L’Amour for Letterpress: L’Imprimerie Bâtard

 L’Imprimerie Bâtard is a Northeastern France-based letterpress printshop that enjoys working with handset type and learning as much as they can. Pauline and Gaëtan work and breathe letterpress in their printshop where they blend old-world craftsmanship with a daring for experimenting.

(A note for our readers: This article appears in both English and French for all lovers of letterpress to read! The French translation appears in italics. Huge round of applause out to Pauline and Gaëtan for the French translations!)

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

PRINTING IN FRANCE L’Imprimerie Bâtard -literally The Bastard Printer’s- is a new design and printing workshop in Nancy, France run by Pauline (24 yo) and Gaëtan (35 yo). We are hosted by a youth and cultural center called la MJC Lillebonne, which is super cool because it makes our everyday life at work very lively.

L’Imprimerie Bâtard -littéralement Bastard Printer’s- est un tout nouvel atelier de design et d’impression à Nancy en France géré par deux personnes : Pauline (24 ans) et Gaëtan (35 ans). Nous sommes hébergés dans une Maison de la Jeunesse et de la Culture, la MJC Lillebonne, un lieu super cool qui met plein de vie dans notre quotidien.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

LETTERPRESS BEGINNINGS Pauline discovered letterpress during her fine arts studies, which she completed last year. Her school had a letterpress workshop led by a specialized teacher so she had the opportunity to learn the basics of the letterpress technique in different contexts such as personal editorial works or workshops that her teachers used to organize.

Gaëtan founded a nonprofit publishing house several years ago so he already knew a bit about graphic design and printing. He first practiced letterpress at his friends’ printshop. They had organized a week to produce a gazette combining text and illustration only printed by hand. They had invited other typographers so this first approach of letterpress revealed to be very enriching to him.

Pauline a découvert la typographie manuelle lors de ses études aux Beaux-Arts, qui se sont terminées l’année dernière. Dans son école, il y avait un atelier géré par un professeur spécialisé, elle a donc pu apprendre les bases de la technique dans différents contextes : des projets éditoriaux personnels ou encore des ateliers organisés par les professeurs.

Gaëtan, lui, a fondé une maison d’édition associative il y a plusieurs années, il avait donc déjà été au contact de l’univers du graphisme et de l’impression. Il a pratiqué la typographie pour la première fois dans l’imprimerie d’amis à lui. Ils avaient organisé une semaine pour créer une gazette mélant texte et illustration complètement imprimée à la main. Ils avaient invité d’autres typographes, cette première approche a donc été très riche en découvertes et en apprentissages.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

THE PRINTSHOP One of our favorite things about our workshop is also one of the things we hate the most: it is very small. When people visit us, we like to tell them that we have the smallest printing atelier in the world. On the one hand, it makes the atmosphere warm and cozy. The office part, with its old desk and granny carpet, definitely makes us feel at home. On the other hand, a so small working place requires loads of tricks to optimize the storage of our tools and equipment.

Une des choses que nous préférons à propos de notre imprimerie est également une des choses que nous détestons le plus : elle est très petite. Quand nous faisons des visites, nous nous amusons à dire que c’est la plus petite imprimerie du monde. D’un côté, ça donne une ambiance chaleureuse, cosy. On s’y sent à la maison, surtout dans la partie bureau où il y a une vieille table et un vieux tapis. D’un autre côté, une si petite surface de travail nous oblige à redoubler d’inventivité pour optimiser le rangement de notre matériel.

HISTORIC NEIGHBORHOOD Absolutely. The cultural center accommodating us is based in an old private hotel built during the Renaissance, so the place is very picturesque. Another cool thing about this center is that it is so huge that it has many different arts and crafts workshops, such as engraving, bookbinding, drawing, silkscreen printing, pottery, sculpture.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

We are surrounded by many interesting practices and crafts. Also, the whole neighborhood is the oldest part of the city and certainly one of its most beautiful areas. It covers many wonderful Renaissance landmarks, like a Gothic church, a ducal palace turned into a museum and ancient city gates.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

Tout à fait. La MJC qui nous loge est basée dans un ancien hôtel particulier construit à la Renaissance, le bâtiment est donc très pittoresque. Ce qui est aussi génial dans le fait d’être hébergés dans une MJC aussi grande, c’est la quantité et la diversité des ateliers d’artisanat qui y sont proposés : gravure, reliure, dessin, sérigraphie, poterie, sculpture… Nous sommes entourés de pratiques et de savoirs tous plus intéressants les uns que les autres. Au delà du bâtiment en lui-même, le quartier entier est une des plus anciennes parties de la ville et sans doute une des plus belles. Il comprend de nombreux monuments datant de la Renaissance, comme une église gothique, un palais ducal transformé en musée, ainsi que les anciennes portes de la ville.

PRINTING MENTORS Our inspirations are diverse and come from different movements: absurdism and Oulipo (a French movement about constrained writing) for the writing of the texts, and some graphic designers who played with letterpress such as Robert Massin and Jan Tschichold for the design part of our work. We wouldn’t say that we have specific “mentors” but we had the opportunity to meet some old printers and typographers who learned letterpress as a craft and they gave us some advice. We also usually save good printing ideas we find on the internet, mostly on Instagram, and try to reuse them in our work.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

Nos inspirations sont variées et nous viennent de différents mouvements: l’absurde et l’Oulipo (un mouvement français d’écriture sous contrainte) en ce qui concerne l’écriture des textes, et plusieurs graphistes ayant joué avec la typographie comme Robert Massin et Jan Tschichold pour la partie création de notre travail. Nous ne pourrions pas nommer de réels “mentors” mais notre travail se base à la fois sur les bonnes idées que nous trouvons sur internet, notamment sur Instagram, et sur les précieux conseils des quelques imprimeurs typographes dont c’est le métier que nous avons eu la chance de rencontrer.

FULL TIME FUN Yes, we do [full time] ! It’s been 6 months since our atelier was set up. At the beginning, we wanted to do it as a pass-time in our garden shed, but when we had the opportunity to buy our press and our first cases, it became obvious for us that we would make it our new job.

Oui ! Ça fait 6 mois que notre atelier est installé. Au début, nous voulions faire de la typographie un passe-temps et occuper l’atelier au fond de notre jardin, mais quand nous avons eu l’occasion d’acheter notre presse et nos premières casses, ça nous est paru évident que nous en ferions notre nouveau métier.

