THE PRESSES Just one, a beautiful Heidelberg Windmill lovingly named “La Pecosa” because it came to us fully splattered of ink after 54 years of service. We are looking for a proof press to make the family bigger.

SIZE OF PRINT SHOP We have a 322 sq ft workshop and 129 sq ft studio.

TYPE OF SHOP Our workspace is located in a town near to Barcelona. We have restored two old storage rooms surrounding our house’s garden to set up “La Trastería”.

THE LOCATION One of our favorite thing about the shop is that you can find a lot of things full of history in every corner. We found a lot of useful stuff while we arranged the workshop.

FAVORITE THING ABOUT THE SHOP Choosing one could be difficult, but maybe the most atypical thing could be an old book called “Hints for the pressman”. The fact that we live far from the city keeps us creative and comfortable, we feel more comfy with a quiet life style.

NUMBER OF PRINTERS IN SPACE As we are working in our own house, it is a private space. I am the printer (Mònica) but Germán helps me whenever I need him!

MOST VALUABLE SHOP TOOL A flathead screwdriver, a depth ruler and an apron.

FAVORITE INK We print with Martinez Ayala inks, they are made here in Spain. We have no favorite color, we love all of them, but it seems that a big range of turquoise is in its wave.

SOLVENT OF CHOICE With just one press we have a tiny workshop, so clean up is not a big problem if you keep your workspace arranged after using it. Besides cleaning our Windmill is not hard to do. We use Varn’s Primula Wash.

PLATE AND BASE OF CHOICE During the first year of La Trastería we have been using a 9×12 inch boxcar base with Jet  plates.

 OIL OF CHOICE 30 weight non-detergent oil. Works awesome!

WHAT TYPE OF RAGS DO YOU CLEAN UP YOUR PRESSES WITH We use recycled cotton rags. They work well and keep away dust and particles from our rollers.

FLOORING MATERIAL A dark grey poreless tilling floor, it’s very easy to clean!

FLOOR PLAN TIPS The main thing for us is to have all machines in a small perimeter, it helps us to clean faster. When the day is over, we just have to sweep and mop the floor. 10 minutes and ready!

PIED TYPE We don’t have any type because we don’t use it. We would like have some big old wood type but it’s hard to find!

ORGANIZATION ADVICE Keep it clean and clear. Clean and put back to their place every tool once it has been used.

PRINTING ADVICE It’s not a secret, in the beginning, when we were learning, we wished to have an experienced person telling us:  “Don’t be discouraged, come on, it’s just that the press you have must be perfectly adjusted”.  If something doesn’t work, take a deep breath and look for the solution in the simplest things. Once everything is in place, the press will run perfectly.

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NORTH AMERICAN PRINTING TREK The Victory Special Press is based in Anchorage, Alaska. We moved up here in the summer of 2012, and it’s been an amazing experience for me personally and for my design aesthetic.

I’m originally from Nebraska, spent about eight years living in Boston, and lived abroad a couple of times. I’m definitely eclectic and enjoy exploring different places and cultures (hence all the moving around). We came up to Alaska on holiday last winter, totally loved it, and decided we wanted to make Alaska our new home. Within a few months we had crated the presses, packed up the car and headed north. The drive lasted about six weeks, spanning the continent from Boston to Anchorage: about 9,000 miles. We took a circuitous route and visited many friends and family along the way. I also emailed letterpress printers in some of the towns we stopped in, so we got to meet some amazing people and see some cool shops throughout the US and Canada (thanks to all for opening your print shop doors!). It was really great to continue the letterpress dialogue as we traveled. The highlight was meeting Fritz Klinke and finding the original card of sale for my Vandercook 3 (thanks, Fritz!).

