Did You Know That … 100% CMYK Black Is a Breeze?

Posted on January 3, 2012 by Rebecca Miller

One of the more common questions we receive here in the Platemaking Department at Boxcar Press is: how do you check to see if your file is set up properly for color separations? Or in 100% CMYK Black (100%K where CMY are at 0%)?

One of the easiest ways is utilizing the Separations Preview palette that Adobe InDesign and Illustrator programs offer. To view the palette, simply select the following:

-In Illustrator (CS4 or above) WINDOW>SEPARATIONS PREVIEW
-In Indesign (all versions of CS) WINDOW>OUTPUT>SEPARATIONS PREVIEW

If you are using a version of CS3 or earlier, you will need to save your files, then place them into InDesign to check your color separations. In Adobe Illustrator CS3 or earlier, the separations preview window feature is not available.

Let’s examine how a file separates out using Adobe Illustrator.

If you are in CMYK mode, then you should see in the Separations Preview palette CMYK, Cyan, Magenta, Yellow, and Black. If you do not see all these colors, you are most likely in RGB or a different color mode and need to switch to CMYK mode. You can easily do this by clicking on FILE>DOCUMENT COLOR MODE>CMYK. Once you are in CMYK mode, click the box next to “Overprint Preview”, which will allow you to see what objects in your file do or do not have a certain color applied to it.

Let’s start with this nifty type sample in Helvetica Neue Ultra Light of “Letterpress Is Awesome”. We can see that it looks like all of the text is in black. Let’s take a look using the Separations Preview to see what colors we truly have here.

If we click the eye graphic next to “black”, all objects containing ONLY black will disappear, as we’ve turned off that particular color channel. What we have left is the word AWESOME but it’s now a funny shade of black. This indicates it is not in 100% black, but rather is made up of parts of cyan, yellow and magenta in addition to black. We don’t want this as it will cause errors in your film output. Easy fix, though. But first we need to access another window in our toolbox. If it isn’t already open, you will need your Color Window.
(WINDOW>COLOR)

Select the remaining text by clicking on it. In your Color window you will clearly see it is made up of parts of CMYK.

Move your cursor to the bottom far right of the color window to where there is a white rectangle over a black rectangle. When you are over the black color, the cursor should change to an ink dropper. Select the black and it will change your text to 100% black. See, the sliders moved to 0 for CMY. This text should disappear. Don’t worry! It’s good. Go back to your Separations Preview and click on the eye next to black. Everything reappears. Click off the eye and all items in 100% black only will disappear. That should be your test before submitting your files. If anything is remaining, it needs to be corrected.

If you are printing in another color and need a second plate for that color, your file should be set up to have those objects assigned to a spot or Pantone swatch color for multiple color printing. Stay tuned for our next blog post where we demystify multiple color files!

A Holiday Gift: December Vector Set!

Posted on December 15, 2011 by Rebecca Miller

The holidays are here, letterpress friends! Enjoy this festive & free vector set including glittering trees and shining snowflake ornaments to bring cheer to your holiday designs! Both are free for use and in both EPS and PDF format. Cheers!

Boxcar Talk With Kent Aldrich

Posted on November 22, 2011 by Rebecca Miller

Kent Aldrich is everywhere: from falling in love with World War II posters, cutting his teeth on metal type, and standing quite still as the elusive (and brilliant, we might add) man behind Nomadic Press. He refuses to be defined by printing parameters, rather, he deftly commands them in his letterpress work. Read on to find out more on the musings of this passionate printer.

THE NOMADIC PRINTER I was born in 1964 and I am still living today. I was fascinated with type forms as a young child and designed a couple of fonts (leaning heavily toward an art deco style) when I was in second grade. I have lived most of my life in the Twin Cities of Minneapolis and St. Paul. I have been married for 22 years to the same woman, Emily, with whom I have 2 children. I ride a scooter with 46 rearview mirrors on it, I shoot a decent game of pool, and I like a beer with a strong hop flavor.