DESIGNING A CUSTOM PIECE. The first step of our design process is the phase of creation, which includes the writing of the texts and the making of the illustrations (we mainly use linocut). Then, we compose the texts we wrote, testing different types: metal types for the body of the text and wood types for the titles. We’ll try (as much as possible) to avoid using plates and linotype to keep our work the more handmade. After choosing the most coherent characters in relation to the project, we print the texts and illustrations on transparent plastic paper on our proof press so that we can modulate the elements and decide on the final layout. We got this trick from our friend Guillaume Guilpart, who is a typographer at a workshop called Paris Print Club. We also take advantage of this step to do an orthotypographic correction of the texts. We make the color and paper choices and finally we can print on our bigger press.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

La première étape de notre processus de design est la phase de création, c’est-à-dire l’écriture des textes et la réalisation des illustrations (nous utilisons avant tout la gravure sur lino). Ensuite, nous composons les textes en testant plusieurs typographies : les caractères plomb pour le labeur (autrement dit le corps de texte) et des caractères en bois pour les titres. Nous essayerons au maximum de nous passer de clichés et de linotypie afin de conserver l’idée d’artisanat. Après avoir choisi les typographies les plus cohérentes avec le projet, nous imprimons les textes et les illustrations sur du papier rhodoïd sur notre presse à épreuve afin de pouvoir agencer les éléments entre eux et décider de la mise en page finale. Cette astuce nous a été donnée par Guillaume Guilpart, un ami typographe à l’atelier Paris Print Club. Nous profitons également de cette étape pour faire la correction orthotypographique des textes. Nous faisons un choix de couleurs et de papier et nous pouvons finalement imprimer sur notre plus grosse presse.

PRINTING FEATS Above all, we are proud of our atelier. Just one year ago, we had no idea that it would be so thriving and fulfilling today, that we would have so many tools and materials to work with. It has been a lot of work and we’re still motivated to make this place more enjoyable and more practical. We also consider all the knowledge we got these past months just by practicing our passion and by meeting people with whom we share that passion as a big accomplishment. We can almost say that we are self-made typographers and that definitely rocks.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

Moreover, this past year, we had the time to work on two big creations that we would like to point out. First, we designed a numerical font using the software Glyphs (and the precious help of a type designer friend) and we made a wood type of it using a laser printer. We called it “la typo bâtard” (“the bastard font”) in reference to our printer’s name. The second work we’d like to talk about is a poster we did for “la Fête de l’Estampe” (the National Print Day). It is composed by two prints of wood planks, a long text in two columns above these prints, which is the page of the dictionary that contains the word bâtard (bastard), and an extract of this page as a title covering a bit of the text and printed with wood types.

Nous sommes avant tout fièr·e·s de notre atelier. Il y a tout juste un an, on ne s’imaginait pas que tout s’y passerait aussi bien aujourd’hui, qu’on aurait autant d’outils, de matériel de travail et d’opportunités. Ça a été beaucoup de boulot mais nous sommes toujours aussi motivés à rendre cet endroit le plus agréable et le plus pratique possible. Nous considérons également comme un accomplissement tout le savoir que nous avons acquis ces derniers mois simplement en cultivant notre passion et en rencontrant des personnes avec qui partager cette passion. Nous pouvons presque dire que nous sommes des self-made typographes et c’est trop cool.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

En plus de ça, cette année, nous avons passé beaucoup de temps sur deux créations en particulier dont nous aimerions parler. D’abord, nous avons dessiné une police de caractères numérique sur le logiciel Glyphs (et grâce à la précieuse aide d’un ami dessinateur de caractères) et nous en avons fait une série de caractères en bois avec une graveuse laser. Nous l’avons appelée « la typo bâtard » en référence au nom de notre imprimerie. Le second travail dont nous aimerions vous parler est une affiche que nous avons réalisée pour la Fête de l’Estampe. Elle est composée de deux empreintes de morceaux de bois, d’un long texte en deux colonnes sur ces empreintes, qui reprend la page du dictionnaire qui contient le mot « bâtard », et un extrait de cette page comme titre, qui couvre une partie du labeur et imprimé avec des caractères bois.

PRESS HISTORY Our first press is a big red flatbed cylinder press, a Korrex press manufactured by Simmel in 1969. This specific model is called “Berlin”. But we mostly call it by its pet name: Simone.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

Notre toute première presse est une grosse presse rouge à cylindre, une Korrex fabriquée par Simmel en 1969. Ce modèle s’appelle « Berlin ». Mais nous l’appelons principalement par son petit surnom : Simone.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

BOXCAR’S ROLE We’re grateful to Boxcar Press for their interest in our little printing house. We were glad to see that the passion for letterpress could cross the borders between different countries. It was a pleasure to read their blog and discover so many other printers and their techniques. They provide a really extensive and necessary work of investigation about letterpress. As far as we’re concerned, their questions enabled us to look back at the past year and to realize what we have achieved until now. So we can thank them for the dissemination of this article about us and for letting us translate it to share it with our French community.

Nous sommes reconnaissant pour l’intérêt qu’a porté Boxcar Press à notre petite imprimerie. Nous étions enchanté·e·s de voir que la passion pour l’impression typographique pouvait traverser les frontières. Ça a été un plaisir pour nous de lire leur blog et de découvrir autant d’autres imprimeurs ainsi que leurs techniques. Ils proposent un travail d’investigation du monde de la typographie vraiment complet et nécessaire. En ce qui nous concerne, nous avons pu, en répondant à leurs questions, faire le bilan de notre année passée et nous rendre compte que tout ce que nous avions accompli jusqu’à maintenant. Nous pouvons donc les remercier pour la diffusion de cet article et pour nous avoir permis de le traduire afin de le partager avec notre communauté en France.

PRINTING TIPS The most important advice that we could give is to try things. Letterpress is an open door to a world of creation with a lot of variables: characters, colors, shapes, layouts. They are some fundamental rules to respect such as the type height, but once you’re sure about these basics, you’re completely able to explore, imagine, make, invent new things. That was the case when we had the idea to print pallet planks to draw the shape of columns in the background of our poster… After all, why not?

