions of knitters) moved to the United States and founded Schoolhouse Press in the 1950s, teaching a new approach to knitting through original designs, newsletters, books and a television series. Her no-nonsense approach was laced with humor and readily applied to life beyond knitting, from encouragement in experimentation to trusting one’s own instincts. Americans were reintroduced to the easier, faster German or Continental style of knitting, which had fallen out of favor during WWII, while EZ encouraged students to think on their own using EPS (Elizabeth’s Percentage System) to easily size garments. EZ’s daughter Meg had continued her knitting legacy, most likely inspired by her mother’s motto: “Knit on with confidence and hope, through all crises.”

Price: $35

Available now in the shop!

gethandy_signlanguage

We’re down to three copies of End of the Line, so grab yours while you can. The Curie Cure, Just Desserts and On a Mission are also still available, as are reproduction postcards of the first nine broadsides.

(The next Dead Feminist Broadside will be released in February 2011, at the Codex International Bookfair in Berkeley, CA.)

gethandy_thumbs_2

Now that was a blog break. Holy cow, I didn’t think I’d be trapped below the surface for so long—thank you to all the rescuers (especially you, Sarah) who dived in after me! We had a huge turnout at the Local Conditions opening, and an even huger showing at Studio Tour this weekend. So to the two-hundred-some generous people who came to either or both, thank you for the enormous display of support and good karma. For you friends afar, we’re finally ready to get this show on the road—starting with the new broadside tomorrow!

dayofjubilation_capitol_1804

I woke up this morning after the first full night’s sleep in over a month, and celebrated by breaking the recent routine of studio-studio-studio entirely. I ignored the computer, bundled up, and headed to beloved Oly for a once-in-a-century party.

dayofjubilation_1659

One hundred years ago today, the state of Washington approved an amendment to the state constitution granting women the right to vote. To celebrate the occasion, the state capitol played host to the Centennial Day of Jubilation. Forget collaborating on Jell-o recipes; I think even May and Emma would have agreed on how cool an idea this was.

dayofjubilation_1793

Everyone in the Rotunda got in on the action. The Lieutenant Governor’s office, here, was transformed into a picket line,

dayofjubilation_1772

while reenactors turned the foyer into a debate chamber.

dayofjubilation_1700

And upstairs, in the Reception Room, a feisty demonstrator channeled May’s spirit—

dayofjubilation_1706

and did her best to drag the audience into the past with her.

dayofjubilation_1685

It’s too bad I don’t own any Edwardian clothing—I felt a bit underdressed for the occasion.

dayofjubilation_button_1871

Even in my twenty-first century overcoat, though, I found a way to wear a little pride. Thanks, May, Emma, Coraand all of the Washington suffragists. We couldn’t celebrate without you.

feministwiles_show_cwa_womenswork_1010

By now you’ve figured out that I have a thing for letters on cloth; and since I’ve already rambled on ad nauseum in the last post, I can keep this one a little shorter.

And anyway, I somehow neglected to take any process photos for two of these. Oops.

fabricfems_0977

The knitted broadside was such a success that I decided to try branching out into other textile media. For Broadside No. 4, I took a shot at appliqué—something I’d never done before. Hand-sewing all those fiddly little pieces of fabric ended up being just as daunting as cutting a steek.

The hard work was oddly fitting for the concept: historically, a traditional wedding trousseau would have been sewn by a girl or young woman, in hopes of one day becoming a married woman with a home of her own. By the time she reached young adulthood, a woman would have spent years creating dozens of hand-sewn garments, household linens and other useful textiles, all gathered and stored in her “hope chest,” awaiting the day she would become a bride.

fabricfems_0982

The thing is, back in the days when women couldn’t vote, or own property, or head a household, marriage was a woman’s only shot at independence or social status. (Hence the snark.)

fabricfems_1003

For the others, I turned to the original, old-school ancestor of fabric paint: embroidery. The method fit the madness this time, too, as I spent what seemed like a century hunched over and squinting, hand-stitching an eye chart…

fabricfems_1006

…complete with something to read between the lines.

