Fellow letterpress lovers – please enjoy these images at your next Zoom meeting . Download the file and upload to your ZOOM settings in your account. [Hint: Right-click on a photo and save the file to your local desktop.]
We’ll be revealing one each day so come back + check in often!
Need help applying these cool ZOOM backgrounds to your next meeting?Easy-to-follow instructions are at this link. The artwork is intentionally flipped. This will show right-reading text when you are using your camera in your ZOOM meeting.
This will be perfect at these upcoming events: -Ladies of Letterpress Virtual Conference – September 25-27, 2020 -Awayzgoose at Hamilton Wood Type – November 5-8, 2020
Monday, September 14th, 2020 Free Download: Heidelberg Windmill
Tuesday, September 15th, 2020Free Download: Manicules
Wednesday, September 16th, 2020 Free Download:Vandercook
Thursday, September 17th, 2020 Free Download:Wooden Ornaments
Friday, September 18th, 2020 Free Download:Vandercook Bed Height Gauge
It’s hard to put into words how much our world has changed (both locally and globally) in just a short period of time. We struggle to keep up with daily reports and advisements. However, out of this comes sharing and goodness from those around us and our own printing community.
Here at Boxcar Press, we’d like to share with you a little bit of that goodness offered online (from a safe social distance in these times). It’s inspiring to know that there are good folks out there spreading some cheer!
If you’d like to shine the spotlight on someone, let us know! We’d love to hear from you!
Live Daily Readings of Children’s Books With Mary Bruno(of Bruno Press) via Instagram. Come share a good time from Minnesota with Mary every day starting at 12 Noon Central Time!
Wilderness of Social Distancing letterpress card from Waterknot Press (from Portland, Oregon).
Waterknot will be offering a buy 4 get one free special on their website — indefinitely. No code required. Just put 5 cards in your cart and you will only be charged for 4 of them. (via their IG account)
Free Downloadable Color Book PDF – cool creatures and fantastic beasts from Isaac Bidwell of Pickled Punks. Grab a set of crayons and have some fun from this fellow Syracuse-based artist!
(Fun fact: Isaac Bidwell is an artist that works in the same building as us — the Delavan Center in Syracuse, NY!).
Spring Ephemerals of New York State “Color Your Own Letterpress Print” from Lion Tail Press of Ithaca, New York.
Laurin Ramsey (via IG): “Hey friends! In these uncertain times, when so many of us are isolated indoors, it’s more important than ever to bring beauty and sunshine in however we can. Spring is coming, so I’ve created my first “color your own” letterpress print for us adults and kids, too! Printed on 100% cotton, acid-free paper, this takes beautifully to watercolors, colored pencils, markers, or whatever coloring tool strikes your fancy. Keep for yourself to brighten your home, or send to a loved one who could use some comfort.
Starting today, I’m also offering a 15% site-wide discount at liontailpress.com, when you enter code SHOPSMALL at checkout. This COVID discount also applies to LP e-gift cards AND custom design work going forward! Thank you so much for your continued love and support through this time, for reaching out to loved ones and neighbors, taking good care of yourselves, and taking all of it one day at a time. We’re in this together!”
Watch“Making Faces: Metal Type in the21st Century” for free via Vimeo. Grab a bowl of popcorn, your favorite snack & enjoy the beautifully documented film on making metal type by P22 Type Foundry and Rich Kegler (Rochester, New York).
Daily Art Challenge. Stretch those creative muscles daily with Raven’s Wish Gallery art challenge! Raven’s Wish (in Janesville, Wisconsin) posts daily on their Facebook the next thing to make, post, photograph, or do! There is sure to be a challenge theme that will rev your artistic juices.
Try A New Printing Technique (or Revisit a Favorite One!) Have fun pulling out some of your printing and printmaking books to brainstorm a new print project. Need ideas? The Printmaking Ideas Book by Frances Stanfield and Lucy McGeown is chock full of great projects!
Printing With Kitchen Items Can’t get to your press? Never fear – embrace your wooden or kitchen spoon to make a print! You’ll use the metal or wooden spoon as a baren to make fun, fantastic prints!
These suggestions are a drop in the bucket of all the ideas out there for creativity, entertainment, and boredom-fighting while you isolate and distance. Share yours with us! We’re curious to see what you’ve got going on!
