2019 Seattle Children’s Hospital Broadsides: Part 2

Part two in our blog feature of the 2019 Seattle Children’s Hospital Broadside project features five more very talented printers and young poets as part of the collaboration between Writers in the Schools program, long-term patients at Seattle Children’s Hospital, and the School of Visual Concepts in Seattle, Washington. These five printers share with us how they brought each young writer’s words to life.

Justin Gonyea

I was very excited when I first read AJ’s poem because it would allow me to mix my love of comic books and letterpress. I love that AJ wrote a poem about the Incredible Hulk that a lot of kids and adults alike could relate to. His mom translated it to Chamorro, the language of the indigenous people of the Mariana Islands. I felt honored that I was trusted with creating a print using not only AJ’s words, but also the traditional language of his family.

Hulk is a character who struggles with fear, pain, and anger but also can use strength to do a lot of good as a superhero. Since AJ’s words reference all of these darker feelings, I didn’t want to emphasize the negative with imagery. What was a way that I could compliment AJ’s words and bring a little bit of that lighthearted feeling to a character who is everything but? How about Legos? I had been looking for the right project to experiment with printing Legos, and this seemed like a perfect fit! 

I looked at a lot of inspiration for how to render Hulk using pixel art, and decided to use this as an opportunity to reference something else from my childhood. I used character sprites from the Super Nintendo video game “The Incredible Hulk” (1994) as a reference. Eric Bailey and Anthony Rosbottom were the original artists that worked on this game, and there were so many possibilities for really dynamic poses to draw from for my inspiration. In Photoshop, I created a simplified rendering of one of the sprites using a grid that was 32 pixel wide. I usually try to minimize the amount of time I’m on the computer when I’m working in letterpress, but I ended up designing every aspect of this print in Photoshop and Illustrator.

My broadside had a total of six passes on press. I rebuilt the pixel art using 1×1 Lego pieces, and a base that I made with a piece of wood and two sheets of Lego Baseplate. For the first pass, I started with the brighter green. Once the first color was printed, I slowly removed all of the Lego pieces using an ink knife. I should have gotten a plastic putty knife or some other tool to help remove these pieces as the ink knife really easily slipped and scratched the Lego pieces.

Once all the Legos were removed, I set up the pixel art for the dark green layer. I continued this process for the remaining pixel art colors. As I printed, I used a pica pole to help square off any of the Lego pieces that started moving around a bit. As they moved, it created an interesting energy/vibration that I really love the look of; as long as it didn’t get too out of alignment that is! All of my additional type for the poem, colophon, and byline were printed as my last pass on press using a photopolymer plate.

I didn’t get a chance to talk with AJ about his poem, but I hope that he enjoyed how I chose to represent his words. It’s an honor to be a part of this year’s Seattle Children’s Hospital Broadside project, and it was such a fun project to work on. I can’t wait to print with Legos again! 

Leah Stevenson-Stahly

I always feel honored to participate in the Children’s Hospital Broadside project. This is my fourth year and each time it is such a treat to work with the poems and illustrate something that will hopefully resonate with the poet. 

The poet had drawn a little comic that he used as inspiration for the poem so it only seemed right to keep that idea with the 4 sections of the poem. Rather than have a grid layout that’s common of comics, it seemed more appropriate to have it a little more freeform. The 4 sections of the poem are separated and on the page in a somewhat ordered yet almost haphazard way. Because of this, I added a light grey swoosh in the background to help draw the eye through the lines in the correct order. The final print came out with 6 colors in 6 passes (I had originally planned for a 7th but decided to skip it in the end). 

I used rather non-traditional plates for this project. I have a laser cutter at home and decided to make my plates with it. I used an acrylic sheet (a break from my normal wood) as acrylics tend to warp less. I engraved the design onto the surface and while providing a great surface for inking, printing the background offered a bit of a challenge. It was not quite low or shallow enough and transferred ink so it was a little messy.

I had to do quite a bit of sanding and scraping to keep everything clean. Despite the challenges of printing with my homemade plates, I was pleased with the outcome.