This one gets personal. As a glasses-wearing gal myself, I happen to disagree with the statement—but I’ve actually heard these very words spoken by a woman. She wasn’t wearing glasses.

fabricfems_0997

Last of all, I got to thinking about how men who sew for a living are called tailors—and women who do the same are called seamstresses. And how the two terms don’t quite add up to the same meaning.

fabricfems_embroidery_transfer

Despite what the scornful quipping of the text might indicate, I had the most gleeful fun with this one. Unlike knitting, which confines the designer to a grid, or appliqué, which can only push the detailing so far, embroidery has almost limitless possibilities. So I went nuts with the tails and ligatures  and dingbats, simply because I could. I love that about embroidery—it’s as flexible as I need it to be, and as fluid and crisp as the printed page.

fabricfems_4372

All that was required was the patience to work each letter by hand. But it didn’t feel like patience—it felt like meditation.

fabricfems_embroidery_detail_1

It’s surprising how easy it is for embroidery to mimic letterpress. And watching “wood” type pop up from the fabric, rather than punch into paper, is a mighty satisfying sight.

fabricfems_embroidery_detail_2

Uppity notions aside (no pun intended), the Women’s Work broadsides are a fun way to slow down and take a break from what I normally do in the studio. But as I wrap up each one, I find myself hankering to get back into the print shop. By comparison, setting type and drawing letters suddenly seems like speedy work!

feministwiles_show_cwa_1053

While I’ve been hiding away, wrangling my 900-pound gorilla, Jessica has been cooking up something pretty great.

feministwiles_show_cwa_1100

Thanks to her hard work and the wonderful Brian Hutcheson’s invitation, we are pleased as punch to announce our first-ever dual exhibition!

Feminist Wiles: Jessica Spring and Chandler O’Leary
Now through November 5
Charles Wright Academy
Upper School Gallery
7723 Chambers Creek Rd. W
Tacoma, Washington
Open 8 to 5, Monday through Friday
(directions and maps here)

It seems weird that after more than two years of collaborating, giving lectures and printing in the street, we’ve never had an honest-to-goodness show together.

feministwiles_show_cwa_1047

But when Brian offered us a cavernous space, his help with installation, and the chance to indoctrinate the innocent introduce our series to the kids at Charles Wright—well, we’d be nuts to pass that up.

feministwiles_show_cwa_1069

For the first time, all nine-and-a-half Dead Feminist broadsides to date, plus our two Steamroller Feminists, are on display together.

feministwiles_show_cwa_1044

We also have a little mini-exhibit about our process,

feministwiles_show_cwa_1033

and lots of little goodies to introduce people to letterpress.

feministwiles_show_cwa_1024

Jessica and I have rounded out the collection with solo work that complements the theme of the show. Jessica’s half consists of Do You Feel Beautiful?, a series of broadsides featuring famous aphorisms on beauty. Here’s the thing that blows my mind into tiny pieces every time I think of it: the quotes are letterpress printed on the pages of a Braille edition of Seventeen magazine. Whoa.

I contributed Women’s Work, an ongoing series of broadsides created in textiles rather than my usual letterpress.

Now, I get a ton of questions about these things whenever I show them, so I thought I’d outline the ideas and process behind them here. (Those of you—all three of you—who used to read my old, long-dead personal blog will have seen some of these before, so please excuse the repetition.)

feministwiles_show_cwa_womenswork_1010

The Tailor first sparked the idea for the series; as you know, he makes his own clothing (hence the nickname). This is a feat that never ceases to amaze me, and I’m not the only one—he gets a lot of comments, usually along the lines of “Wow, you made that?” He’s always a little surprised by these comments, because where he grew up, a lot of people (including his family) wore homemade clothing. That got me thinking, though. The people who do all that sewing in the Tailor’s hometown are women—mothers, grandmothers, sisters, daughters, wives. We’re all surrounded and preceded by generations of women who sew clothing, or knit sweaters, or draft patterns from scratch, without any rave reviews—or any comment at all. But every male knitter or quilter I’ve known, every rare and wonderful man who ever picked up a needle, is either looked at like he’s nuts, or treated with reverent awe. It strikes me as a little strange that depending on who made it, and who’s looking at it, a pair of pants can be a work of art—and an actual work of art can be completely ignored.