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

Le conseil le plus important que nous pourrions donner est d’essayer des choses. La typographie est une porte ouverte à un monde de création avec des tas de variables : les caractères, les couleurs, les formes, les mises en page… Il y a certaines règles fondamentales à respecter, comme la hauteur typo, mais une fois les bases intégrées, on peut complètement se permettre d’explorer, d’imaginer, de fabriquer et d’inventer de nouvelles choses. Ça a été notre cas quand nous avons eu l’idée d’imprimer des planches de palettes pour dessiner la forme de colonnes en arrière plan de notre affiche. Après tout, pourquoi pas ?

WHAT’S COMING NEXT Our main plan for the upcoming year is to open our atelier to people and to give letterpress lessons. Starting from January 2020, we’ll give a three-hour lesson twice a week. In addition to that, we’ll try to organize workshops over one or several days in our atelier, sometimes soliciting the other arts and crafts workshops of our big house in order to provide an overview of the process for making a real printed object by hand. We would also like to offer classes outside our workshop, in other cultural or specialized structures such as schools, with our little proof press and some previously selected characters. We are absolutely willing to share our know-how, especially from the perspective of doing popular education.

L'Imprimerie Bâtard is a France-based letterpress printshop that features a combination of handset type and new printing technology creations.

Notre principal projet pour l’année qui arrive est d’ouvrir notre atelier aux gens et de donner des cours de typographie. À partir de janvier 2020, nous donnerons des cours de trois heures deux fois par semaine. En plus de ça, nous essayerons d’organiser des ateliers sur un ou plusieurs jours dans notre imprimerie, parfois en sollicitant les autres ateliers d’artisanat de notre grande maison afin de donner un aperçu du processus de fabrication d’un vrai objet imprimé à la main. Nous aimerions aussi proposer des ateliers en dehors de notre imprimerie, dans d’autres structures culturelles ou spécialisées comme des écoles, avec notre petite presse à épreuve et quelques caractères préalablement sélectionnés. Nous sommes complètement partant·e·s pour partager notre savoir-faire, notamment dans une optique d’éducation populaire.

Spot the Differences: Printing Press Edition

Get out your loupes and magnifying glasses for our cool printing press edition of Spot the Differences! There are 20 differences in all. Can you spot them?

And don’t forget, we’re keeping the fun going all week long for Letterpress Appreciation Week.

Spot-the-difference-Control-Group
Spot-the-difference-Variable-Group

Answers and results will be revealed on Friday, September 20th, 2019 so stay tuned!

The Mackenzie Printery and Newspaper Museum – Our Journey So Far

Louise Rowe of the Mackenzie Printery and Newspaper Museum in Queenston, Canada, shares how the Museum stands as a pillar of the printing community. Benefiting from a printing revival in the area, the Museum blends modern techniques with letterpress’ rich history.

I found letterpress in a very roundabout way. I have a vague fine art background; this precedes my twelve-year career in customer service and events. So the only printing I ever did focused on traditional etching techniques. When I was gifted a proofing press by my boyfriend, I quite literally had no clue what it was, let alone how to set it up and use it. However, it was, and is to this day, the best gift I have ever received.

The Mackenzie Printery and Newspaper Musuem img1

For starters, nobody has ever given me anything that romantic. Secondly, it was the motivation I needed to start my own business – Out of Sorts Studio. Finally, my Potter Proof Press is how we ended up becoming members of the Mackenzie Printery. I reached out to them in the hopes that they might be able to shed some light on the one-tonne-beast, which suddenly occupied a space in our basement.

The Mackenzie Printery and Newspaper Museum is a charity founded in 1993 and to this day is run completely by volunteers. They own a vast collection of printing equipment spanning 500 years of history. The collection is housed in the restored home of William Lyon Mackenzie, which is owned by the Niagara Parks Commission and during the summer they open the heritage site to the public as a working museum.

Whilst continuing to maintain a very impressive collection of printing equipment, the charity is now moving forward in efforts to preserve more than the just the physical pieces.

For the most part our members are older and have struggled with finding people in younger generations who are remotely interested in hearing about their experiences, let alone finding ones who actually wish to learn any of the processes. That’s not to say these people don’t exist, just that they are hard to find in our neck of the woods.

The Mackenzie Printery and Newspaper Musuem img1

In recent years, under the Chairmanship of Ron Schroder, the group has been focused on the organization of the entire collection; ensuring it is managed and preserved to the highest museum standards. With such a large collection, that includes a vast selection of type, it has been a long process. With this now well under way the group can turn some of its attention to the presses themselves. It isn’t just about keeping them all shiny and dust-free, we want to make sure that we always have someone who knows how to operate them.

Vice Chairman, Art Ellis, along with our Collections Executive, John Hunt, have been in charge of all things related to the restoration and working order of our printing presses for the majority of the last three decades. As new members, we found it a heartbreaking prospect that their knowledge could just be lost should they no longer be able to participate.

The Mackenzie Printery and Newspaper Musuem img1

Obviously the charity gaining me as a member is great because I’m awesome. However, in reality, Carl (my boyfriend) has proven to be a far more useful asset. He is a mechanic by trade, with a deep appreciation for antiques and a desire to know how things work. His passion for cars is deeply rooted in hot rods and this love took us to the Syracuse Nationals in July, which also provided us with the perfect opportunity to take a tour around Boxcar Press: a place dreams are made of!

Honestly, I don’t think we could have a better first candidate for learning how to set up, maintain and repair the printing presses.

The Mackenzie Printery and Newspaper Musuem img1

He started small, bringing home a rather rusty slug cutter, a mini paper cutter that didn’t cut and a brayer with broken handles. After some research, he took apart each item, carefully cleaned every piece, repaired what he could and fashioned new parts where necessary. Parts were then painted and reassembled, leaving us with three pieces that could either be added into the museum’s collection or sold.

The next logical step was for him to start learning the basics of some of the larger pieces of equipment. John began by showing him how to run our Heidelberg Windmill and has since moved on to showing Carl what he has to do to keep this press in good working order.

The Mackenzie Printery and Newspaper Musuem img1

The printery also has in its collection an 1894 Whitlock press. This press, weighing in around eight tonnes, is too large for Mackenzie House and is instead a permanent feature at the Marshville Heritage site in Wainfleet, Ontario. Every year, this press is used at The Marshville Heritage Festival to print a festival calendar and until this year, Art has been searching for someone to teach how to run it. Buoyed by Carl’s natural aptitude, Art taught Carl everything he needed to know about running and maintaining the Whitlock; she’s got a few quirks, which is understandable given she’s 125 years old.