Carol Clifford

My poet this year was Chance Petrone, who wrote What I Do. I was instantly drawn to this poet simply because of his cool name.

My initial idea was to play with the image of a lightning bolt based on Chance’s imagery of his lightning quick speed but felt it was too obvious. It only spoke to one aspect of Chance that he conveys in this poem describing himself. Aside from running at lightning speed, Chance points out that he doesn’t always follow the recipe and that people are drawn to him. These two descriptions led me to the magnet image with the surrounding force field. I liked that the magnet conveyed how dynamic he is and also had a lightning bolt-like shape.

The background blue I had initially planned to pressure print. I don’t know why I say I’m going to pressure print every year, as if it is some easy-peasy technique, because I just can’t seem to make it work the way I want it! While in the 12th hour, after attempting several unsuccessful approaches to pressure printing, I put out a request to the other printers on the project for a spare large piece of linoleum. I received many responses which just shows how supportive this group of printers are. BUT, as I was in the 12th hour, I needed something asap and found a small piece of leftover Marmoleum flooring from our kitchen. I had one chance to make it work.

I transferred the magnet outline and hoped for the best. Carving away this fairly simple shape was a bit more difficult than expected. The abstract pattern of the Marmoleum is the same throughout the layers. Carving into the flooring material was easy enough but once you carve out a spot it doesn’t look any different than the un-carved part. This made it hard to read. The results were fine and similar to what I had hoped from pressure printing.

I didn’t want the angled ground shape to be solid because I thought it would look better textured next to the texture of the blue background. I created a subtle texture with cloth under the draw sheet.

After these first two layers, next came the magnet fill/force field and the text which all went smoothly.

Jenny Wilkson

One of the most evocative stanzas in Audrey’s poem describes her comforting visualization of driving home from the hospital—softly, gently, like clouds drifting away. I seized the image of clouds, and her color of freedom, “real and super shiny gold.” 

When I was sketching the design for this broadside, I was on vacation in New Mexico. There, I saw Georgia O’Keeffe’s paintings of clouds from above. I admired the gradient in the sky, from a saturated blue to almost white. I decided to abstract my clouds into geometric forms and cut the printing plate from plywood on a laser cutter. I printed the sky on my Vandercook SP-15 with a split fountain of blue to opaque white, with the clouds knocked out, in the white of the paper. The gold ink in the title is made up of a two-part gold paste and varnish concoction that is the most “real and super shiny gold” I know how to print. I first printed the title in blue in order to give the gold ink something extra smooth to sit on so it would really sparkle. 

All type was printed from photopolymer plates donated by Boxcar Press. I set everything at an angle, parallel with the clouds, and curved the left margin of the poem in a long graceful swoop to echo the shapes of the clouds and to give the broadside that “freedom feeling.” 

Laura Walczak

This was my 2nd year as a printer for this project. Last year helped set my expectations for how quick the timeline moves and how to portion out my time. I had the best intentions for getting things done early, and ahead of time, but seeing my intended imagery through ended up taking a lot more time than I had hoped for. It was a relief to know what my absolute worst case timeline would be for finishing everything up. Thanks to Boxcar with the rush plates right on time!

Almost immediately after selecting the poem I was working with, I had an idea of how I wanted to accompany the poet’s words with imagery. He had listed many things that he was, and the last section of his poem he talks about going camping with his family. I thought back to the “Hidden Pictures” in Highlights magazine, where an illustration of a scene would have various items hidden within it. This seemed like a perfect fit, having a camping scene, and then including many of the other items in the poem. 

I did my illustration in Procreate on iPad pro, which was a lot of back-and-forth… I couldn’t be entirely solid on the hidden pieces before drawing the scene. And I couldn’t draw the entire scene without figuring out how the hidden pieces would be woven in. This is definitely one of the things that ended up being a longer process than I had anticipated. I had such a vivid vision in mind of what this would eventually look like and it was harder to get that out onto screen and to paper.