No matter who does the stitching, there’s an enormous amount of technical skill and design sensibility required to make a garment or textile object. So instead of creating divisions and pigeonholes—instead of separating into Art and Not Art, into Man-made and Woman-made, what if we started seeing the inherent worth in the objects themselves? And what happens when we take a handmade textile and stick it in a gallery? Does its perception change?

Based on what I’ve seen so far with these broadsides, I’d say it does. It’s been an interesting experiment, for sure.

So the Women’s Work series is a bit of an indictment of the double standard, and while the snark is aimed at a wider target, I wrote them as if I were speaking to a woman. Each one is completely made/knitted/sewn/pieced/embroidered/etc. by hand, from design to pattern to construction. The text reads in the voice of a disapproving female role model—in the tone of the backhanded compliment, the cheerful put-down. Each is also designed in the style of a traditional letterpress broadside, to put the typography within the context of an art form centered around mass communication.

feministwiles_show_cwa_womenswork_0992

This guy requires a little more of an explanation for folks who aren’t already into wool. (Nope, this is not what all the sheep pictures were for; that’ll come up next month.)

Broadside No. 1, made almost three years ago now, is hand-knitted with Shetland wool, using the traditional Fair Isle knitting technique. Fair Isle—a method practiced since the nineteenth century on the tiny island of the same name, halfway between Scotland and Norway—is a tricky, rather ingenious thing. Traditional Fair Isle pieces are knit with two colors of yarn at the same time; the resulting fabric is durable, extremely warm, and great for any chilly, foggy, wet climate (like, hello, here). Beyond its über-practicality, Fair Isle knitting is simply gorgeous (take a gander at Google). By nature the double-thick fabric is dense and flat, making it an ideal ground for complex patterns and designs—it’s the perfect mix of function and fancy.

feministwiles_broadside_ends

Here’s how it works: even though the piece is knitted with two different colors of yarn at once, only one strand at a time ever passes through the needles. The unused strand of yarn is carried loosely, or “floated,” behind the work—which creates a reversed-out image of the design on the back of the piece. It’s the floats that give structure to the fabric, and make it so cozy-warm.

If you were to create a plain ol’ piece of ordinary knitting, you’d proceed from one end to the other of a row, flip the piece over, and work back the other direction. Rinse and repeat. If you tried that with a piece of Fair Isle knitting, working the “wrong” side would be extremely difficult, since the floats would now be facing you and covering your stitches. Now comes the tricky, smarty-pants part. Flat Fair Isle pieces are first knitted up into a big tube, and then cut to lie flat. When you knit in the round, you never encounter the wrong side of the work. You just spiral around and around on the right side, happily knitting away and floating the unused color behind you as you go.

feministwiles_broadside_inprogress_detail

So in this case, once I had drafted my design into a gridded stitch pattern, I just pretended I was knitting one really big sleeve (or a neck warmer for a giraffe) with really teeny needles.

Ah, but remember the operative words above: you have to cut the piece to finish it. I had never done this before, and let me tell you, there’s an awful, terrifying finality to the idea. Torn sweaters unravel. Snagged socks fall apart. Who in their right mind would cut a piece of knitting on purpose? And even if you could do it, what happens if you make a mistake? Once you cut, you’re done.

feministwiles_broadside_steek_close

This is where the true brilliance of the technique hit me like a ton of bricks. The Scotswomen of Fair Isle are a breed apart—and so are their sheep. Shetland wool, the material traditionally used in Fair Isle knitting, has a magical property that makes this crazy notion work: each wool fiber is covered with microscopic scales that attach to one another. Because the wool sticks to itself, the stitches become slightly matted as you knit. So following the Fair Isle method, you work a little buffer zone called a steek (see the checkerboard strip above?) into your design, and then cut right down the center of the steek. If you used trusty Shetland wool, your stitches won’t unravel when you cut them.