We’re still very much the same questioning, searching, and inquisitive bunch of folks and this month’s installment is a good testament to this. We enjoy the wonderful, creative, and just plain cool things that catch our eye day in and day out. In this latest installment that made us oooh and ahhhh, we bring you a cool kickstarter giving new life to an Okuma litho proof press, a hue-tastic interactive color exhibit, beautiful traditional bookbinding and much more!
Lithosphere: The Story of Big Dreams and A Big Press
Shelley Thornstensen of the Printmakers Open Forum has successfully completed a kickstarter that involves moving & setting up a big, beautiful Okuma flatbed lithography offset proof press. Thornstensen envisions a new life for large scale equipment for her print shop in Oxford, Pennsylvania. This press, 13.5 feet long and over 10,000 pounds is a versatile piece of equipment that will print woodblocks, litho plates, or litho stones. She has unique techniques to use on this press and looks forward to sharing this knowledge with other printmakers (please check out her summer print camp!).
In completing her financing campaign to move and perform maintenance on the press, she has found a wonderful amount of support and a lot of encouragement from the printmaking, as well as an online community. Thornstensen returns the favor with many rewards for participating in the fundraiser. These include stickers, totes, fine arts prints, and t-shirts with a bear design designed by Andrew Mullaly (fun fact: Okuma means “bear” in Japanese!).
Check out her social media page ( Facebook, Instagram, Tumbler ) to see the latest developments on this cool project and see the new press for yourself. Leave her a comment just to say “hey” and to remind her how awesome she is!
Grab your Pantone swatch book, camera, and sense of playful wonder for The Color Factory exhibit in the SoHo area in NYC!
The enchanting all-ages interactive exhibit features brilliantly colored rooms to dazzle the senses — from a light blue ball pit room, a history & origin of colors room (so cool!), custom-colored macarons in their gift shop, and more.
Originally based & started in 2017 in San Francisco, the exhibit’s popularity soon blossomed into the NYC and a Houston installment exhibit. Currently, the pop-up experience exhibit is going from now until April 2020.
A tree root system that is 385 million years old was discovered in the Catskills region in the fossil soils near Cairo, New York (about a 3-hour-ish car drive from us here at Boxcar Press). The findings show potential forests and flora evolved during the Devonian age (the age of fish as well as early forms of sharks, spiders, and insects).
For reference, the Tyrannosaurus rex was living between 68-66 million years ago. Woah!
I enjoy all videos that show letterpress printing, printmaking and book arts. This one appeals to me because it’s serene and zen-like. It is pleasing to the eye with the colorful paper and the tools and watching her work. Her voice and hands just soothe. I hope it pleases you.
Need holiday gift ideas for the letterpress lover in your life? We’ve put together a list of our top 19 holiday gift ideas for the 2019 season — we found some handy supplies, books, and printing swag that any printer would love to receive. Let us know what’s on your wishlist in the comments section below!
Like most letterpress-loving people, we are drawn to the fascinating and the intriguing. This newest installment of the Inquisitive Printers focuses our attentions on cool history of playing cards (and Nintendo!) plus a portable printing museum, a Miami-based high school teacher and printer, and much more. Enjoy!
Nintendo’s release of the latest Pokemon video game is not where I thought I’d find my printerly inquisition focused this month, admittedly; bear with me and I’ll lay out why it’s tickling my fancy so.
Pokemon began as a GameBoy title, but at the turn of the millennium it reached an outstanding level of cultural clout in its incarnation as a strategy and trading card game. Many of my generation heeded that none-too-subtle imperative “gotta catch ‘em all” filled school recesses and study hall periods with sharp-eyed trades and tournament play.
While it was never quite my scene, I did admire the quality finishing that went into the cards, with the full-color printing and foil embellishment on the various rare specimens. A much greater fascination to me is the fact that the entire Nintendo games empire had its beginning as a manufacturer of playing cards all the way back to 1889!
This culture-defining behemoth of our video game era plugs directly backward into the larger and wilder story of playing cards, which themselves are deliciously wrapped up in the origins of the printing arts themselves.