When I finally got my linework of the illustration where I wanted it to be (as well as the text of the poem, of course!) and had hand-lettered the title, I worked on figuring out how to use color on the final print. I really wanted to use yellow, as that color was one of the things mentioned in the poem (and, “pee”). With the lush forest setting, I wanted green to have a presence as well. Still working in Procreate, I played with some fill layers, and settled on a light yellow and a light blue, that would (hopefully) layer to make a decent green. I exported my Procreate file to a PSD, and brought it to the desktop to do the nitty gritty of file prep and fine-tune some trapping, and get files plate-happy.

Fast-forward a couple of days, my plates arrived and my paper was on hand. I had reserved some (read: full day’s worth of) press time at SVC, cashing in a vacation day to do a weekday print marathon. I pawed through a swatch book to get a ballpark idea for ink mixing, but I’m always one more to shoot from the hip with my inks rather than precisely measure out proportions (it’s been working well for me!). Since I was planning for a lot of ink coverage and overlap, cobalt drier made its way into all three of my colors.

I got ready to print, paper counted out, press set up, my first plate stuck on to the base, and my creamy light blue ink on press. I thankfully didn’t need to do too much for makeready, and getting through my stack of 110 plus sheets went pretty quickly. Then, cleaning off the press and moving on to the light yellow I’d mixed that had a good deal of translucent white in it, aiming to get a nice green on the overlap of that with the blue areas. It worked, and the green that came out was actually better than I had been hoping for. My last run-through of the press was my key plate with all the linework and my darkest color. 

The cobalt drier seemed to help, and when I went to trim my prints out a day or two later, they were plenty dry. 

I wanted to create a broadside highlighting this poem, and enticing the viewer to keep looking, or to return later and find something new. I didn’t want to create something that was one-note, and could be digested in the first glance. I’m really pleased with how the broadside turned out. I believe I was able to breathe life into the words of a child, to share them, to memorialize the spirit that delighted in so many of the little things, and to celebrate that. 

2019 Seattle Children’s Hospital Broadsides: Part 1

For our ninth year, we here at Boxcar Press have enjoyed the honor of supporting this year’s 2019 Seattle Children’s Hospital Broadside project. It is helmed by Sierra Nelson and Ann Teplick of the Writers in the Schools program (WITS) and the School of Visual Concepts in Seattle. This year’s creative young poets and printer/artists joined forces to build a magnificent collection of 20 broadsides in a limited run of 110 editions.

Broadsides

The works of arts are a collaboration of kindhearted printers bringing alive the thoughts of long-term patients from the Seattle Children’s Hospital. The result is nothing short of fun, colorful, whimsical, and inspiring.  This first installment of a two-part blog highlights four printers who share their creative processes and showcase the magic of the children’s writing. Enjoy!

Broadsides

Amy Redmond  

When we gathered at SVC to kick off this year’s series with the reading of the kid’s poems, I was convinced Gerald was a real llama. I wasn’t alone. After Ann Teplick (one of the lead poets for this project) finished reading Liam’s poem, she said she’d met Gerald. “He’s real?” another printer asked. “Oh no,” she replied. “He’s a stuffed toy, but he seems real.” Liam’s words had brought Gerald to life, a feeling that stuck with me through the creative process. We spent a lot of time together, me and Gerald. And he is quite a lovable little stinker. 

Sketches of Gerald (all photos courtesy of Amy Redmond)

His larger-than-life personality demanded the same dominating presence on the page. Picturing a simple illustration with a large color background, I set about figuring out how to turn the sketch into a reduction cut.

Reduction cut study: using my office door as a lightbox.

Not wanting to leave anything to chance, I tested my sketches on a small 2×3 inch linoleum block and printed a run of 200 so that I could play with color & the reduction cut process. Remember how I said Gerald was a stinker? Yep. He bit me. Twice. (Some may say my carving tool slipped, but they weren’t there. Gerald knows what he did.)

Gerald feigns innocence as he regards my bandaged fingers.

These tests were really informative. I quickly learned how opaque white ink would look on the cream-colored paper: in short, not as I expected. To make Gerald appear “white” I found it best to shift from my original plan of printing his entire body in white, to only printing the suggestion of his curly locks. I also played with the background color, and how to best define Gerald’s outline. These “Gerald trading cards,” as I came to view them, were later sent out to members of the Amalgamated Printers Association in the monthly letterpress bundle.