The Mackenzie Printery and Newspaper Musuem img1

At the same event, after it stopped delivering us our slugs, Carl received a crash course from John on the insides of a Ludlow Type Caster and together they formulated a plan to repair it, which Carl then executed.

While the experts tinker with the big stuff, it falls on the rest of our core work group to continue with sorting through the storage bunker and the many, many, many cabinets of type. Members Marvyn, Dennis, Francis and Tim have the most patience I have ever seen and make type sorting look easy.

With letterpress now considered more of an art or craft, rather than a pillar of society, it is fascinating to see all the modern-day interpretations of an industrial process so rooted in history. As Executive Secretary for the group, I am now looking to the future and how we can continue to sustain our organisation. With much of our surplus stock now sold, it is time to get creative and I couldn’t be more excited to see what we can collectively do.

If you would like more information on the museum, any of the aforementioned members, and how to join or support The Mackenzie Printery and Newspaper Museum, please take a look at our website: https://mackenzieprintery.org/

Or follow our antics on Instagram: @themackenzieprintgroup

Printing Power! Crossword Puzzle

 

Time to roll up those sleeves and dust off those printing terminology books! We’ve got a wonderful printing-themed crossword puzzle for all you ink-in-the-blood aficionados!

Our online crossword puzzle can be found here. Come show us what you’ve got!

Answers and results will be revealed on Friday, September 20th, 2019 so stay tuned.

A paper-and-pen lover? Download it here: Printing-Power-crossword-puzzle-Boxcar-Press

Boxcar Press’ On My Own Time exhibit

Boxcar Press is proud to display the talent and creativity of our team members via our annual mini On My Own Time exhibit. This is our ninth year participating in this wonderful opportunity. The show is in partnership with CNY Arts’ On My Own Time larger exhibit at the Everson Museum in Syracuse, New York. We hope you enjoy!

* This mark denotes an artist that was selected to have one of their pieces in the upcoming 46th annual On My Own Time exhibit at the Everson Museum of Art in Syracuse, New York. The group exhibit celebrates Central New York businesses and their creative team members. The show runs from October 12 – November 17th, 2019.

Come check out a little virtual tour of Boxcar Press team member's cool artwork for our On My Own Time pre-show!Round of applause out to all who participated in this year's pre-show!

Posted by Boxcar Press on Friday, June 7, 2019

Carrie Valenzuela

This photography work is definitely not my usual repertoire. It’s quick & immediate gratification to take a picture instead of all the process & detailed drawn-out steps that goes into printmaking or bookbinding that I’m normally used to.

I’m drawn to weird things: lots of textures, patterns, mechanical things, antiques, fossils, decay, etc. For the photos at this year’s On My Own Time show, the subject focus was obsolete machinery. The Press Lounge (our storage area here at Boxcar Press) was getting tidied up and I always love to see the old forgotten things in there. I like the shapes & the look… like 1980’s machinery with big knobs you turn with your whole hand or curvy cast iron parts with raised lettering that takes forever to fade away. These photos were like documenting fossils – blocky, colorful; the guts of the old machinery. Bins of old wires and piles of old telephones were such a contrast to modern, sleek, white plastic minimalism. I took pictures to remember how things used to look.

It’s so interesting to see what artwork everyone is doing. Everybody is busy working but there’s so many interesting people & their stories here. We have people who make incredible embroidered boxes, creepy figurines, intricate multimedia drawings, delicious macaroons, etc. Seeing what my co-workers & friends make is so fun! I love learning about their techniques, what interests others & knowing that we all want to put our hands & hearts to making something.

Paul Van Atta*

Much of my work combines studies and exercises done in various institutions and studios. The piece exhibited in On My Own Time showcases a collage of materials from when I screen-printed at The Ink Shop in Ithaca and from the tail-end of a master’s program in SUNY New Paltz for printmaking.

In researching On My Own Time from past years, I believe it does a great job in constructing a forum for those who wish to pursue a creative means and expand upon the skills they’ve already attained. I would say to tune yourself into the methodology of others and remain curious as to how one can manipulate the materials we often take for granted. It’s all quite limited and special to behold. 

Jen De Roberts

This body of work is comprised of acrylic pour paintings.

Madeline Bartley*

This piece originally started as a large experiment. I wanted to learn how to best draw on tar paper in regards to painting, printing or drawing. This material was a curbside find back in 2014. I have been slowly learning what works and what doesn’t work on this roofing paper. In my artistic practice, I am fond of watercolor and inks. However, this paper is designed to be waterproof and I was forced to try out dry mediums.

In March this year, I was gifted a set of pastel pencils and a new drawing supply shifted my progress on this project. The vibrant colors and lines are all brought out by the pastel pencils and truly brought this work into completion. The vibrance from the vegetation stands out from the black background. It was also very interesting to bring out a subtle middle layer and stark whites from the black paper. 

The inspiration behind the imagery is from a recent trip to Joshua Tree, CA. I really enjoy illustrating imaginary landscapes, yet I include memories of places that I travel. The high desert received a great amount of rain this year, resulting in striking spring flora in a place I understood to be dry and rather desolate. 

On My Own Time is an opportunity for me to showcase my larger works. Because this is a local show in town, I do not have to be concerned with shipping and handling. Removing that hassle, I can confidently select bigger drawings and prints. 

Additionally, I really enjoy the moment before the jurors select works for the OMOT exhibit when everyone at Boxcar shows their work in a mini-exhibition. Seeing other artwork and discussing artistic practices with coworkers is energizing as an artist. 

Rebecca Miller*

Portrait (far lefthand side of the photo) came from an idea while I was mending and doing seamstress work. All the extra thread tails heaped up on a pile looked like a mess of hair. The concept evolved from there. The piece is influenced by both contemporary textile artists working in embroidery and artists who break the fourth wall in some unusual or clever manner. 

The other two pieces were part of a larger illustration series called “The Body Oddity“. The illustration series focuses on bone “oddities” — be it normal genetics or human-made alterations. The two pieces in this mini-show are “Sixth Finger (Polydactyl)” and “Elongated Skulls (Lipombo)“. Resources for the hand-drawn illustrations included x-rays of the bone conditions and photography from the Mutter Museum in Philadelphia, Pennslyvania. Osteology has fascinated me for quite some time.

On My Own Time is a great avenue for artists from all media to get a chance to share what drives them creatively. From Boxcar co-workers to team members in different business sectors across our area, this show gives local central New York artists a great opportunity to display their work.