TEXT, FUN & ROCK ‘N ROLL When I was fourteen years old, I had fallen in love with poster art: Rock posters, French night club advertisements, WW2 recruiting posters. Anything intended to be tacked upon a telephone pole or hung up on a wall. So, I stole a composition stick (and the first line of a dead form) from a local jobbing shop and rode a hound down the Mississippi river to Winona. Once there, caught in the yellowing teeth of a full moon midnight, I sought out a lonely gravel crossroads where I met with the Devil and sold my soul for to print.

From there it was a series of graphic arts classes in high school,wooden renaissance festival presses, and a 3 year run-in with Coffee House Press and (the then just established) Minnesota Center for Book Arts. All of which conspired to push me into starting my own print shop, The Nomadic Press.

MAJESTIC MINNESOTA The building housing The Nomadic Press was built in 1914. The brick, from which it was built, was fired in a kiln a mile and a half away on a bluff overlooking the Mississippi River. It was originally a Mom & Pop grocery store and sat at the end of a street car line. The owners lived above the store, as did my wife and I for the first 7 years of our owning the place. With maple floors and woodwork and big, west facing windows, the interior of The Nomadic Press has been laid out following suggestions published in Mechanick Exercises on the Whole Art of Printing (1684) and has been outfitted in the style of a jobbing shop from the 1930s.

Nomadic’s press stable includes: two hand fed Chandler and Price old style platen presses (10 by 15 and 8 by 12), an automatic feed Kluge (12 by 18), a Vandercook Universal I (with a power carriage, adjustable bed and take-up tapes), the Pearl (more on that press later), and a spattering of table-top hobby presses.

PRINTING LEGACIES Al Schwerdt showed me how to print clean work using inking balls and a solid oak lever press and taught me the satisfying importance of the ethical and respectful treatment of both clients and vendors.

Allan Kornblum, who founded Coffee House Press, and spent years patiently teaching me the craft of letter-spacing and the fine art of keeping my hands out of the hungry jaws of a roaring platen press.

Will Powers, who made it plain that a printin’ man is a man well satisfied.

And Joseph Moxon, who said it best when he said; “As he set this stick of letter, so he sets on till his page is out”.

THE DAILY GRIND When I was first learning to print I slept on the floor of the print shop with my head on the feet of the press. Every morning I drink a hot cup of Van Son rubber base ink. Black. I have a ream of 80 pound text for lunch and bowl of 24 point em quads for dinner. My children were conceived in a room directly above my C&P 10 x 15. Too much information? Probably. But, heck yes, I print full time! For the last 26 years I’ve printed full time, and I plan on dying with my stick in my hand (that’s composition stick).

DESIGNED FOR PRINT Letterpress printing is, by its nature, a process who’s accessibility and immediacy demands a skillful confluence of art and craft. It is not enough to know how the press is best run, nor is it at all well enough to fix a pretty picture in one’s mind. Rather, a holistic knowledge of afore and after is called for.

ALL THAT’S FIT TO PRINT When I am designing my own work, and am using movable metal type, I like to set an element and print it. Then I set the next element and print that. And so on ’till the work is finished. It is a process that often finds me printed into a corner. And it is always a thrill to find the word, or type face, or ornament or color which, when laid down with the rest, finally pulls it all together and lets me walk out clean. When designing for clients, it all must be planned out beforehand though. Then I set great store in knowing what kinds of printed pieces they do /not/ like. Here be monsters.

PRINTER’S PARADISE The Nomadic Press is run out of a brick building which was built in 1914. Last year, Emily and I paid off the mortgage, and we now own the building outright. I have done printing for Nelson Mandela and Vaclav Havel, and I have produced work for the King of Norway and the Palace at Versailles.

