Posts Tagged ‘politics’

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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!

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.

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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.

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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.

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*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.

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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.

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

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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.

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It was maddening, in the best possible way.

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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.

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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.

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

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Thing number 386 that they don’t teach you in art school: how to navigate local business excise tax laws.

My wonderful and brilliant accountant, Alyssa, takes care of the heavy lifting of my federal business taxes, but since the deadline to pay the Washington piper falls before the federal paperwork even arrives in the mail, I file my state taxes on my own. To be perfectly honest, I take a kind of perverse pleasure in bean-counting—there’s something satisfying about the annual financial housekeeping rituals of compiling and tallying. But now that I own a business in a state that relies solely on sales tax revenue, business excise taxes and weird, archaic, late 19th-century property-assessment laws that tax my homemade bookshelves and vintage filing cabinets (I kid you not), the annual tax ritual has turned into an entire weekend curled up with my calculator.

Since I’m obviously a tax-happy liberal gal who loves her some socialist blueberries (not to mention public libraries and paved roads), I’m perfectly glad to fork over the revenue—I’d just love it if they’d just levy an income tax instead, and spare me (and all those poor state employees) the paperwork nightmare!

Political grumblings aside, I’m just chalking this up to All Those Really Important Things You Have to Learn on Your Own When You Start a Business. I’ve got some fun stuff to share with you, but I’ve gotta get this stuff done first. In the meantime, playing in my head over and over again is that little diddy Bobby McFerrin sang on Square One: “Anything you wanna be, you’ve got to know math.”

So true, Bobby. So true.

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When it comes to letterpress printing, process is everything. And since that process is not always evident in the final product, I thought I’d share the technical aspects of the Feminist Broadside series. Now, as I said in the last post, letterpress printing is traditionally done using metal or wooden type—or in the case of the photo above, relief images cut into type-high (.918 inches in the US and UK, in case you wondered) blocks. What Jessica and I have been doing, however, ain’t your grandpa’s letterpress. Thanks to a fairly new technology called photopolymer, we’re able to create our own relief plates right in the studio, without having to carve a block by hand or etch a plate with nasty chemicals. Photopolymer has also created a bridge between the traditional print shop and the modern digital world—as you’ll see in a moment. As far as the Dead Feminists go, Jessica and I still have both feet firmly planted in the traditional world—we just dip a toe into the digital realm now and again. Here, let me explain.

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This is how it begins for each print: a pencil drawing, at full size. This is the stage where I not only design and illustrate the piece, but also start thinking about color choices: what the colors will be, what element will be which color, where the colors will overlap, how to make things work logistically. Now, this pencil layout isn’t enough to make a plate; for the photopolymer process to work properly, I have to translate the sketch into a solid black-and-white ink drawing.

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After everything is pencilled in, I lay a sheet of vellum over the drawing and trace everything in ink.

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Since each broadside is printed in two colors, each color means a separate run through the press. So as a result, I had to trace each color separately—being careful to stay as true as possible to the original drawing, since the colors had to line up exactly on press. If you were to line these two color separations up, on top of one another, you’d see how the colors will interact in the final piece.

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Here’s what I mean. You can see the separation that will become the grey color in Tugboat Thea here, laid directly over the inked octopus below. This is definitely the old-fashioned way of doing things; there are plenty of digital methods of color separation. I guess I just prefer the physical connection between the pen and the hand—even despite the greater risk of screw-ups (as you can see if you look closely at the word “to” above).

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Here’s where I dip that toe into digital waters. Once I’m finished inking, I scan the finished line drawings at a super-high resolution and load them into Photoshop (above is the pink separation for Prop Cake). This is where I clean up any mistakes (ahem) and convert the drawings into bitmap (pure black and white, with no grey) files. Jessica sends me her written colophon, and I set the text digitally. Then I export everything to the proper file type, and send the files to a local service bureau to have film negatives made. So now we’ve gone from analog to digital and back again.

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Here are the negatives for Tugboat Thea; grey separation on the top half of each one, teal on the bottom. As you can see, there aren’t any right angles in the bottom half (octopus) of the teal separation, so if you look closely you can see the little tick marks I added (above and to the right of the starfish) to aid with color registration. Those marks line up with a grid etched on the metal base we use to lock up the plates on press; once we had the plates exactly where we wanted them, I simply shaved those little tick marks off with an Xacto knife, so they’d no longer print. Real slick.

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Anyway, photopolymer is a light-sensitive plastic that works just like making a contact exposure in a darkroom does. First I take a negative, place it face-down on an unexposed plate, and load both pieces onto the exposure tray of Jessica’s platemaker (which looks remarkably like an Easy-Bake Oven).

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The negative is held flush with the plate by a layer of plastic and a vacuum system; the plate is exposed with UV light (some DIY enthusiasts also accomplish this using glass and a bright, sunny day, but photopolymer is awfully expensive to use in sketchy experiments in the cloudy Northwest).