At least, that was the theory. I didn’t quite believe it at the time. But I’d come this far—so I took a steadying swig of wine, held my breath, and cut.

feministwiles_broadside_post-cutting

And then I exhaled. And blinked. I had a flat piece. Gingerly I tested the cut edge—and was amazed. Even with a fair bit of tugging, the stitches refused to unravel.

I will never question a Scotswoman again.

My favorite thing about all of this, beyond the magic of Fair Isle itself, is that knitting really lends itself well to letterforms. Even though the pattern is drafted out on a grid, the forgiving nature of knitted stitches turns every square on the grid into a slightly curved, irregular shape. So when you zoom out and look at the piece from a distance, those grid “pixels” turn into nice little serifs, curves and curlicues.

The rest of the broadsides in the series are made using other types of needlework (more on that in the next post), but the knitted piece is still my favorite. I think I need another dose of that Fair Isle magic in my life—maybe next year you’ll find me up to my knees in wool again.

feministwiles_broadside_inprogress

onamission_scan_1a

As autumn approaches and the inevitable rainy season knocks at our doors, Jessica and I are dreaming of the sunny skies of Arizona—where the not-so-sunny SB 1070, the state’s contentious new immigration reform bill, was signed into law earlier this year. At every turn, controversy pricks underfoot and looms overhead—with no easy, clear-cut answers in sight. So for our newest Dead Feminist broadside, we decided to challenge the controversy face-to-face-to-hand-to-heart with the words of Tejana activist Adina De Zavala:

There was nothing else for me to do but hold the fort. So I did.

In complete contrast with our last broadside, we had a short n’ sweet quote to work with this time—which gave me every reason and all kinds of room to go completely nuts with the imagery. I think my subconscious had a hand in steering us toward Adina and her quote, because I suddenly had the chance to explore a whole slew of filed-away themes and images that I had never been able to work into a piece before. My brain was swimming with ideas, and I found myself cackling out loud (which probably had Zooey, who’s been back helping out this summer, freaked out a little bit) at the prospect of finally getting the chance to put so many of my favorite things into one crazy illustration. Green skies! Monument Valley! Mexican blackletter! Milagros! Cactus spine patterns based on fractal geometry! Mwa ha ha!

Easy there, tiger. Ahem. I should probably give you the whole nerdy spiel.

onamission_scan_5

On a Mission teems with icons of both the American Southwest and Mexican folk culture. A desert landscape—framed with metallic scrollwork and Crazy Lace agate cabochons— stretches to the horizon, while saguaro sentinels tower over a tangled mess of prickly pears and barrel cacti. That was the easy part—thorny issue? Check.

The hard part was putting in all of our nebulous and conflicted feelings about the Alamo (represented here as an absence of imagery; a silhouette of negative space) and the topic at hand. So for answers I looked to Mexican folk art—so prominent on both sides of the Border, and so beautifully expressive, layered in history and meaning.

onamission_scan_3

The text itself helped us get right to the point about that. The typography is influenced both by the American Old West and modern-day Mexico—particularly the latter. Mexico’s strong tradition of hand-lettering survives today, particularly in the form of hand-painted signs and advertisements. Inspiration ranged from the fluid folksiness of drop-shadowed cursive—

onamission_scan_2

—to the proud refinement of blackletter, a hold-out of the early Spanish colonial printers that has evolved to attain near-sacred importance in Mexican and Mexican-American popular culture. As we were conscious of our desire to “reclaim” some of the connotations behind the Alamo, blackletter provided the perfect weight and cultural twist to the phrase “Hold the fort.”

onamission_exvotos_9695

And then there’s my favorite part of the whole project: strewn all over the lower half of the illustration is a collection of milagros. Literally translated to “miracles,” milagros are small, stamped-metal votives that are typically hung in the shrines and churches of many Catholic countries—offered up in thanks for prayers answered and blessings received.