Mini reduction cut studies of Gerald.

I like to create full size mock-ups to nail down the details before getting on press. The design of the broadside didn’t change much from these 2×3″ tests to the final 9×12 image; just a little rotation of the angle at which Gerald would be peeking out of the corner, in order to make room for the type.

My full-size sketch of the broadside.
Carving the first part of a 3-part reduction cut.

The first pass through the press was Gerald’s curls and face. To prep my platen press (a 13×19 motorized Colt’s Armory), I let it run with opaque white ink for about 20 minutes to draw out any trace remains of other ink hiding in the rollers. I cleaned it with Putz Pomade and roller wash, and inked it up again with opaque white and began printing. The effect was subtle, but enough to make the non-printed parts of the page appear “whiter” than they actually were.

The subtle effects of opaque white on a cream-colored paper.

Carving the second part of the reduction cut was easy, even if Gerald wasn’t thrilled to receive the haircut. Removing his curls was deliciously satisfying.

Gerald begrudgingly gets shorn.

I decided — with the help of an informal Instagram poll comparing my test prints — to set Gerald on a blue background, rather than a green one. At one point it was going to be a split fountain of the 2, but that was just a symptom of indecision. 

Passes 2 (blue) and 3 (gray) of the reduction cut aren’t well-documented, but I did snag a photo of my alignment tests on make-ready from previous year broadsides. In these 4 prints you can see evidence of Home Life (2017), Self-Portrait Poem (2016), How to Fix a Laptop (2015), and Favorite Things (2013).

Re-using make-ready from older print runs can yield some fun results.

The fourth and final pass through the press was the metal type, printed in the same gray as Gerald’s eyes, nose, mouth, and outline. The title was set in Boul Mich, a typeface designed by Chicago’s Ozwald Cooper in the spirit of the trendy Broadway typeface of the 1920s. The body and colophon are set in Spartan, my house sans-serif face. 

Gerald gets a good scrub during his type wash bath.

Working with Liam’s poem was a treat, and things that are important to Liam are clear in his description of his beloved confidante: strength, tenderness, and a co-conspirator willing to weather the highs and lows of life. May we all be so lucky to have someone like Gerald, stinky as he may be, by our side.

The finished print, in which Gerald smiles for his close-up.

Demian Johnston

Every year as I contemplate and work on this project, it has tremendous importance to me. Yet, I never feel like I do enough. Some artists meet their poets or the poet’s family if the poet had passed. I have never done that. I don’t know if my heart can handle it. I have done 5 or 6 of these. I have cried each time. Even the funny poems hit me and not for any specific reason, although I experience so many feelings. It’s simply just how human the poems are. 

You get this unique, precious look into another person’s life—and sometimes death. It’s a rare thing, especially in this era of phony social media where our curated personalities pretend to connect with others. I really wish I had taken more photos, particularly of process photos of my last print but I did have some fun with this one. I used Boxcar plates for all of my printing.

 I had played with clean lines and texture. I ended up printing everything clean and then carved away parts of the plates. I used sandpaper and wood cut knives to distress the plates and then I overprinted again. I also wiped away a little ink on each pass. I wanted there to be some “grit” below the surface.

The poem is clean and neat. It’s really tight but there is some real agony beneath it. Happiness, too… but I wanted to lean into the darkness without doing something traditionally dark. As always, I feel very lucky to be part of this project and to exercise my skills.

Annabelle Larner 

My poem was an excerpt of a longer poem, written by Isaac Gardner, age 24. I was lucky and got to meet him a few weeks before I started the project. He was incredibly open and excited about seeing his poem in print. 

Annabelle-Larner-IMG3

Isaac’s poem was very powerful, and the excerpt I had was in reference to darkness and light, and how he had a star in his pocket that grew brightly as he called upon it for help in the darkness. 