FOR THE LOVE OF LETTERPRESS When I was living in Boston, I woke up one morning with a strong desire to make my own paper. I took a really great week-long intensive class, then ended up with a bunch of paper that I wasn’t sure what to do with. A community print shop offered letterpress classes, so I enrolled in a beginners series and printed solely on my handmade paper. The class was so fun; I totally fell in love with letterpress printing. From there I became a member of the print shop and printed on their Vandercook 4, honing my skills. About a year after I began printing, I got my own Vandercook 3 and started up my company!

I still print on my handmade paper from time to time, but for most jobs I stick strictly to commercial papers. However, there’s something very calming about pulling sheets from water, so I’m hoping at some point to have a section of my studio built out for papermaking.

LETTERPRESS IN THE LAST FRONTIER STATE Since we moved not that long ago, the print shop is currently in the garage. I actually quite like it – when the weather is nice I leave the garage door open so I get lots of fresh air, and the occasional curious moose that walks by! It’s also been a great way to meet the neighbors – everyone seems to have a fascination when the presses are running.

We transformed one of the extra bedrooms in the house into my studio space, so I have plenty of room to spread out. I also like being able to keep finished product far away from the presses – there’s a “clean” room and a “dirty” room.

THE CREATIVE PROCESS I’m both a designer and printer, and have been printing full time for about two years. Because of my Nebraska roots and now living in Alaska, I’m totally fascinated by western, old-timey imagery and images from the Gold Rush in Alaska and the Yukon. I like to flip through books of antique cuts from the 19th century or find vintage photos, postcards, etc. on the internet or at the library. The Anchorage Museum has had some exhibitions recently of etchings from some of the first trappers in Alaska, and photos from the Gold Rush that I spent a lot of time looking at. I use all of that research as inspiration, then sketch ideas out by hand. I then translate the design to the computer by redrawing in Illustrator.

PRINTING FEATS Last year was our first year at the National Stationery Show trade show in New York City. We met some key buyers during the show, and then a large order developed in the weeks after the show, which was during our cross-country trek. We would have to optimize times when we had a WiFi connection (or at least some sort of cell service) so I could read and respond to emails. Because of the store’s deadlines for the holiday season, by the time we got to Anchorage we didn’t have much time to print, package and send off the product. I’m really proud of the fact that, while it was stressful at times, it didn’t stop me from enjoying our trip and experiencing all the beauty our drive had to offer, and that I was able to turn the order around so fast once I got the press uncrated!

BOXCAR’S ROLE Boxcar has helped in a myriad of ways: as a resource for supplies when I got my first press, tips and tricks from the blog, an easy-to-use base with a grid that makes registration much easier. But perhaps most importantly, Boxcar doesn’t care where I live.

When I moved to Alaska, I had to change a lot of my suppliers because the shipping charges were more than the cost of the product. Boxcar has a flat rate for shipping their plates and it’s allowed me to continue to have high quality plates that my product depends on, while not breaking my business’s bank.

SHOP TIPS Don’t forget to keep a playful mind when printing. Since I’m somewhat self-taught, I often think, “What would happen if I do this?” And I try it. Sometimes it doesn’t work, but sometimes it does work, and it can make the print even better than I expected.

WHAT’S NEXT We’ll be going back for our second year at the National Stationery Show in New York this May. If you’re there, swing by Booth #2262 and say hi!

Big round of thanks out to Emily Harris, the clever letterpress printer behind The Victory Special Press!

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Rachael Hetzel – Pistachio Press

My tip is to remember that something will go wrong. Only you know what your plan is for the booth and for new product. Everyone else will love what you’ve done and once you’ve started meeting with buyers, you’ll forget that you were upset about not having enough time to finish that specific task.

Also, remember that everyone else is stressed out, too. The camaraderie and friendships that are formed from this shared experience are really wonderful and unique to our business!

(photograph courtesy of Oh So Beautiful Paper)

Shelley Barandes – Albertine Press

Don’t underestimate the value of comfortable flooring (and shoes). Standing on concrete for five days straight can do a number on your body.

Allison Chapman – Igloo Letterpress

Pack water and snacks to keep in your booth.  You don’t want to be ‘hangry’ while helping customers!