onamission_exvotos_9670

On my lifetime list of All-around Best Things Ever, milagros are very near the top—as evidenced by the growing collection in my studio. When I lived in Rome (where they are called ex votos), I used to pick them up on Sunday-mornings at the Porta Portese flea market for next to nothing.

onamission_riddlerscompass

Those little disembodied limbs and organs been marinating in my head ever since, but until now they’ve only ever made one cameo appearance in my work—a page, and a poem, in my artist book A Riddler’s Compass.

onamission_scan_1b

Well, now they get to be the stars of the show. If the Alamo were still the mission I picture in my head, the walls would be covered, floor to ceiling, with milagros. And since Adina herself has become a bit of a legend for her place in the Alamo’s history, illustrated devotionals adorn her name and portrait like pinned hopes.

It may seem strange to get so giddily excited about illustrating such a serious topic, but somewhere along the way I realized that it’s that excitement over the positive that has given me perspective on the issue at hand. That what we think of as the “American” Southwest is so iconic and so dear to us because of the peoples with whom we share it. That the Southwest wouldn’t be what it is without its link to hundreds of years of both native and newcomer culture—just as America wouldn’t be America without immigration and cultural diversity. That keeping our multicultural vibrance alive is what makes us whole.

So in that spirit, a portion of the proceeds from On a Mission will be donated to the Northwest Immigrant Rights Project, a non-profit organization dedicated to promoting justice and legal rights for immigrants and refugees from more than 100 countries around the world.

I don’t know if any of this stuff crossed Adina De Zavala’s mind while she camped out inside the Alamo. She was just an individual who fought to keep an old, rotting building standing—and the place was a controversial symbol, even then (it certainly still is today). But she knew that the controversy was part of the legend of the place, and part of our heritage. And she knew the value of preserving that heritage for everyone’s benefit, without exception—so she held the fort. I think she deserves a few milagros on our wall for that.

onamission_scan_6

On a Mission: No. 9 in the (Dead) Feminist Broadside series
Edition size: 175
Poster size: 10 x 18 inches

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

Colophon reads:
As a young Tejana teacher, Adina Emilia De Zavala (1861 – 1955) shared her love of Texas history and legends in her classroom, and spent time outside of school soliciting building supplies to repair San Antonio’s missions. In honor of her Mexican grandfather, the Republic’s first Vice President, she founded the Daughters of the Republic of Texas (DRT) in order to preserve the Mission San Antonio de Valero. The compound was built in 1718 by the Spanish to evangelize local Native Americans, then later—as the Alamo—housed the Mexican Army. De Zavala was especially focused on restoring the long barracks, which she believed was the site of the 1836 Battle of the Alamo. In 1905, days before the Alamo lease would expire and rumors spread of imminent conversion to a hotel, De Zavala locked herself in the rat-infested structure without food, demanding that the entire compound be preserved. “If people—especially children—can actually see the door through which some noble man or woman passed,” she said, “they’ll be impressed; they’ll remember.” After three days, De Zavala was released as the Governor took possession, then returned control to the DRT. Thanks to De Zavala’s persistence and the DRT’s ongoing stewardship, the legendary Alamo is preserved as a museum and National Historic Landmark, open to all people.

Illustrated by Chandler O’Leary and printed by Jessica Spring, as thorny issues arise and tear at our shared history and heritage: a multicultural miracle that demands tolerance even in the most trying times. 175 copies were printed by hand, with heart, at Springtide Press in Tacoma. August 2010

Price: $35

Available now in the shop!

A few copies of End of the Line, The Curie Cure and Just Desserts are also still available, as are reproduction postcards of the first eight broadsides.

One more thing: thanks to all of your amazing support, we have now reached our subscription capacity for the Dead Feminists series. But while we’re no longer able to take new subscribers, the series is still going strong because of the critical mass of subscribers who have had faith in us since the very beginning, and who have committed to stick by us until the end. So thanks, everyone.

¡Les agradecemos a todos por su apoyo!

(The next Dead Feminist Broadside will be released a smidge early, on November 6, 2010—just in time for Studio Tour. We’ll be back to our every-three-months schedule after that.)