Squint at them and you can see how dice, dominoes, and chess games are the simpler, sturdier parents of playing cards. For there to be cards, there has to be paper and printing, and so, of course, the first playing cards emerge in China. Unfortunately, since paper is so fragile and cards are objects much-handled, the earliest examples don’t survive into history. An early reference to their existence comes in 1294 A.D., documenting the arrest of two gamblers and the confiscation of both their game cards and the woodblocks that printed them. These cards weren’t merely for making wagers with, but themselves actually served as tokens exchangeable for money or drinks at the tavern: valuable collectible items, indeed!
Papermaking, printing, and playing cards traveled as a pack from China to Samarkand (Uzbekistan), then on to Baghdad to spread across the Mediterranean through the Muslim caliphates and the remnants of the Byzantine empire. Taking shape in Egypt and exported quickly across trade routes into Moorish Spain, the Arabic “mamluk” card game had already assumed a form familiar to the modern playing deck: 52 cards, arranged in four suits, ordered by ranks culminating in royal court figures. “Mamluk” means “property”, referring to a class of enslaved mercenary soldiers within the prevailing caste system. Puts one in mind of the more disturbing aspects of the Pokemon life cycle, with trainers “catching ‘em all” then making them fight each other for the trainers’ glory. (Just sayin’.)
By the 14th century, these playing cards were spread across Europe and quickly became nativized. Mamluks easily translated into the aristocratic ranks of Europe’s feudal system, and those original four suits — polo sticks, swords, cups, and coins — mutated based on local culture. Spanish, German, Swiss, and Italian styled suits survive into the 20th century right alongside the French style we in the Anglo-American world are most familiar with: clubs, spades, hearts, and diamonds. (Tarot enthusiasts will note that those original mamluk suits are exactly those that became our beloved and much-mystified oracle deck, but that also-very-printerly story needs another time for telling.)
As the printers of Marseilles, Nürnburg, and Venice stamped out the cards in varying grades of quality, so too did the traders vend these printed goods to the world. Portuguese traders arrived in Japan in 1543, carrying Iberian playing cards in their holds. The Portuguese word “carta” became the Japanese “karuta”, and caught on well among the wealthy samurai. The isolationist Tokugawa shogunate soon banned them as a foreign influence, however, and so playing cards in Japan took on their own particular evolution, as printers and gamers worked around the restrictions.
Variant decks multiplied, fusing older indigenous Japanese gaming traditions and innovating new ones. Some of those older traditions involved matching paintings on shells, or poems on squares of wood, and translated easily to paper cards. These poetry cards and other literary variants became popular educational tools for children.
The card ban wasn’t formally lifted until late in the Meiji period, when Japan was “westernizing”. Clandestine cardplayer Fusajiro Yamauchi founded Nintendo in 1889 and began manufacturing the popular Hanafuda (“Flower Game”) deck, which has 12 suits of 4 cards each.
I imagine that Nintendo, innovative from the start, was among those early 20th century card manufacturers to produce “obake karuta”, card decks depicting mythological monsters (“obake”) and their names and attributes. Sound familiar?
After the Second World War, Nintendo also began making western-style playing cards and began to branch out into toys and other goods. The first mega-hit toy product was, uncannily enough, an extending arm based on the pantograph — another printing-related hit in the story. From there, toy-making brought the company into electronics in the early 1970s, and from there, card pips turn to pixels and then once again we come to Pokemon.
So from East, to West, to East again, and then to global cultural dominance, the humble playing card moves, shakes, and shapes the world. Are we ultimately so sure it’s us playing them, I wonder, or is our game perhaps also playingus?
Based in Miami, Florida, printer/teacher Tom Virgin of Extra Virgin Press appears on the Art & Company podcast. He talks about introducing the tangible craft of printing to students in the classroom and about the future of printing at large. Come take a listen!
Next up is the Tiny Type Museum & Time Capsule project. This nifty concept is a printing (and history) lover’s dream. It is a small, portable collection that celebrates type & printing.
The Museum contains unique printing artifacts & resources spanning decades. The fit-on-your-bookshelf Museum features cast pieces of hot-metal, wood, and metal foundry type, scale-model replica of a California Job case and many more items to discover.