There is a lot of pressure and stress as you prep for the show.  Be sure to treat yourself (and your booth neighbors) kindly.

Kevin and Carly Nelson – Bison Bookbinding & Letterpress

Our best advice to a new exhibitor is to find a reliable shipping company. In the weeks leading up to the show, several shippers will contact you and ask to give you a quote. Last year, we made the mistake of going with one of these random shippers because they seemed professional and had a good rate. Unfortunately, our shipment was partially lost en route, our booth walls were damaged, and the company threatened to sue when we demanded a discount. I recommend asking other exhibitors who they have shipped with. Go with a referral over a company you don’t know.

Heather Wiese-Alexander – Bell’INVITO Stationers

Of course, your business card speaks volumes about your business, to this crowd especially. Have more cards than you think you will need. If your “nicer” cards are expensively produced, bring a back-up of something inexpensive to pass out to the masses.

Second, I always visit the supply side first. There are so many great resources there, and the crowds tend to move into that area last.

Brad Woods – Maginating

1. On my first show, I forgot to create order forms with carbonless copies. It didn’t even occur to me that I’d have to have a copy of the order for myself and give one to the buyer as well. Most people probably already thought of this since it’s common sense but I’d never placed an order before – the NSS was, quite literally, my first selling experience! (if you need a reference for an order sheet, email me and I’ll share our version with you).

2. Another suggestion is to try to avoid using the FedEx at the Javits. They charge a fortune! There are a gazillion copy shops in NYC that charge regular rates, do great work, and turn stuff out really fast.

3. This suggestion is almost too late, but there’s still time to cobble something together. Make sure you have either a line sheet or a catalog. If this is your first show, don’t produce too many, 250 at the most. The worst problem you could have is to run out, but you can always make something inexpensive that can be reproduced at one of those inexpensive Manhattan copy shops while you’re at the show.

(Photograph courtesy of Oh So Beautiful Paper)

4. Put up a “Reps Wanted” sign at your booth but don’t have it hang out into the aisle. You may think you don’t want reps, but really – you do. I wouldn’t survive without my reps!

5. In fact, don’t create any signs that hang out into the aisle. Freeman will make you remove it.

6. On Saturday night, Freeman will lay down the aisle carpeting. If their carpet doesn’t come up to the edge of your floor tile, carpet, whatever – go to the Freeman service center (usually close to the LOUIE display) and put in a request to have a little piece of carpet put in to cover the cement floor. Make sure, however, you ask them really, really nicely. They’re happy to help but really appreciate your gratitude.

7. They don’t run the air conditioners during setup time. It can be really hot in the Javits, so dress accordingly.

8. There’s a secret place to buy food at the back of the Javits during setup time. I can’t remember the name of the place but it’s where all the teamsters buy their grub. It’s not fancy but it’s good food (and a lot less expensive than the food at the front of the convention center in those fake subway cars).

9. Since NSS doesn’t begin until Sunday, try to visit the ICFF (International Contemporary Furniture Fair) in the lower hall on Saturday. Your NSS badge will get you in for free and it’s amazing!

10. There’s this amazing Halal (Muslim equivalent of “kosher”) food cart at the intersection of 53rd and 6th. GO THERE! At one point, the Michelin food guide rated it one of the top 10 restaurants in NYC. There will be a very long line (maybe 50 – 75 people) but it moves very quickly (like, 10 minutes, tops). For $7 you will get a very, very tasty dish. Note: don’t get it to go – grab a seat and enjoy it there. You will find huge bottles of “white sauce” on the side of their cart for you to soak your dish in. It’s amazing!

11. If you’re coming in from an airport, either JFK, LaGuardia, or Newark and you’re on a budget, book a Super Shuttle bus in advance, online. It’s cheap, especially if you book a return trip. You have to, however, tell them in advance how many pieces of luggage you’re bringing with you. If you go over two, you might have to pay an extra fee (or tip generously). You can also take their shuttle bus. This is really inexpensive and will drop you off in the city. You’ll probably want to get off at Grand Central Station but it’s obviously going to depend on where your hotel is located. Don’t worry about it – grab a cab for the trip from Grand Central to your hotel – it’s probably going to be under $10 and totally worth it.