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Next I place the exposed plate in the wash-out unit, where it is scrubbed gently with soft bristle brushes in a tank of cool water. Everything that is exposed is hardened enough to resist scrubbing, while everything else dissolves away. (And turns the water a sickly shade of yellow. Mmmm….plastic byproducts. Still, it’s less toxic than many other printmaking techniques.)

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What we’re left with is a raised plate ideal for relief printing. The real benefit of photopolymer is that it can reproduce nearly any image, and can hold an incredible amount of detail. I can transfer my drawings directly to the plate, without adding the laborious step of carving the image into wood or linoleum (backwards!), or etching copper with acid, for example. It’s not exactly an economical option for letterpress printing, but the results can be exquisite, and the possibilities are nearly endless.

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Here’s our new octopus plate on press, all inked up and ready to print—it’s stuck to that gridded base with removable adhesive. The thickness of the plate and base together add up to exactly .918 inches. Ah, precision feels good.

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And here’s how it looks on paper.

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Here you can see the registration between the colors. This is the hard part—I’m sure that despite my best separation efforts and useful tick marks, Jessica is ready to tear her hair out whenever she sees what insane registration issues I’ve thrown at her this time. She’s not a master printer for nothing, though—tiny, 9-point colophon type? No problem! Large, solid color blocks? Bring ‘em on! Exacting registration with no margin of error? Sigh. Just get those plates locked up, will you?

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Actually printing these broadsides is where all our careful planning and preparation goes right out the window. We can sketch and plot as much as we like, but many of our artistic decisions end up being made on the fly, right on press. Here Jessica is mixing ink for Prop Cake, according to some choices I suggested in our handy-dandy color recipe book.

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You can see our original draw-down (color test) in the upper left corner. So far, so good.

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The orange turned out exactly as we’d hoped, but when we started printing the pink separation, we hated the result. What looked so good in the draw-down lost all its contrast in the print. It was awful, trust me.

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So Jessica changed the color right on press, until we were happy with it.

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Action shot!

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Here’s the finished product, all lined up in the drying rack.

If lining up the color areas is the hardest part of printing, keeping an eye on the ink consistency was probably the most fiddly. We’re using a very unusual paper for the series—one made from recycled clothing—that is extremely “thirsty.” Not only are there inconsistencies in the paper that can throw off the overall quality of color; but we had to add ink to the press after every fourth or fifth print. As you can see, this is a pretty organic process—lots of variables, small corrections and compromises along the way. (And a whole lot of cursing and starting over.)

All of this is par for the course for a letterpress project—it’s an exacting, sometimes frustrating process, but that’s what I love about it. And the finished product … well, it’s like nothing else. Ah, letterpress, how I love thee.

Now if only it didn’t require several metric tons worth of equipment…

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Well, here she be. (Or should I say, Thar she blows?)

At long last, Thea is here, barnacles and all. Jessica and I unveiled her at our Pressing Matters talk at the Tacoma Art Museum this morning. I have to say, I was nervous that with the weekday morning time slot, we’d be hoist on our own petard for the big debut. Since 10:30 on a Tuesday is generally only available to senior citizens and the unemployed, we were afraid we’d be lecturing a bunch of empty chairs. Boy were we wrong. Many thanks to all of you who skipped out on work, took a long (and very early) lunch, or otherwise carved out an hour of your day to spend with us—we raise our pirate flags to you. And to Allison Baer, TAM’s very own renaissance woman who made it all happen, you get the biggest Jolly Roger of them all. Thank you.

This week I’m going to post some of the things we talked about today at TAM, about the making of Tugboat Thea and the Feminist Broadside series (no, I haven’t forgotten about those photos I teased you with earlier; those posts are coming soon, I promise). But for now, let’s just get down to brass tacks about the print. Here’s the blurb we’re sending round to our mailing list:

“There are so many things left to do.”
—Thea Foss

Hot off the press! Our newest addition to the letterpress Feminist Broadside series, Tugboat Thea, is printed from hand-lettered original typography and hand-drawn illustrations and patterns (in fact, everything was done by hand, the hard way!). This piece is a collaboration between Chandler O’Leary of Anagram Press and Jessica Spring of Springtide Press, in honor of enterprising women everywhere.

The illustration is inspired by Thea Foss, business pioneer and entrepreneur, who founded the Foss Tugboat company in Tacoma, WA—at a time in history when it was not only courageous, but nearly unheard of for a woman to do so. Here Thea is portrayed as the figurehead of her own tugboat, surrounded by crashing waves and sea life native to her home waters of Puget Sound.

The poster was printed on an antique Vandercook Universal One press. Each piece was printed at Springtide Press—not far from the water—in Tacoma, on archival, 100% rag, recycled paper, and is signed by both artists.