Every year contains wonderful new artwork!

Inquisitive Printers Want To Know: Even More

This week’s Inquisitive Printer focuses on a new chapter for a letterpress printer, the cool printing history of Basel, Switzerland and a creative idea for sketch-booking in the summer.

REBECCA: 

It’s wonderful to see our letterpress friends grow and be on the move. Earlier this month, a cool Chicago-based letterpress printer, A Favorite Design, did just that. After a successful Kickstarter campaign, Amber Favorite & her husband have been able to move into their own brick-and-mortar store in the Albany park area. Way to go and congratulations!

A. Favorite Design letterpress print shop Chicago

(photography courtesy of blockclubchicago.com / afavoritedesign.com )

JAKE:

A significant other’s trip to Europe became an occasion for me to do a little poking into the history of Basel, Switzerland. I couldn’t — and really, still can’t — put my finger on any one reason why Basel feels significant to me, as prominent as it has been in the back of mind. Perhaps it’s some subconscious awareness that many of my cultural heroes are alumni of the old university, like Friedrich Nietzsche, Carl Gustav Jung, and Herman Hesse.

In the Renaissance, it was home to father of pharmacology, the astrologer and alchemist Paracelsus; in the modern era, it was the site of chemist Albert Hoffman’s famous bicycle ride over the course of which he became aware of the effects of the lysergic acid diethylamide he’d just invented. What a cute set of Basel historical bookends marking either end of the modern era of hard science, between magical herblore on one side and psychedelic cybernetics on the other.

At the University of Basel’s Museum of Pharmacy is yet another intriguing and world-changing artifact: the printing press owed by Amerbach & Froben. 

(Source: wikipedia.org and the BEIC digital library)

Amerbach is noted as the first printer to make the switch to Roman typefaces! If that ain’t notable, I couldn’t tell you what is.

MADDIE:

It is summer time, Ya’ll. 

This is the time when I just want to be active and outside. Taking in as much sunlight and warm weather as possible before the next season arrives. I relish these moments, yet have the feeling that I am not focused on my studio work. This little bit of guilt follows me around, but WAIT!!! I have dissolved this worry by combining my two favorite things: drawing and playing outdoors. 

Wherever I go on adventures, I make sure to always have space in my bag for a small notebook and a set for drawing tools. Pens, fine tipped markers and a handmade notebook. 

The sketchbooks are simple to make and can be constructed in a pinch. Yay bookbinding skills!!! Any found and recycled materials such as copy paper, string or staples are used to bind together this booklet. And there you are, ready for summer action and capturing your favorite moments. 

Above are images I have included are from a 2015 sketchbook. These were made while spending the weekend in a remote cabin in central New York. Below are this year’s (2019) sketches of some recent adventures. 

I can captures new experiences and practice my artistic skills all in this small item. I have even asked my friends to contribute to some pages. These become great collection pieces over time. I can look back at these works and enjoy my artistic practice through the summer months.  

Have something that you find intriguing? Let us know in the comments below!

Let’s See That Printed: Jenna Philpott Prints A Golden Wedding Beginning

Letterpress printer and artist Jenna Philpott adds a magical golden touch to a Jewish couple’s wedding celebration and Ketubah.

My husband’s coworker knew that I had a letterpress printing press. I had worked with him and his wife on other smaller projects, such as a custom stationery set for a house-warming gift and the like. Their son is in Rabbinical School at Hebrew University in Cincinnati. When their son got engaged, he asked for a special Ketubah.

A Ketubah is essentially a wedding contract used within the Jewish Tradition as a central part of the wedding ceremony.  As I also paint and draw, so the family thought the letterpress plus unique artwork would be a great way to celebrate their son’s marriage. 

My favorite part was the collaborative nature of the work. I am not Jewish and could not read the language either. I relied heavily on their community and mine to figure out the bits and bobs. It was also difficult to find just the right font for the couple so I made my own.  The text makes the shading of the full pomegranate in the background.

I had 3 fluent speakers review the text multiple times to make sure I got it right! I drew 613 pomegranate seeds to symbolize the 613 commandments in the Jewish faith. I then had my 4 kids and even my hairdresser help me count the seeds while I got a few highlights in! HA! My letterpress mentor helped me with my paper selection (Wild 220# white by Neenah).

Rebecca at Boxcar Press was a patient gem throughout and helped me piece the work so that I could print it just right on my C&P. After printing each section, I hand dusted the piece with gold dust to add shimmer and interest without high shine.

Ultimately, I became friends with the whole family and was invited to a wonderful wedding weekend. It was a fun, complex project that made my heart and talents sing (and my feet dance at the reception!). 

Casting Off With Debra Barclay of Ancora Press

Debra Barclay of Ancora Press is a well-travelled printer who was inspired by the work of William Blake. She creates in her garage-turned-printshop and shares with us her lifelong printing mentors / friends she’s made along her print journey (as well as a favorite printing moment involving a Girl Scout Troop and a Vandercook).

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

WASHINGTON STATE PRINTER

My name is Debra Barclay, and I am a letterpress printer in Woodinville, WA. I live in Woodinville with my husband, 7-year-old daughter, 6-year-old son, 6-month-old Labradoodle, and two pretty lucky black cats, Uno and Tres. I’m a New Jersey transplant by way of Brooklyn, Virginia, Rhode Island, and Oregon. My favorite color at the moment is PMS 310 (light teal).

THE LURE OF LETTERPRESS

For my undergraduate degree, I attended Providence College in Rhode Island. My degree is in English Lit/Creative Writing and Printmaking. My senior year, I took a course on Romantic Literature and fell deeply in love with William Blake’s work. William Blake was a poet and printmaker who developed techniques to bring his poetry into a more visual realm. He combined text and image in a way that I had never seen up to that point. His poetry became visual as much as text-based, and he made it so the poem’s meaning was directly enhanced by the calligraphic lettering, colors he chose, and the overall design. In this way, he elevated the printing of information into a visual experience rather than just a transfer of data. At that point, I knew that I had to integrate my two passions: creative writing and printmaking.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

After I graduated, I started looking into bookmaking classes. I found a school that had a very small but well equipped Book Arts Program. This was when I found the Oregon College of Art and Craft. I immediately enrolled in a few classes, packed my bags, and moved to Portland.