12. Get some padded flooring or cushy carpet for your booth. Your feet will thank you a thousand times over!

13. Make sure you take time to walk the show. I usually walk it on Saturday, late afternoon, or Wednesday morning.

14. Eat! Make sure you have a good breakfast and eat lunch! There will be people handing out menus for sushi and the like. See if your booth neighbor wants to join forces and order some take out. It’s usually pretty tasty and they deliver to your booth.

15. Make sure you have inventory in advance of the NSS. Don’t create too much product for your first show – maybe 250 pieces (max) of each, but if you don’t you’re going to be printing (as Lionel Ritchie says) all-night-long…

16. And lastly… it’s going to be difficult, but try to not compare yourself to those around you. Each company is going to experience (and benefit) from the NSS in their own unique way. Making sales isn’t the only goal at this show. Contacts, exposure, experience, conversations that might not lead to something right away, building relationships, blog exposure, media exposure, making friends, experiencing NYC, etc. – there are a lot of other ways that NSS will benefit you! Oh – and just because one company is having a “mad rush of sales” in the 1300 aisle on Sunday morning (and you’re not) doesn’t mean anything. There will be ebbs and flows in a variety of different areas within the show. What’s happening in one area isn’t necessarily what’s going on in the rest of the building. If you love what you’re doing people (and buyers) will be drawn to it. The card business is a more than $5 billion industry. There’s plenty of room for us little guys on those store shelves!

16.5. …come by the Maginating booth (2062) to say hi! Or email us at maginating@hotmail.com – we remember when it was our first show and are happy to help you in any way we can.

If you have a tip for NSS that you’d like to share, join in on the conversation and post it in our comments section!

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All photography courtesy of Amanda Sudimack | Artisan Events

THE INS & OUTS OF PRINTING I am the owner and operator of Thomas & Brown in Oak Park, Illinois. I have been doing that for a little over a year. A couple years before that I worked at Rohner Letterpress in Chicago. Over there, Sam Wilder and Matthew Cordell taught me all the ins and outs of running a Heidelberg windmill. And in the years between I spent time being a dad for two little boys.

IN THE BEGINNING The story kind of starts when I was a Peace Corps volunteer in West Africa. With a lot of solitude and free time I became obsessed with writing and lettering. Lots of bookmaking and letter writing. Upon returning to the US, I thought I would work my skills into the graphic design thing. After a time of working in front of the computer I found that the translation didn’t always work for me. I sort of have a difficult relationship with technology. What I truly enjoyed was crafting with the hand, touching the material, etc. But fortunately for me, Chicago has the allure of letterpress built right into the city. Heck, I lived in a neighborhood called Printer’s Row. I found myself frequenting places like the Newberry Library and Columbia College Center for Book and Paper Arts. At the time, Bill Drendel was working at CCCBPA and I was always amazed at the work he was bringing in to exhibit. It was exactly what I wanted to be doing as an artist and designer. He, along with Suzanne Cohen-Lange, encouraged me to apply to the program there. So I did and that is where I finally got my hands covered in ink.

PARADISE IN THE PRAIRIE STATE My shop is small but capable. I have a Heidelberg windmill, a Challenge paper cutter, and a platemaker. I have lots of letterpress gadgets and I also have a bunch of drawers of type and cuts. It is not terribly exciting but it gets the job done.

DESIGNED FOR PRINT I am a designer/printer and also a jobber. I will do design for anyone who needs it, but I also think it is great working with designers and other creatives who have such wonderful visions. I enjoy helping designers make good choices, understand the medium, and ultimately realizing the project in a physical form. And I think my background in graphic design makes this a lot easier for me.