BOXCAR’S ROLE Having begun my letterpress printing career more than a quarter of a century ago, and having cut my teeth on metal type, I have worked with all manner of plates and blocks: Linoleum and end grain maple, electro-plate and zinc, copper, lead and magnesium. All have graced chase and bed here at The Nomadic Press. And they have all served adequately well.

But the photopolymer printing plates that Boxcar has developed, and now sells, are a printer’s dream come true. They are quick and clean and precise and they provide a seamless interface between my state-of-the-art presses (circa 1890s) and the cutting edge graphic design technology of today. And they impart, into soft papers and onto hard, a crisp impression that does a printer proud. It is hard to imagine the occurrence of the 21st century letterpress revival without Boxcar steaming into the station and hauling most of the freight.

PRESS HISTORY You always remember your first press. As is so often the case, I simply mentioned that I was looking for a press to someone who had talked to a person who knew of a clamshell platen that somebody had somewhere. So, for fifty bucks, I bought a 7 x 11 inch Pearl press, a Paragon guillotine cutter and a cabinet of type. And I had to get them out of a basement by the end of the week. I still print with her (and oh, the sweetness of her kiss!).

SHOP TIPS Know in which direction the grain of your paper runs, and be very kind to your register pins.

WHAT’S NEXT Big picture; I am working to build another 21% growth in gross over the previous year. Small picture; I hope to be able to print something using Pantone Mixing System number 332 (uncoated).

Huge thanks to Kent for letting us get a sneak peek at the fabulous Nomadic Press!

Photographs provided by Kelsey Johnson and Andrew Hine

Learn to Love Color Separations – A Boxcar Press Checklist

Posted on November 17, 2011 by Rebecca Miller

To guarantee a happy, press-ready Boxcar plate, follow our Top 10 checklist before finalizing and clicking UPLOAD to your job ticket. These handy steps will go a long way towards a smooth, quick platemaking turnaround. If you are having files created for you – pass these on to your graphic designer so they too can follow this Boxcar Checklist.

1 ) Are the file dimensions 17″ x 22″ or smaller? Is the file size less than 26 MB? (Our maximum plate size that we can proof at this time is 17″ x 22″ – if you need larger, please call.)

2 ) If my plate type is the KF95, Jet 94FL or 94SB, are my lines 0.25 pt or thicker? Are my dots 1 to 1.25pt thick? Dots (in a dotted line or by themselves) need a greater minimum thickness so they can hold on the plate by themselves.

3 ) If my plate type is KF152, 152SB, 145HSB, or 148SHSB, are my lines 0.35 pt or thicker? Are my dots 1.25pt thick?

4 ) If I created the art in Illustrator or InDesign, is the artwork in 100% CMYK Black (as in 0% Cyan, 0% Magenta, 0% Yellow, and 100% Black)?

5 ) If I’m doing color separations, are they assigned to a spot color or a Pantone Swatch Color?

6 ) Is my text outlined into vector shapes if I’m using InDesign or Illustrator for the text? (You can convert them to shapes by selecting the text and going to Type>Create Outlines in either Illustrator or InDesign.)

7 ) Have I indicated what linescreen (LPI) I’d like in the comments section of my ticket if my image is in greyscale or halftone and I want to keep the tonal qualities of the image? (We like 100 lpi for all plate types)

8 ) Is my image converted into bitmap mode of tif if I’m using only Photoshop (and not choosing a linescreen) ?

How to easily create an image in bitmap mode of tif:

• Opening your image in Photoshop and selecting Image > Mode > Grayscale*.

• Select Yes if a window asks about discarding color.

• Then Select Image > Mode > Bitmap. A window will pop up looking for info – use a resolution of 600-1200 dpi and an output method of 50% threshold.

• Save your file as a tif (with LZW Compression) and either send us the tif or place your tif into illustrator or indesign.

*Images in higher resolution (600-1200 dpi) will give better, finer results than images in lower resolutions (72-300 dpi). If your images lose a lot of detail, you can either re-scan or adjust your levels of black (Image> Adjustments> Levels or Brightness Contrast). For info on this, please call 315-579-3366 for instructions.