I really didn’t know what I was getting into, as far as letterpress printing goes.  But there I was, learning to handset type and run a Vandercook under the tutelage of two women. Kathy Kuehn is a master printer at Pace Editions in NYC and Caryl Herfort,  a letterpress printer from Texas who was there as the Artist in Residence. Many may know of Caryl from Roto Press (Rest in Peace, Caryl). Both of these women inspired me to experiment and play with the medium.

A CREATIVE ADVENTURE

As I continued to set the type for a short story I had written, my mind exploded. It was so crazy to be able to touch thoughts and ideas – letterforms as material objects with a history and life of their own just struck me on a very philosophical level. I then locked up my form in the school’s Vandercook Universal, and ended up a bit deflated. This was off course from my Blake path, as Blake didn’t use handset type in his work, possibly for this reason. Yes, typesetting is intimate, but once it gets on press and you print it with great craftsmanship, it does not show any of the depth or meaning that it had taken on when I handled it.

It was much more sterile and generic than I had envisioned my piece to be, given how emotionally and physically closer I had become to the words. This created some friction between me, the machine, and process. I moved my printing over to a hand rolled proof press, where I was determined to get the “hand of the maker” involved. Then, I hand-inked each pull, and ran the pages through one by one, skewing the registration so they would all be unique.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

I actually still have a scar from this very first print run I did, as my thumb got caught in the cogs of the press as I was enthusiastically running pages through. The end result was a very artistic interpretation of letterpress! I created an art installation with the small edition of books I made with this experiment. I filled three walls of a gallery with the pages, and set up three of the spiral bound books on pedestals where viewers could flip-through the pages. The only requirement was that they wear white gloves, as is common practice when looking through fine press books.

However, the white gloves I provided were covered in black printers’ ink. So, the viewer/reader added and changed the book as they engaged with it – a visual representation of how we all change and alter language as we use it. It becomes a relationship where both parties – the ideas/text/ poetry and the reader/viewer – are changed through the interaction. We are all changed in sometimes undetectable ways by every interaction we have.

I then began to approach letterpress a bit differently, and started to think more about how words are laid out on the page, how the colors might interact with one another either through size, proximity, or overprint. I also started to notice the beautiful impression that letterpress machinery gives to the paper, making the text both a visual AND tactile experience for the viewer/reader.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

A LETTERPRESS CONNECTION

Through this experience, I reconciled and truly fell in love with the exacting nature of letterpress machinery. It was through these experiments that I concluded that when I create, I am collaborating WITH the machine. With this finely engineered letterpress machinery, the ability to disseminate information in a way that allows for the content to be given the entire spotlight would now be possible. We are true partners. With that, my deep connection with letterpress continued to grow and develop into where it is today. I utilize the impeccable precision of the machinery to allow me to elevate letterforms, words, ideas, and everyday life moments into experiences with tactile beauty and time-tested craftsmanship.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

HOME GROWN PRINTING

Ancora Letterpress is a custom letterpress print shop located about fifteen miles Northeast of downtown Seattle. We do custom designs working directly with clients as well as printing for graphic designers and other print shops who come to us with a pre-existing design of their own.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

My shop feels like home. Mostly because it’s attached to it – in my garage! I have two 10×15 Heidelberg Windmills and an 8×12 Chandler and Price. I also have a photopolymer platemaker and a small guillotine paper cutter. My favorite thing about my shop is that I get to create there! Truly, it’s a dream come true. I also really like the commute.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

WOODINVILLE WONDERS

Woodinville is a tourist destination, as we have over 100 tasting rooms, wineries, distilleries, and breweries within a stone’s throw from my shop. This can be dangerous, but it’s really quite convenient mostly. Chateau St Michelle is probably the largest winery in the area. They have concerts on the lawn in the summers and beautiful grounds to walk around and picnic on. In the summer, we can hear the music from our backyard, which is usually a good thing. We also have a really cool theatre production company in town called Teatro Zinzanni, which recently moved to Woodinville from Lower Queen Anne in Seattle. From their website: “Teatro ZinZanni…is a three-hour whirlwind of international cirque, comedy, and cabaret artists…”

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

I really love living here because it’s quiet and we have lots of space. Our house is nestled into trees at the end of a cul-de-sac, yet we are incredibly close to the city. Woodinville is described as “subrural” as it is somewhere between suburban and farmland. One of our neighbors has a horse grazing in her front lawn pretty regularly, and the one across from her has over a dozen chickens on his property. We have a growing Arts community thanks to the Woodinville Arts Alliance in town.

PRINTING MENTORS

Oh gosh! This is a hard question! So many people have helped me get to where I am today. Esther Smith and Dikko Faust of Purgatory Pie Press were my first inspirations, as they were my first apprenticeship out of school. Dikko’s skills as a printer always inspire me, and Esther’s vision and ability to draw inspiration in the everyday is joyous.

My former boss Scott Hill of Workhorse Press is a great mentor as I continue to build my business. He’s readily available to help me with any questions I have about presses, printing, or the business side of things. I’ll be forever grateful to him for taking me on as an employee and teaching me so much about the production side of letterpress. Scott is a printer by trade, with a very keen eye for how to bring a design to life on paper.

Jami Heinricher of Sherwood Press is my most recent mentor and inspiration. She taught me how to run a Heidelberg platen, and for that I am forever grateful. She helped me troubleshoot one of my presses’ weird quirky problems, and even helped me back out my stuck Windmill, after my press pulled 6 sheets of 236# Flurry Cotton paper! I admire her business model, and her tips and tricks have saved me hours of time. My friend George Feakes of Impressive Inkreations has been an incredible mentor, giving me both sage printing and business advice, insights on efficiency, and an amazing amount of support.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

All of my local letterpress trade guys are all absolutely my savior. After running letterpress for 40 years a piece, they collectively know everything, and there’s nothing they can’t make run correctly with just a little bit of tape and 18 point card stock. They’re also really down to earth and easy to talk to, and I love hanging out with them.

My husband, while not a printer, has been an amazing source of inspiration and strength. He single handedly moved my C&P and first Windmill up from Portland and got them situated on the garage floor. He also gave up a large portion of his workspace to allow me to have my studio. We are now looking into building him a lovely shed in the backyard for his woodworking tools for when I get a few more pieces of equipment this coming year.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

GROWING THE DREAM

My business works out to be part time at the moment. I bought some equipment in early 2018, and spent about 6 months getting myself up to speed on the equipment and its particular quirks and what-have-you. Technically I’ve only been available to the public for about 7 months. I do plan to continue to solicit work and build relationships with designers, as well as develop a personal line of designs that I can offer to clients. Full time is my goal. I want to generate enough consistent job and print work so that I can take on an employee. There’s only one thing better than being a letterpress printer, and that’s sharing the workload!