ROOM TO GROW At this point we do not have enough work to consider myself full time, however with our design and printing we keep busy but of course there is always room for growth. But yes, that would be a goal for the future. And I am working with that in mind.

THE CREATIVE PROCESS My process can go one of two ways depending on the project. If I am designing for a client with a specific goal and and a clear vision, I usually start with a sketch. From there I park myself in front of the computer and assemble the parts. I work on choosing typefaces, take care of leading and kerning. Also, any imagery or graphic elements that need to be included are positioned and refined on the computer. The other way I work is more intuitive. This involves putting together cuts and type together on my stone. I do any color mixing on press, working from light to dark with lots of trans white. I end up with a lot of make ready. Usually designing this way I get some stationery or business cards for a friend. If I am really ambitious it can lead to the creation of an artist book.

PRINTING FEATS Well, I have exhibited in juried shows and done artist in residence programs but, in all honesty, I am always most proud when I get a phone call or an email from a customer who was so happy with their project. People can fake enthusiasm when they are looking at an open gallery but it doesn’t happen when they have spent their hard earned money.

PRESS HISTORY The first press I worked on was a Vandercook Universal. The press that I own is a Heidelberg windmill. I’m sure it has been passed around Chicago the past few decades. At one point – maybe originally – it belonged to Bloom High School in suburban Chicago Heights, Illinois.

BOXCAR’S ROLE I have a platemaker but I do not have an imagesetter. My biggest problem was finding a local reliable film source. With Boxcar, I can just do the whole process online. And the new online order form makes it really easy. I can instantly transfer files and even hold them there until my project is ready. I know exactly what I am sending and how much it is going to cost me. The time I used to spend making plates is now spent on other parts of the business. Also, I was not particularly great at making plates and with the cost of polymer I was always worried about losing money on that part of the process. I know that Boxcar guarantees their plates and I will have what I need for my jobs.

SHOP TIPS Of course I have tricks, dozens and dozens of them. You can’t do this kind of printing without them. The press does not have a computer with alarms and lights monitoring color and alignment and whatnot. Every job is a different set of challenges with a different set of solutions. My best advice would be to find some salty veterans who are passionate about printing & sit down with them and listen to what they have to say.

WHAT’S NEXT My plan for 2013 is to get the word out there that we are here. I would like to find some more designers who still care about the end product. And maybe if I acquire an additional press I would like to open up the studio to artists and offer a hands on experience for the local community.

A large round of thanks out to Mark Moroney of Thomas & Brown for letting us take a peek at his shop!

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PRINTERS FROM THE GOLDEN COAST Volta Press is Laureen Mahler and John Peck, a husband-and-wife printer team based in Oakland, California.

LATE NIGHT LETTERPRESS LOVE We started printing while Laureen was in graduate school at CCAC, where we spent countless late nights on the print studio’s Vandercooks. Initially, we wanted to create our own literary journal, complete with letterpressed covers and hand-sewn binding. With invaluable guidance from Betsy Davids (a well-known and much-loved influence on the Bay Area book arts community), we launched Beeswax Magazine in 2005. Now on its eighth issue, Beeswax is still letterpressed & hand-sewn — and truly a labor of love! The journal quickly transitioned into letterpressing for our friends, and we printed everything from poetry chapbooks and LP covers to gallery postcards and party invitations.

THE CREATIVE PROCESS We design and print, although we also work with other designers. Our design process is very much about experimenting with our press and its capabilities; we love to play with texture, size, color, and contrast in our designs, and we’ve learned a lot about the press and our own aesthetic over the years.

FULL TIME FUN A tough question! We did print full time for several years, but to make ends meet that meant taking every job that came our way. We found ourselves losing sight of why we’d become printers in the first place, so we started teaching, took a hiatus from custom work, and focused on building a portfolio that truly represented who we are. Now we teach to supplement our printing income and are happy to say that we’ve found a nice balance of custom work and self-made projects.