9 ) If I have added crop marks to my file, do they meet the minimum line thicknesses? Are they in registration black if I have more than one color?

10 ) We don’t need a faxed hard copy of the file, simply a PDF and the original file. Are these both uploaded? (e.g, an .EPS and PDF of the same file.)

Stay tuned for more in-depth blogging on file prep when we amaze you with “Did You Know That…”!

Boxcar Talk With Kseniya Thomas

Posted on November 9, 2011 by Rebecca Miller

Six years working at a cozy letterpress shop– especially one that’s basking in sunny Pennsylvania — is going to create some nifty pieces and fine design. Or at least it will inspire an entire weekend devoted to the art of the letterpress, ala The Ladies of Letterpress conference. After working in Mainz, Germany for a half-year of traditional typesetting and printing before opening up shop (Thoma-Printers), Kseniya Thomas’s love of letterpress is founded on skill, encouragement, and a big scoop of care. Here, Kseniya weighs in on the letterpress community, printing adventures, and her love of miniatures.

LIVE, WORK & DIRECT I’m Kseniya Thomas, and I’m a recovering English major from Salt Lake City. I currently live and work in Pennsylvania, where I’ve been happy to call myself a letterpress printer since 2005. I own Thomas-Printers, a commercial letterpress shop, and, with Jessica White of Heroes and Criminals Press, am the co-director of Ladies of Letterpress. I’m crazy for the Tour de France, old houses, running, newspapers, and anything in miniature.

INSPIRED BY GUTENBERG After graduating from college, I had a fellowship to study and work in Germany for a year. A friend and I happened to go to Mainz one weekend (I loved movable type, but didn’t yet fully understand the implications!), where the Gutenberg Museum has a working letterpress print shop. I wrote and asked if they accepted interns, and they did, so I moved to Mainz. I worked there for six months, and learned how to set type and print from guys who had spent their whole careers in print shops as pressmen, stonemen, or compositors before offset printing edged them out.

It was great: the shop has hundreds of lead typefaces, and I could print whatever I wanted. I also once printed a birth announcement for a princess, which was neat. I had no idea at the time that I had found my calling in life; even after I returned to the U.S., and realized that letterpress was happening here, I still only knew the basics of the history of printing and the craft of letterpress. And I knew nothing about running a small business!

A SUNNY SHOP My shop is located in the corner of an old shoe factory, with a room for shipping, receiving, and communications (ie, email), and a pressroom with a loading dock. The best thing about it is the tall, south-facing windows; in the summer, the only light I need is my color-correct lamp. I don’t think I’ll ever have another shop so sunny. It’s not decorated per se, except in a paper-stack, envelope-inventory, sample-shelf sort of way. It’s more workshop than showroom, so I don’t worry about hanging too much on the walls.

CARE FOR YOUR BUSINESS My best business advice is to learn to love your customers like family. They need care and attention just like family, and are the single thing, even more than hard work, that will keep you in business. Also, if you’re just starting out, don’t get caught up in playing catch-up with more established printers; there is no right way or one way to get where you want in this business, so your way is as likely to succeed as anyone else’s.

DESIGNED FOR PRINT I’m a printer who can design in a pinch, but I work with several great designers who can handle it when things get complicated. It’s nice being able to have designers who are familiar enough with the letterpress process that the finished product is going to print up great.

THE DAILY GRIND I do print full time. And when I’m not printing, I’m doing the 1000 other things a small business owner must do. Chief among them: worry, answer emails, write estimates, talk with clients, and a host of other pre-press, post-press, finishing, and ordering duties. Every day is different and yet comfortably similar, and now that I’ve been doing it full time for six years or so, I wouldn’t have it any other way.