THE CREATIVE FLOW

My process always begins by sitting down with the client and getting to know them a bit. I love getting to talk to people about their vision and translating that into a printed piece. I spend a fair amount of time gathering as much information as possible from the client. If it’s a wedding invitation, for example, I ask the bride to describe the ceremony and the type of event they’re going for. Is it modern, traditional, minimal, outdoor, etc? This narrows things down a bit. I get their wedding colors and match them to a PMS color that we all agree on pretty early on. I show them samples of my previous design work and see if anything stands out to them, either by way of technique (blind emboss, overprinting, etc) or if the tone of anything resonates with them.

At that point, I will begin a preliminary design. I find that this is really when the fun begins. It’s important to have a jumping off point, even if the design itself isn’t the final vision. It’s much easier for people to point out what they don’t like and for me to come up with alternatives to that, rather than envisioning something out of thin air. This has really worked well for me so far. I really enjoy the collaborative process during this stage of design.

PRINTING FEATS

I was the Arts Director of the Virginia Center for the Book from 2001-2003. While I was there, I helped run workshops and host events that built community involvement in the letterpress shop. I also created panel talks and art installations for Charlottesville’s annual Festival of the Book, which is a week-long event covering all aspects of books, from publishing, illustrating, designing, and reading. I also taught a class in the Art Department at the University of Virginia.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

What I loved most about my time there was introducing the history and craft of letterpress to so many people in a variety of settings. One of my favorite moments was teaching an outreach program for a local Girl Scouts troop. I had the girls (who were all about 7 years old) run a pass through the Vandercook Universal. While I was in another room showing a group how to fold and slit the paper into a book, a girl came running out of the print shop in tears. Her mom asked her what was wrong, and she said through her sobs, “My print is over-inked!”

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

PRESS FAMILY

The very first presses I owned are my current ones – a 10×15 Heidelberg Windmill and an 8×12 Chandler and Price treadle that’s been converted with a motor. It’s funny that my first presses are both platens, since I learned to print on Cylinders. By the time I was ready to buy and had the space to have presses, Vandercooks were way out of my price range. Before this, I had always managed to access community print shops or presses belonging to friends.

BOXCAR’S ROLE

Boxcar has helped me in so many ways! Mainly, making resources readily available has been key. It’s a one-stop-shopping kind of place. They have given me the luxury of going slowly in building up my knowledge by offering a place to get it all done, and with such ease! The Boxcar Base has made life so much easier.

Before the Base, I was using magnesium plates.  I found them to be much softer and more unpredictable, requiring more make ready due to being mounted to wood (not consistently flat on the bottom, and easily prone to warping). Being able to have predictable quality in my tools has allowed me to focus on perfecting my skills as a craftsman. The ability to buy paper, envelopes, order plates, and pick up a random thing I might need here or there (can of ink, roller gauge) has been fantastic. I can’t say enough good things about the Boxcar Press website flow. It is extremely user friendly, is quick and easy to navigate, and borders on foolproof!

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

I also love the How-To tutorials, which have increased my knowledge of my presses. Also, I cannot say enough great things about the staff. I have had random moments of panic where I’d forgotten to upload a small file for platemaking, only to call out an S.O.S. to Rebecca Miller, who swiftly and promptly put out the fire and saved the day! Working with Boxcar Press is like having a staff of knowledgeable and kind pre-press geniuses just an email away!

SHOP TIPS

Get the crop marks! This is something I don’t always do myself, and pretty much every time a two or three color cropless job goes to press, I spend twice as much time trying to get position. Even with one color jobs, I like crop marks once it gets to bindery. They seem like a luxury, but really they save you a bunch of time. And time is money, as well as a whole lotta frustration!

Spend the money! I’ve been there…I have tried to get away with a short cut, or making do without a particular tool or gadget (the Swing Away Lay Gauge comes to mind here). In the end, I end up spending way too much time having to figure out a “cheap” way to do something. Again, I’ve spent money, and potentially compromise the quality of the end result of the printed piece.

Debra Barclay of Ancora Press (Washington state, USA) prints beautifully on a Heidelberg Windmill.

If you’re running a blind deboss on a stock that isn’t 100% cotton, or super plush, you can achieve a similar effect by adding a small amount of color that matches the paper stock with a ton of transparent white. Or, if you’re running a bright white sheet, opaque white right out of the can will do the trick.

I’ve also added a touch of yellow to gold ink in order to give it the punch it needs to stand out on an absorbent stock.

PRINTING ADVICE

Letterpress is a lot of troubleshooting and problem-solving. Isolate problems, ask for help from fellow printers that you know, or reach out online. One of the things I love about letterpress is how knowledgeable and helpful the community of printers is.
Also, a motto I like – Stay modest, do good work, enjoy life outside the shop.

WHAT’S COMING NEXT

For the upcoming year, I will continue to grow my clientele. I also plan to add equipment so that I can add foil and emboss to my skill set. Currently, I am creating a design line, more of my own greeting cards, and some stock offerings that can be semi customized, like monogrammed note card sets and Holiday cards. I also hope to learn to paddle board!

Let’s See That Printed: Dan Narva’s National Parks Letterpress Poster

Dan Narva of Nine Day Weekend teams up with Ted Ollier to have his minimalistic US National Parks poster come to life.

Mark Gibson of Syracuse, New York works on a platemaker at Boxcar Press.

Dan Narva:

I opened my Etsy shop, Nine Day Weekend, a few years ago. My initial focus was on custom illustrations of family photographs. Early projects were all laser cut into wood, as either hangable portraits or magnets. One thing led to another and soon my love of the outdoors inspired me to create illustrations of National Parks.

Dan Narva of Nine Day Weekend

I know it sounds trite, but I woke up early one morning with the random idea that I could draw the Grand Canyon simply by splitting the words in half and spreading them to the far corners of the frame. As I lay in the dark  brainstorming how I could rearrange the letters of my favorite parks into similar designs. I brought my sketchbook and laptop to bed and worked until well after noon, but I had laid the foundation for my new project.