Edition size: 89
Paper size: 10 x 18 inches

Colophon reads:

Norwegian immigrant Thea Christiansen Foss (1857 – 1927) arrived by train to Tacoma in 1889 as Washington achieved statehood. While her husband Andrew was at work she spent five dollars on a rowboat, launching a marine transport business that would grow into Foss Maritime, operating the west coast’s largest fleet of tugboats. Thea inspired the character “Tugboat Annie” featured in a Saturday Evening Post series, motion pictures and a television show. Tacoma’s Thea Foss Waterway is an inlet connected to Puget Sound named in her honor.

As our self-induced period of secrecy is finally over, the prints are now officially available for sale. I’ve got to warn you, though—they’re going fast. If you live on far shores, you can get your copy (and see more detailed photos) on the Anagram Press Etsy shop for $35. If you’re local, just send me a message in a bottle (though email might reach me sooner) if you want to arrange pick-up and avoid Etsy’s shipping fees.

One last thing: we’re finally offering subscriptions to the whole series. In exchange for committing to purchase at least one print of each edition for the length of the series (we reckon there’ll be a new print every three or four months), the subscriber price is $30. If you’re interested, just drop me a fishing line at chandler [at] anagram-press [dot] com.

As Samwise Gamgee would say, “Well, I’m back.”

At least, I’m back for most of you; folk who know a lot more about this sort of thing than I do tell me that it’ll still be a few days before all the Internet gods recognize my new web host. So if this post doesn’t appear for you until after its posting date, I’m sorry. But hey—my main email address appears to be working now. Huzzah!

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Sure am glad to have sorted out this website business, because I have news: Thea’s back, too.

This is just a sneak peek of the pencil sketch for now; Jessica Spring and I are unveiling Thea’s new look on Tuesday, so we’re saving the surprise for then. In the meantime, though, perhaps a little background info?

The new Tugboat Thea is the the fourth installment of the Feminist Broadside series, a letterpress collaboration between Jessica and myself. We started the series shortly before the 2008 election, when we simply felt the need to make an artistic contribution to the historic events unfolding around us. Jessica sent me a quote by Elizabeth Cady Stanton, and asked me if I might like to illustrate a political poster she wanted to print in time for the election. Well, she probably shouldn’t have left me alone with my pencils, because I got a little carried away.

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A few days later the whole edition (we only printed 44, in honor of the 44th President) was sold out. And then we rubbed our eyes and pinched ourselves to make sure it had all really happened. You see, letterpress is not exactly the artistic equivalent of the Tickle-Me Elmo, with trendy-savvy folk snapping up the Next Best Thing before it’s gone. So you could have knocked us over with any number of small, dainty objects.

Well, that was fun, we thought. Let’s do another! The Feminist Broadside series was born. Just to keep things interesting, though, we made up a few rules for ourselves:

1. Each poster has to feature a quote by a feminist. Not necessarily a woman, but since it’s easier to link a woman with the idea of feminism, women will probably be featured more often. But hey, we’re always on the lookout for quotes by feminist men (and believe me, they’re out there in droves, bless ‘em), so if you have any ideas, feel free to drop me a line.

2. Said feminist must be deceased. (Hence the unofficial nickname of the series, the Dead Feminist Set.)

3. Whatever the quote, we need to find a way to tie it into some relevant issue (like the election for the first one, or other timely themes). This is usually Jessica’s job, as she’s got a particular knack for brewing up ideas from scratch.

4. The whole thing, including any type or lettering (except the little colophon at the bottom) needs to be hand-drawn. I like to do things the hard way, after all—it’s not that I’m ambitious, it’s just that I want to make sure that carpal tunnel sets in by the time I hit thirty.

For the second print in the series we focused on an issue near and dear to our hearts: sustainability. Victory Garden (above, center) was our response, and this time nearly every print was sold within forty-eight hours, despite a larger edition size. What the heck?! we thought. Even the next print, Prop Cake, despite its controversial subject matter (marriage equality) and edition size of 108, is nearly sold out. Who knows how long people will be interested in these things, or how many broadsides there’ll be in the series—all we can say is that we’re grateful for the response people have had, and we’re having way too much fun to quit now.

The latest broadside has been a little bit of a different process, at least on my end. We had the chance to create a prototype of sorts when we were asked to make steamroller prints at the King’s Books Wayzgoose this year. Since several hundred people were there to witness the steamroller in action, but only eight huge Tugboat Thea prints exist, we decided to take another crack at it for the official series.

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This time, though, there’s a bit of a twist. That’s all I’ll say for now.

As part of the unveiling of the new Tugboat Thea, Jessica and I will be speaking at TAM on Tuesday morning. If you’re in the area, and you can fit the weird time slot into your schedule (sorry about that), here are the details:

Pressing Matters:
Contemporary Collaborations Highlighting Women in History
Tuesday, May 12, 10:30 a.m.
Tacoma Art Museum, 1701 Pacific Ave.

Tugboat Thea will be available for sale at the event, and will also be up in the Etsy shop and posted here on the blog (with photos and all the info!) by that afternoon. We’re taking pre-orders now; if you’re interested, or want to subscribe to the entire series, just shoot me an email. The price for subscribers is $30; regular price is $35.