ADVANCING A COMMUNITY I’m proud that Thomas-Printers is surviving the economy and doing well. Most recently, I’m proud of Jessica and I for organizing the best conference I’ve ever attended. The Ladies of Letterpress conference was such a happy, fun letterpress-fest, and it was thrilling to see so many ardent letterpress supporters and printers in one place.

It was also encouraging to see that letterpress is still going strong, new people are starting to print every day, and people are loving what we make more than ever. I cannot wait for a repeat next year!

BOXCAR’S ROLE It’s not an exaggeration to say that, without Boxcar, neither Thomas-Printers nor Ladies of Letterpress would exist. I got my start setting type, but setting type for every client isn’t a good business model for me. So the Boxcar Base is as important and valuable a tool as the press itself. Aside from the base and plates, Boxcar is the friendliest, fastest, nicest supplier I work with; the positive attitude and enthusiasm of the owners and staff has in turn contributed to the good-feeling and camaraderie in the letterpress community.

PRESS HISTORY My first press was a 12×18 Chandler & Price that I bought from Bill Welliver through the Letpres listserv. I used it for everything, large and small, for almost three years, until I bought a 10×15 C&P that allegedly only had had one owner and then sat in storage for 30 years. I also have a treadle-powered 8×12, which is handy when the power goes out. C&Ps are great presses, simple to use and relatively readily available, and are capable of a lot of fine work.

WHAT’S NEXT Ladies of Letterpress will be at the 2012 National Stationery Show for a third year with a new, super, wonderful, talented group of printers. And the second-annual LOLP conference is happening again-stay tuned for more details.

We’d like to give bigs thanks to Kseniya for taking the time to give us the scoop on Thomas Printers!

Boxcar Talk With Jackie Robinson

Posted on November 1, 2011 by Rebecca Miller

Jackie Robinson is wonderful letterpress gal creating beautiful designs with 42 Pressed. Armed with typographical know-how and an acute attention to detail, Robinson’s work has been hit after hit with her letterpress customers. Read on to get the full scoop on this extraordinary lady of letterpress!

Can you tell us a little about yourself?
My name is Jackie Robinson and I am the owner/creative director of 42 Pressed. I live in St. Augustine, Florida with my husband, two dogs and brand new baby girl, Riley Magnolia Robinson. We also spend a lot of our time at our other house in Charleston, South Carolina, where my family lives and hope to get back to one day!

How did you first get involved in letterpress?
I went to grad school at a small portfolio school called the Creative Circus. I studied graphic design there and had a professor, Berwyn Hung, who was a big letterpress printer. It wasn’t until after I graduated that I really got into it, and he taught me everything that I know. After I started messing around with designing stationery and doing a few wedding suites for friends and for my own wedding, it just kind of clicked that this was what I wanted to do.

Tell us a little about your design process.
I really like to think out of the box and be different. My design style is heavily based on typography (I love type) so you will see a lot of that throughout my lines. When I am designing for a wedding, I really try and hit all different styles and imagine myself a bride again who wears Jcrew, one who is a hippie, one who is classic and chic, etc. and I pretty much establish a style that seems to fit every bride in their own right. My line appeals to pretty much everyone who likes to be a bit different and stray from the ordinary. I love using different materials and textures; I love to pair rough with delicate. I really just like to play with the unexpected.

When did you start printing?
42 Pressed has been operating since November of 2009.

What are some accomplishments you are proud of?
I am proud and fortunate to have gotten lots of great press: we’ve been featured on Martha Stewart, countless amazing blogs, and recently landed on the cover of Stationery Trends. We also attended our first National Stationery Show in May of 2010 and landed in 30 stores nationwide as a result.

How has Boxcar Press helped you with your business and printing?
Honestly, so so much! I was using Magnesium that was mounted on wood for my plates for a long time. I had issues with warping, with the magnesium pulling off the wood etc. Yes, it’s true that the mag mounted on wood is what real letterpress is all about, but the photopolymer plates have given me so much less of a headache. I know what to expect from them every time, and it’s a great product that I can rely on to get the job done well without the added stress that letterpress sometimes brings. If you are a letterpress printer, you know so many things can go wrong, so it is nice to eliminate a problem all together, and Boxcar plates help me do that.