I realized early on that I wanted all of the designs to share a uniform visual language, so it was important to keep the line weights equal, no matter how big or small the letters became. Then, I quickly shifted gears and the parks became the focus of my Etsy shop (conveniently, I had already named my shop Nine Day Weekend, after the length of vacation that you create by taking Monday through Friday off work – I think this name lines up well with my new celebration of America’s natural lands and the joys of visiting them).

Over the course of the following days and weeks (and months), I kept working on the remaining parks, trying to turn each name into a distinct feature of the landscape or wildlife of each park. I allowed myself to rotate, flip, stretch, chop, and generally manipulate each letter, but my one rule was that every letter needed to be recognizably present.

Some of the images came to me very easily (like Arches, Hawaii Volcanoes, and Redwood), and I think their simplicity helps to balance out the more complicated illustrations (like Gates of the Arctic, Guadalupe Mountains, and Petrified Forest), where the letters are truly jumbled and it’s more difficult to “read” the name of the park. It’s fun to present my work at craft fairs and watch customers hover at my table while they try to “solve” all of these puzzles.

Dan Narva of Nine Day Weekend

I first sold these parks as individual laser cut coaster and magnets, so people could create their own combinations of parks to resemble their favorite adventures. But I always imagined the full roster being presented together, so when I finally finished the 59th park (it took over a week to rearrange Theodore Roosevelt into a representation of his North Dakota log cabin and a bison), I needed to find the right medium for the poster.

Dan Narva of Nine Day Weekend

I had met some letterpress printers on the craft fair circuit, and it seemed like my crisp lines would be a good fit for letterpress. One of them was kind enough to point me to Ted Ollier, who advised me on how to translate my digital artwork into letterpress. He also recommended I contact Boxcar Press for the plate. Having many questions, I was very happy with the patience displayed by Boxcar as I was educated on the process of platemaking. Both times that I have ordered plates (I recently created a second edition that includes the 2 new entries to the National Park roster) I was in a self-imposed rush. Why does it seem like all art projects end at the last minute?

Dan Narva of Nine Day Weekend

The quick turnaround by Boxcar allowed me to get my posters printed as soon as possible. And even when their quality control found errors on my end (like using RGB instead of CMYK), I was able to correct the problem immediately without delaying production. I’ll let Ted speak to the printing qualities of these photopolymer plates, but I certainly have no complaints. As a letterpress newbie, Boxcar has been a pleasure to work with.

In addition to the plate I ordered for my new 18″ x 24″ print of all 61 National Parks, I also created a smaller plate that features the 5 National Parks of Utah (with the designs themselves arranged into the shape of Utah).

Dan Narva of Nine Day Weekend

I’m excited to see how outdoor enthusiasts respond to this print. These parks are all very well regarded and highly visited – I’ll actually be visiting them with my family later this month to coincide with National Park Week. I’m incredibly proud of these posters – I love running my fingers along the deboss and I love seeing all of my illustrations lined up in a perfect grid. I looked up the specific Pantone shades of green and brown used by the National Park Service, in order to get as close as possible to the real thing. My hope is that these prints inspire folks to visit, treasure, and protect these amazing lands.

Ted Ollier:

So Dan found me when I was still in a now-defunct letterpress co-op. I ran the original posters on the SP-20 there, but for this run I needed to borrow the SP-20 at the letterpress at Harvard where I teach, the Bow & Arrow Press. I started Reflex Letterpress about this time last year to salvage something out of the demise of the co-op.

The smaller pieces I ran at Reflex on the Vandercook No 4. The presses were feeling good that day, there were no oddities in either run.

Dan Narva of Nine Day Weekend

The smaller pieces I ran at Reflex on the Vandercook No 4. The presses were feeling good that day, there were no oddities in either run.

Want to snag a print of this beautiful poster? Shop here!


Inquisitive Printers: Another Round Of Things That Caught Our Eye

Our focus has been drawn lately to a Goudy typeface, re-invigorating studio visits, and being up-close with dinosaurs. We hope you delight in what has captured our attention in this installment of the Inquisitive Printers!

From Cathy:  

Recently I was running amok on a good search about typefaces. Naturally, Frederic Goudy had his share of references to explore.  One, in particular, caught my eye because it was a video that was linking our Syracuse University here with Goudy.  As Syracuse based printers, we have some hometown pride and to have a tie-in to this very prolific font designer was a neat surprise.  Enjoy this video called Goudy & Syracuse: The Tale of A Typeface found.

From Maddie:

Hello Print Friends! I would like to share with ya’ll my favorite aspect to my artistic practice. Do you have find yourself in your workspace not knowing what to do with your projects? You do? Okay. Great! I suggest you have a studio visit.

This has been extremely valuable to growing as an artist and developing my work since leaving my fine art studies back in 2016. Similarly, I like to receive feedback and miss having a community to work within now that I am done with school.

Have a friend stop by your space. Show them what you are currently working on. Share your artistic process with them. Invite them over while you are working on a print run—more hands make less work. Let your visitor ask questions and get to know what you do as a maker.

Don’t forget the SNACKS! I have some things to eat or drink and enjoy simply hanging out. For instance, I like to invite people over during lunchtime for a 45-minute visit and I also encourage my guest to hang out & draw with me. Sketching and sharing ideas is great!

Think about what you want to get out of a studio visit. Or alternatively, this doesn’t need to have an objective. See where the conversation leads. Discuss everything and nothing. This dialogue may influence your work in return.

Afterward, reflect on what was talked about. do you see your work with a new perspective? I typically feel energized after a studio visit. The feedback allows me to return to working on my projects with fresh ideas. I am delighted that I get to share what I love to do and really appreciate how receptive my visitors are to my work and creative space. I see this as vital to my artistic practice and will continue doing this. FOREVER. Hope you give it a whirl.

Maddie-studio-visit-artist-studio

My dear friends, Shelby and Brian are looking through a box of my small drawings (July 2018).

Here is a great link that offers very honest and helpful suggestions about studio visits and making the most out of them!

From Rebecca:   

Want to get up-close to dinosaur bones without leaving your computer chair? Photographer Christian Voigt does just that as he captured the delicate beauty of the London Natural History Museum’s dinosaur skeleton collection. Come take a look! 

(c) Christian Voigt Tyrannosaurus

(photography credit: Christian Voigt and WIRED.com)

We hope you explore some of our links and perhaps learn a little bit more about what intrigues us here at Boxcar Press.  Email us at info@boxcarpress.com the things that delight you also!