PRESS HISTORY Volta Press officially started in 2006 in Betsy Davids’ backyard: she has a meticulously restored SP15 tucked away in an old carriage house. It was a wonderful press, but the building had very little insulation: in the (albeit California) winters, we wrapped up in jackets and scarves to print jobs and had a backup supply of fingerless gloves. Since then, we’ve printed on a range of Vandercooks and C&Ps, and ultimately decided to purchase a Vandercook 3.

In 2009, we moved to our current studio near Jack London Square, where we now occupy two floors in an old pickle factory overlooking the Port of Oakland.

PRINTING FEATS We’re still pretty proud of purchasing our first Vandercook. It’s also really gratifying to be part of Oakland’s thriving small business community, from establishing relationships with other independent businesses to printing everything from coffee bean packaging to bookstore broadsides. Printing what we love and making the press work on our own terms are big accomplishments, though we’re definitely still learning on a daily basis.

BOXCAR’S ROLE We’ve been ordering plates from Boxcar Press since 2006, and we still remember opening the package that held our first Boxcar base. It was like letterpress Christmas, and we haven’t looked back since.

SHOP TIPS Always have masking tape handy, invest in a complete set of Allen wrenches, love the craft and its history, learn to be a grease monkey, make friends, and remember that making beautiful things isn’t always a beautiful process.

WHAT’S NEXT We’ll be teaching letterpress at the San Francisco Art Institute again in the fall, and we’re also working on expanding our in-studio workshops. We’d love to acquire a second press, and we’ve got a crazy idea to build a mobile Vandercook vehicle (though that’s maybe more of a 2014 project!). We’re also working on a literary poster series and a newspaper project, and we hope to launch both of those this summer.

Big rounds of applause for Laureen and John for letting us get the full story on Volta Press!

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Photography courtesy of James and Katie Photography.

THE PRESSES Currently, my only press is a century old Chandler and Price 10×15 new style platen press.

SIZE OF PRINT SHOP My section of the shop is about a tenth of the total work space with about 250 square feet.

TYPE OF SHOP I share a work space with a screen printer, which has been a great relationship.

THE LOCATION My shop is located in an old factory building that has been repurposed and now holds a variety of different businesses, both large and small.  There are several antique stores just around the corner which I love to visit before I go to work.

FAVORITE THING ABOUT THE SHOP One of my favorite things about the shop is my old wooden work bench. It was given to me by a friend’s father who got it from his father. It had been in his woodworking shop for ages and is covered with years of paint, scratches and spills. There is a metal plaque on the side that says “The United States of America Flying Boat Division”.  I can only imagine what sort of history is there!

NUMBER OF PRINTERS IN SPACE I share work space with a screenprinting shop (Hillhouse Screenprinters) which has been a really great relationship so far. Screenprinting and letterpress printing have a lot in common so we are able to learn from each other.

MOST VALUABLE SHOP TOOL My most valuable tool in my print shop is oddly enough my little rubber thimble. I use it all the time for various tasks and it keeps my finger clean from ink which saves me a lot of time washing my hands!

INK OF CHOICE I generally use VanSon’s rubber based ink, but for specialty ink colors (metallic and fluorescent) I use Ink in Tubes oil based ink. Both are great, but they have their differences. My current favorite color of choice is a soft mint like Pantone 621. I think this color looks great on the Crane Lettra in Pearl. It creates a beautiful vintage feeling.

SOLVENT OF CHOICE My method for cleaning has been to keep the rollers on the press and use a shop rag dipped in California Wash. I just roll the press slowly back and forth until the rollers are clean. Then I clean the ink plate and go over everything once more with a clean rag.

PLATE AND BASE OF CHOICE I have been using a 9×12″ Boxcar Deep Relief base since last year.

OIL OF CHOICE I use a white motor oil for my press and it works like a charm!

WHAT TYPE OF RAGS DO YOU CLEAN UP YOUR PRESSES WITH I use blue shop towels for clean up.  I like them because they are durable enough to use multiple times.