What was your very first press? Was it love at first sight?
My first press was a Vandercook 15-21 and is still my only press. It has an adjustable bed which I love, it would be hard to bring on another press since I am just so in love with the one I have currently.

Describe your print shop. Any cool or nifty things about it?
It is fun, lots of color, lots of sunshine pouring in, dogs lounging around, music is always blasting. It’s definitely an inspiring space to be in.

Any neat tricks or advice you can share?
Never let a letterpress defeat you or frustrate you, always try and solve the puzzle and win.

What plans do you have for 2012 that you’d like to share?
Well, we just had our first baby!! So things have been insane around here, but I am starting to get back into gear again and think about the 2012 stationery show that we plan on attending. There will be a lot more ready made things, and I am also planning on designing and releasing new products once a month (ready made items) to keep us fresh and new with limited quantities. Stuff will go fast and remain relevant and in the now!

Many thanks to Jackie for letting us take a sneak peek into her shop and hard work! Check out out her cool designs at 42 Pressed!

Boxcar Talk With Shayna Norwood

Posted on September 19, 2011 by Rebecca Miller

It’s been a long cross-country ride through the remarkable realms of painting, book-making, and letterpress printing for Shayna Norwood, the daring woman behind Steel Petal Press. We were able to catch up with her in between runs to get the deep dish on printing in Chicago, Illinois.

Can you tell us a little about yourself?
My name is Shayna and I currently live in the Logan Square neighborhood of Chicago by way of San Francisco, New Orleans, Los Angeles, St Louis, and Washington, DC. I print handmade letterpress greeting cards, custom wedding invitations, and make hand-bound journals. I’ve always known I wanted to be an artist. Right out of high school, I went straight into art school to study painting. Since then I have explored many different mediums before finally landing in book arts and letterpress printing.

How did you first get involved in letterpress and who are your printing mentors?
While finishing up my BFA at San Francisco Art Institute I took a year long Book Arts class that first exposed me to the art of letterpress. Following graduation, I was accepted to a six month residency at Women’s Studio Workshop where I continued to focus on Artist Books, letterpress printing, silk screening, book binding and paper making.

As I moved around the country, I continued to volunteer and take classes at Pyramid Atlantic in Washington, DC and at the San Francisco Center for the Book. In 2008 I moved to Chicago to work towards my MFA in Book and Paper Art at Columbia College Chicago. Although I left the program early, I was able to use the knowledge I had learned throughout the years before to move forward in starting my own business.

Are you a designer and printer, or printer only?
Mostly artist, full time printer, and self taught designer.

If you design, tell us a little about your creative process.

For my creative process: First, I have to think up a new idea. This can come at any time and is usually out of the blue: riding the train, while jogging, on a Sunday morning reading the paper, running errands, riding my bike, etc. Then I need to transform the idea into an image or object. This takes some time tinkering with the materials and the images to see what looks best. Then there’s production mode, in which I just crank out a bunch of work. The last part is much less creative.

When I work with clients on custom jobs, I listen to them and their ideas, collect image samples and inspiration and move forward from there.

What is the story behind your very first press?
I just bought my very first press this past year! Her name is Penelope and she is a C&P model-n. I am still in the process of getting her up and running, so in the meantime I rent press time on the Vandercook presses at Evanston Print and Paper. Also Kimberly at Daily Sips Studio generously lets me use her Vandercook SP-15.

Tell us about your print shop or where you print! Any cool things about it or its location?
My print shop is in a shared studio space that takes up the floor of an unfinished warehouse in West Town, Chicago. I moved in before I had committed full time to printing. It’s good for the time being, but not somewhere I picture myself long term.