The project is helmed by Seattle, Washington-based Glenn Fleishman and in collaboration with many artists, printers, museums, and foundries.
We hope you explore some of our links and perhaps share in our enjoyment about what intrigues us here at Boxcar Press. Email us at firstname.lastname@example.org with the things that inspire you as well!
Mark Barbour of the International Printing Museum highlights unique printing presses, fun printing trivia, and fantastic finds in the Carson, California museum. Come take a look!
The International Printing Museum in Carson, California, just south of downtown Los Angeles, is home to one of the largest collections of working antique printing presses in the part of this world that enjoys a type height of .918! Besides an extensive collection of metal and wood type, somewhere around 5,000 fonts, the Printing Museum is also home to some very unusual and rare printing presses.
Of particular interest, while we focus this week on letterpress and type high, are the platen presses in the museum’s collections, presses that became the workhorse and the staple of every printing shop in America during the 19th and 20th centuries. Today’s book artists and letterpress enthusiasts are well familiar with the C & P Press, well described as the Ford 150 of printing presses. But have you heard of Gordon and his dream with Ben Franklin that birthed the modern platen press? Have your fingers ever been close to Gordon’s early press known as an Alligator (for good reason!)? What about Ruggles and his Jobber that made it to the California goldfields, and has a story to tell about Alcatraz and the Civil War? Or maybe the press that took you to the stars in 1875, known as the Asteroid?
In celebration of Type High Day and letterpress everywhere, this is an invitation to explore the stories of these very unique and rare platen presses of the 19th century with Curator Mark Barbour of the International Printing Museum… just click on the link to his video blog (his apologies for the quality and the sound…not enough makeready on the morning of .918!)
Jim Moran of Hamilton Wood Type & Printing Museum recounts a day in his life at this stunning printing museum. Housing aisles upon aisles of history, craftsmanship, and deep printing roots, the Museum is a testament to the old (and new) ways printing remains such a treasured part of our culture.
I always get to the museum first thing in the morning. Maybe I need to slowly gather my thoughts but there’s something else.
Turning on the lights, I take a long walk in this place. I’m trying to see everything and what needs to be done. The sander for half-rounds has a coil of wires that I’ve never liked and ought to be cut off. There is a display of patterns that seem to have been cut a hundred years ago and they seem more like sketches in wood. The pencil marks are precise as an architect’s. And why cedar? What an awful wood to cut cross-grain. Who did them? Could it have been a William Page employee that Hamilton brought here?
Among the type displays, I pause in front of Arabesque. The smoky strokes seem sixty-ish and I think of Janis Joplin posters. The row of platen presses are out of order. They should be chronological. Some need rollers, the treadle on the Challenge should be reconnected, there’s no tympan paper on a few and what could I lock up in their chases to explain the process better.
In the “Central Room”, I dislike the name itself for being non-descript. I want to cover the walls behind the linotypes with newspaper pages from back in the day. Nearby, a Miehle is too gummed up with ink and grease and a Heidelberg serves mostly as a source to rob parts from. When will I get the ruling machine running again?
Now in the staff pressroom, I’m tempted to put on an apron and run posters of horse races all day long. Maybe all week. The blocks are frozen in action of galloping hooves that will only come to life in printing. They may not have seen ink since the 50s. I wonder about registering their colors and the thrill of the first print that’s never left me since age 10 when I first set and printed my own name. Magic! Random type cases lean in small spaces, hoping to be filled again with Caslon or Engraver’s Text. I think there’s a cabinet in the back they’ll fit into but I resist the urge to check.
The classroom lights snap on and I read each switches name; House left, House center, House right. The names mean nothing until Wayzgoose, which reminds me I need to create a backdrop for the presenter’s stand. Before I can do that there are boxes of blocks, mostly musician based, that have to be archived but not today. Better to prep for a workshop this weekend and replace those lights in the corner of the room.
Finally, in the gallery, everything is lit and I look over the exhibit again. It’s a good show that I’m lucky to consider for many days. I should look at new emails. Staff will arrive soon and there’s bound to be something I ought to be doing. Maybe printing horses.
For more information and fun about the wonderful Hamilton Wood Type & Printing Museum please visit their Facebook and Instagram pages!
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.
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.
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.
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.
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 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.
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/