FLOORING MATERIAL I don’t even know what our floor is made out of to be honest!  I’m sure it’s some sort of industrial linoleum.

FLOOR PLAN TIPS The best floor plan is one that creates a work triangle. I have my paper cutter, work bench and press all within reach of each other. This way, I’m not wasting as much time running across the room.

PIED TYPE Honestly, I don’t recognize this term.  I feel like I still have a lot of letterpress lingo to learn.  I have a large type cabinet with various fonts…century gothic is my favorite.

ORGANIZATION ADVICE I don’t think this would be considered a secret, but I have found that keeping a clean shop is by far the biggest way I boost my productivity. I’m distracted by too much unnecessary clutter.

PRINTING ADVICE When I first started printing, I couldn’t figure out why my printing wasn’t crisp. Everything seemed to have a blur around the edges and bleed into the paper.  After countless hours of trial and error, I realized that I was using way too much ink.  I backed way off and my next print was nearly perfect.  What a relief!  I realized that learning to listen to your press to find the right tuning is such a huge part of what makes a great printer.

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Far Left photograph courtesy of Vangie Ogg Photography. All other photography courtesy of Cartoules Press.

DESIGNER/PRINTER/DANCER I’ve been a long time paper fanatic ever since I could pick up a pair of scissors and make things with my hands. I always appreciated the art of quality made stationery and the craft of letterpress. I’m also a Kefalonitisa. Chronic wanderlust. Design junkie. Bon vivant. Amateur photographer. Graphic designer. Runner. Master instagrammer. Typophile. Flea market frequenter. Beach bum. Epic party thrower. Greek dancer. Crafter. A sane OCD.

INSPIRED BY INVITATIONS When my husband and I got engaged I knew immediately that I wanted letterpress invitations. For fun, I decided to take a few classes at the International Printing Museum in Carson, and when I discussed letterpress wedding invitations with my instructor, she suggested that I print my own with her help.

My husband and I rented press time in her studio, and together, we printed them – I was hooked. Shortly after, I purchased a small table top Kelsey, and started creating cards for myself and for friends. And thus – Cartoules Press was born.

CREATIVE IN CALI My shop is in my home studio detached garage in Long Beach, California. We’re actually planning a major home remodel in the next few months so things will drastically change — for the better. But currently my situation suits me and my printing needs.

THE CREATIVE PROCESS When I’m working on a custom invitation or piece, I love to get inside my client’s head and sort out their thoughts. For example with my brides, I love to get a sense of their wedding, but also about their personality — what kind of clothes they like to wear, where they shop — just to get a sense of their likes and dislikes. Sometimes I print submitted work, but I prefer to print my own designs. Right now I’m printing part time, and it’s been this way since the inception of Cartoules Press. While I’m printing I’m almost always drinking a homemade latte and blasting music. I work best listening to Spanish or Greek rock music with a little dance music thrown in.

PRINTING FEATS Last year I was recognized by the Greek American Foundation as a member of their “Forty Under 40″ for my work with Cartoules Press and the unique offering I provide to not only Greeks in the US and abroad, but to the design community as a whole. I’ve also received some great press placements in Marie Claire Greece, for example, and have had some super clients like Mercedes-Benz.

BOXCAR’S ROLE You guys are fantastic! Last minute? Under the minimum? No problem. You guys always take care of me and my plate making needs, and with a smile on your face (at least it sounds that way over the phone).

SHOP TIPS  Don’t be afraid to experiment with techniques or styles of printing. There’s definitely a few different ways to accomplish the end result with letterpress, it’s just important to find out which methods, techniques, and tools work best for you.

WHAT’S NEXT Remodeling the studio space is top priority right now, and something that I’m very excited about. The presses have moved with us twice now, so I’m really looking forward to giving them a beautiful permanent home full of light and plenty of new storage.

Big heaping thanks out to Julie Karatzis of Cartoules Press for sharing her story!

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