Posts Tagged ‘watercolor’

end_of_the_line

For nearly a year now, the Feminist Broadside series has given us an outlet for both our aspirations and frustrations. For every social and political victory, there follows a reminder of how divided we are as a culture. We were so proud to see Victory Garden become a part of a nation-wide movement toward sustainability—but a movement and a majority are not the same thing. We are delighted whenever a customer tells us that Prop Cake is meant for a wedding gift—but are heartbroken by the reminder that for many people, the gesture can only be symbolic. Yet through it all we remain optimistic that art can make a difference—that a bright future is out there, somewhere, and that we can help find the way to it.

This is why we chose Harriet Tubman for our latest piece. There are so many pressing issues vying for our attention—war, the economy, healthcare, the environment, transit, equality, etc.—that we couldn’t choose just one. So we decided to focus on the journey itself. For all the ground we’ve gained in our country’s short history, we have a long, long way to go—and the only way we’ll get there is together. Harriet Tubman knew that when she fought for freedom and civil rights, and she devoted her entire life to the idea.

So here, submitted for your approval, is End of the Line. As always, everything—from the illustrated lettering to the letterpress printing—is done completely by hand. This time, though, we’re asking you to flex your reading muscles a bit: to symbolize the difficult journey faced by anyone with a great task, we made it somewhat of a challenge to read.

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Don’t worry, though—Harriet is there to guide you. Just follow her lantern, and you’ll find the right path. If you lose your way, just look for the Drinkin’ Gourd.

End of the Line: No. 5 in the Feminist Broadside series
Edition size: 146
Poster size: 10 x 18 inches

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

Colophon:
Harriet Tubman (1820 – 1913) was born Araminta Ross as a slave in Maryland. In 1849 she escaped north traveling via the Underground Railway to Philadelphia. Once free, “Moses” made 19 more round trips—guiding nearly 300 slaves to freedom—and she “never lost a passenger.” During the Civil War, Tubman recruited slaves to fight for the Union Army and led the Combahee River expedition to free more than 750 people. After the war she continued to work tirelessly for the rights of women and African Americans.

Illustrated by Chandler O’Leary and printed by Jessica Spring, who believe that cooperation and hope give us the momentum to reach the end of the line—without losing any passengers. 146 copies were printed by hand at Springtide Press, way up north in Tacoma. August 2009.

Price: $35
(Subscribers to the entire series pay $30. If you’re interested in subscribing, send me a note at chandler [at] anagram-press [dot] com.)

Available now in the shop!

Since the others in the series are now sold out (there is still a framed copy of both Tugboat Thea and Prop Cake), we’re also offering reproduction postcards of the first four broadsides. Everyone who subscribes starting with End of the Line will receive one free set of postcards.

(The next Feminist Broadside will be released in November 2009.)

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In my (so far) limited experience, Washingtonians tend to be outdoor types—and with good reason. With so much beauty at our fingertips, it’s no wonder that with the first hint of a sunny day, we’re out in force. Add to that the near-clockwork arrival of the dry season by Independence Day, and the fact that huge swaths of the mountains are inaccessible for nine months out of the year—well, you can see where I’m going with this. Since the Fourth of July was kind enough to fall on a Saturday this year, the cities emptied and thousands headed Outward. And this year, though we’re normally Off-Season, Off-the-Beaten-Path types, the Tailor and I were no exception. Like zombies we staggered outdoors to pack our tiny Subaru sedan—must … go … camping!

We knew it was probably folly, but we had a goal in mind: find a beautiful, mountainous campsite away from the teeming hordes. We knew Mount Rainier would be out of the question, as were the Olympic Peninsula, Mount St. Helens, or any other popular tourist destinations—but even though we had a head start by leaving on Thursday afternoon, our hope faded as we saw the crush of fellow vacationers on the freeway. “Camper … camper … RV … canoe … RV … kayaks … cyclists … camper,” the Tailor droned, counting cars, “this was a dumb idea.” Yet as our route took us on smaller and smaller roads, the number of fellow travelers dwindled almost to none. It began to seem like our instincts were right after all.

Our destination? The Morrison Creek Campground, located on the southern slope of Mount Adams, Rainier’s slightly-smaller, lesser-known brother.

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While we were nervous of the possibility of any volcano attracting busloads of holiday tourists, our choice had a couple of points in our favor. For one thing, one can’t reserve a campsite in a national forest; all sites are taken on a first-come, first-served basis. For another, Morrison Creek is in the middle of freakin’ nowhere.


View Larger Map

The only way to get there from the north is to use the system of Forest Service roads that wind through the Gifford-Pinchot National Forest. The paved sections are breathtakingly beautiful and awfully fun to drive (especially with a stick shift; I felt like I was filming a car commercial). The “unimproved” stretches, on the other hand, range from challenging to terrifying. Mindful of the consequences of puncturing an oil pan or snapping an axle on a holiday weekend in one of the most remote pockets of the state, I took my sweet time picking my way around the detritus of recent rock slides and dodging monstrous potholes.

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When we pitched our tent just as the last light faded, however, we knew that it was absolutely worth the trip. Our campsite was in a lovely, secluded spot, adjacent to the Creek, just below the last traces of mountain snow, and surrounded by pockets of blooming beargrass. And to our immense surprise, we had Adams almost entirely to ourselves, for the whole weekend—funny, considering that the next campground, three miles up the road, was crawling with mountain climbers.