Do you print full time? For how long?
YES! I have been printing full time since January 2011, so it’s all relatively new for me.

What are some accomplishments you are proud of?
Setting goals, working hard to make them happen, and ultimately starting my own business.

How has Boxcar Press helped you with your business and printing?
I do not have access to lots of type, nor do I have a polymer platemaker, so Boxcar really helps me turn my digital designs into polymer plates for printing. I’ve also ordered inks and other supplies from Boxcar in the past.

What’s your favorite piece of business advice you’ve uncovered so far as a letterpress printer?
Network! There’s a really great community of letterpress printers in Chicago and it seems everyone is somehow connected or knows each other. I have been saved from impending deadlines (on more than one occasion) by generous letterpress printers willing to help me out of a bind.

Big thanks to Shayna for letting us get such a cool, closeup look on Steel Petal Press!

Boxcar Talk With Jazyrain

Posted on August 19, 2011 by Rebecca Miller

Ever the adventurer, Kevin Cox takes letterpress to the edge with his beautifully crafted work for Jazyrain Letterpress. An entrepreneur and pioneer in every sense, Kevin works in his letterpress print shop against the breathtaking backdrop of Portland, Oregon. We’ve been able to wrangle him away from his presses to get a few words.

Can you tell us a little about yourself?

I’m 39 years old. Mostly a self-taught graphic designer and a completely self-taught letterpress printer. I’m a recently divorced father of two wonderful daughters and very nearly lost my life due to a heart condition during the summer of 2010. Life has dealt me some hard blows recently but I’ve gained a new perspective and I do my best to live by a new mantra “Rule 32: enjoy the little things” (lifted from Zombieland). Running Jazyrain gives me two things; a sense of pride in myself and my work that I’ve never felt before and the freedom to make time for my two girls.

How did you first get involved in letterpress?

I started this business with the intent to design and hand off my files to a local letterpress printer. I couldn’t find a printer that was very willing to work with me so I set out to build my own letterpress print shop. I didn’t take long for me to realize that I enjoy printing more than designing, so I’ve transitioned my business to cater more towards independent designers and creative studios. I do occasionally work directly with brides to design and print their wedding invitations, but it’s no longer my bread and butter.

Are you a designer / printer or printer only?

I occasionally design but I prefer to print the work of other designers.

If you design, tell us a little about your process.

I create my designs by taking Illustrator artwork or Photoshop bitmaps and placing them into InDesign for the typography work. I communicate and provide digital proofs for my clients by email, who are almost always outside my local area.

Do you print full time? If yes, for how long? If no, is that your goal?

I do operate my shop fulltime. I have an 800 sq. ft. Light-Manufacturing zoned space that works perfectly for my needs.

What are some accomplishments you are proud of?

I’ve recently printed and diecut some hang-tags for a Simpatico bubble bath that I’ve seen selling at a local Anthropologie store. It was a very proud moment to see the work that I created attached to these high-end bubble bath bottles.

How has Boxcar Press helped you with your business and printing?

I’ve tried local plate makers in the past, but your quality and quick and reliable turnaround makes you my only vendor for printing plates.

What plans do you have for 2012 that you’d like to share?

My plan is to grow my business just enough to meet the needs of my personal life without taking me off the press. I have no desire to take on a managerial role while someone else gets the joy of printing.

What was your very first press?

My first press was a Chandler & Price 8×12 Old Style

Describe your print shop.

My print shop contains a 12×18 C&P Old Style, Miehle Vertical V-36. C&P 19″ paper cutter as well as a 32″ paper cutter (not sure of its maker, just says GEM). I also have a Challenge paper drill and Lassco corner rounder.

Any neat tricks or advice you can share?

Understanding how a business runs is just as important as understanding how the press runs if you want to build a viable and profitable business. I’ve learned that the hard way.

Thanks Kevin for letting us take a glimpse into the wonderful world of Jazyrain! Keep those rollers inked!

{Photos provided by Kevin}

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