I was hoping our travels would afford us at least one view of Rainier in the distance—that way I’d have another sketch to add to my store of potential artist book imagery. FS Route 23, however, doesn’t afford such a vista, and any potential viewpoint reached by hiking trail was well out of range of our abilities. A two-mile hike from our tent did give us a spectacular, alpine-meadow view of Adams, though—and I realized that for my research purposes, I could use the peak as a sort of stunt double.

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From certain angles, Adams is remarkably similar to Rainier (and the two are often mistaken for one another when viewed from a distance). All the more reason to use my time there for drawing. I was surprised to see, however, how drastically Adams’ appearance changed, depending on the vantage point. This is the view from Bird Lake, on Yakama Nation land, just a couple of miles (as the crow flies) east of Morrison Creek:

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And though there was nowhere to sit to capture it in my sketchbook, a gap in the trees gave me the chance to glimpse another stand-in to the south: Mount Hood.

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What an incredible weekend. As you can probably guess, Adams is on the short list for Best Camping Spots Ever, and I’m sure we’ll end up returning again and again. Next time, though, it might behoove us to reconsider our mode of transportation; it’s doable in a compact car (just barely), but I think I’d rather rent a pickup truck—or a mountain goat.

A few months ago I was granted funding by the City of Tacoma Arts Commission to create my next artist book edition. Since this is the first of what will probably be a long string of posts over the next eighteen months, I’ll save the details for later. For now, I’ll just say that the book deals with the changing appearance (and intrinsic nature, since it’s an active volcano) of Mt. Rainier. At the moment I’m knee-deep in research, trying to capture the Mountain in as many different—well, attitudes, as Jane Austen would put it—as possible.

The Tailor and I spent last week visiting old friends and haunts in Minneapolis, and as luck would have it, I had the window seat on the south side of the plane on our flight out. I had my paints, brush, and film canister full of water ready as we taxied, so that when we cleared the cloud ceiling I had a solid two minutes or so for a sketchbook snapshot.

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It occurred to me, though, that while a 120-second gesture painting (complete with frantic paint spatter) would be a nice addition to the sketchbook, it wouldn’t provide nearly enough reliable detail to serve as the basis for a future letterpress print. So on the way back, I requested another window seat (I think the fact that I’d sprained my ankle on our last day of the trip, and had to hobble to the counter, might have helped my case a bit) so as to document any Mountain sightings with the camera.

The counter attendant had been kind enough to place me on the correct side of the plane again. And the weather was crystal-clear, affording the passengers with stunning, morning-lit views of Rainier and the entire Cascade volcano chain. The cabin was filled with sounds of hushed awe and clicking shutters. There was only one snag in my research scheme—Row Nine, in which we were seated, seemed to use the term “window seat” loosely.

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And the universe kept right on laughing.

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When I was growing up I used to raid my dad’s personal collection of books whenever I was looking for new reading material. We had bookcases all over the house, but I could always depend on that one in the hallway for the discovery of a new favorite. Those shelves introduced me to some of my favorite authors, and some of my most vivid memories are recalled passages from Steinbeck, or Salinger, or what have you. That bookcase also exposed me to some seriously weird stuff (which probably went a long way in teaching me to march to the beat of my own drummer—and therefore survive things like high school), writing that I didn’t begin to understand until years later. One book that I went back to several times, attracted to its sheer strangeness, was Revenge of the Lawn, by Richard Brautigan; the title story was my favorite. I’m pretty sure most of the similes and imagery flew over my teenage head at the time, but I loved the fact that something could be so entertaining and emotional, and yet so bizarre. (And I fully blame Brautigan for my own rambling, tangential, parenthetical writing tendencies.)

Last month I got an email from City Arts Magazine, asking if I’d illustrate the cover and feature story of the next issue; they were doing an article on Richard Brautigan’s Tacoma roots. I did a double-take—wait a minute, Brautigan lived in Tacoma?

So I re-read “Revenge of the Lawn,” and was amazed at how much my new perspective of being a Washington/Tacoma resident changed the story for me. Even the more straightforward lines like “He was selling a vision of eternal oranges and sunshine door to door in a land where people ate apples and it rained a lot” took on an almost tangible layer of meaning. (I love that “I’ve Been There!” feeling when I read. It makes me want to run and tell everyone I know: See that passage there? I know exactly what he’s talking about!)

Illustrating Brautigan, or text about Brautigan, was a whole different matter, however. What could I possibly say with a picture what such a vividly visual writer hasn’t already said with words? This is the guy who wrote, “The creek was like 12,845 telephone booths in a row with high Victorian ceilings and all the doors taken off and all the backs of the booths knocked out,” after all.

I mulled it over for awhile, and decided to take him literally. This was a pretty odd experience for me, because I was always trained to make illustrations that add to or change the meaning of a text—and to avoid didactic images like the plague. Somehow, though, for this project, I felt that actually cramming as many Victorian-style phone booths as possible onto the spread would highlight the humor and absurdity of Brautigan’s words.

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Or maybe I just really wanted to draw pictures of trout.

Anyway, the text is all hand-painted with watercolor in a “trouty” palette, and references Victorian-era typography and psychedelic graphic design (which itself references Victorian-era typography … the trout swallows its tail). If you’re local, you can pick up your copy for free at a whole slew of locations in and around Tacoma this month. The original watercolors are on display in the To the Letter exhibit through April 30.