I was immediately drawn to the star, and to creating a dark, stormy background with a path of light cutting through. I’m interested in textures and colors as opposed to using literal images, but did use a star as a sort of centerpiece. Boxcar made the poem excerpt in polymer, and the rest of the broadside was done by hand. 

Annabelle-Larner-IMG3

I began by making a linoleum cut of a star and printing it as my first pass. Next I created a collagraph–I mounted bookboard and painted it with acrylic medium with brush strokes for texture. This was my second pass. 

For the third pass, I wanted to make a dark area to surround the star, and so hand-cut linoleum sheets mounted to a piece of shelving, and printed this background in a dark bluish color over the textured collagraph. I had to make sure the blue was transparent enough to show the texture while still being dark and moody. It was tricky! 

Annabelle-Larner-IMG3

Finally, I printed the polymer plate with the excerpt of the poem in a dark reddish color to contrast with the blue.

I was happy with the overall result! And was thrilled to meet Isaac and participate in this meaningful project. Thank you Boxcar! 

Bonnie Thompson Norman

In the spring of 2019, myself and a lucky group of other letterpress printers gather to be part of the Children’s Hospital Broadside Project. This was the ninth year of the project. We listen as the poems are read and choose (and sometimes negotiate) which poem we will print.

Finnley Foster : Horses test layouts

Sierra and Ann are able to share a little bit about each poet and I learned that my young one, Finnley Foster, was already an accomplished rider and had her own horse named Norman. Because she was so young, I wanted to keep the colors of the broadside gay and colorful, suggesting a carousel. And yet, I wanted to keep the horses lifelike because she described them so specifically and because she really knew what horses look like.

I enlisted the help of one of the other printers, Laura Walczak, because she is more savvy than I am with cleaning up images on a computer to get them ready for reproduction and because she has a laser cutter. I found several copyright free images on-line which I thought suited the lines that Finnley had written. Laura was able to work on the images and create the wooden laser cuts in a matter of hours.

I worked out and mixed all the colors in advance to create a harmonious palette for the run of seven colors. I did many mock-ups of hand cuts shapes of the horses before settling on the positions for each one. I printed the text on my Vandercook SP-15 but I printed each of the horses on my 1926 10 x 15 Chandler & Price. The horses required quite a bit of ink to get full coverage on each image and I was able to achieve this more easily on the C&P although it did require some careful paper handling as the sheet was over-sized relative to the press.

Throughout all the press runs, each broadside had a slipsheet laid between them so the ink would not offset from the front to the back of the next. Even so, I laid all the broadsides out on my work table to dry for several days before the final trimming.

At the completion of the project, we gather to read the broadsides to one another and talk about the process of working on them. Then we wrap up a complete set of the broadsides in a portfolio along with ten copies of the poet’s own piece which are later presented to the young poet and/or their family. Because of Finnley’s enthusiastic interest in horses, I gave them all of the laser cuts in case she would like to play with them.

It is both moving and inspiring to be part of this project for nine years. I am grateful I am invited to be even a small part of the young poet’s journey as they are so sweetly encouraged to write by Sierra and Ann. The generous support of businesses like Boxcar Press, Ecological Fibers, Neenah Paper, Puget Bindery and Evolution Press working with all involved makes this possible. 

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!). 

Let’s See That Printed: Carmela Heintzelman of Fiore Press : Architectural Artwork

We were pleased to lend support to Carmela Heinztelman when she was approached with a special print request. After seeing the results, we think more professional design projects like this should come to life in letterpress.

When architect Edward Deegan contacted me about making some letterpress prints of his architectural drawings, I jumped at the chance.  I admire Ed’s work and have seen many of his designs realized in our Illinois community and his work is absolutely impeccable. Below is one of the beautiful houses he designed, and one of the prints I made from his sketch of this house.

Carmela Heintzelman of Fiore Press

(Above: photography credit: Karen Loffing)

Carmela Heintzelman of Fiore Press

I love printing personalized artwork, and this was no different.  To take a talented architect’s sketches and translate it into letterpress printed art that could be framed and hung was such an honor. 

Carmela Heintzelman of Fiore Press

Edward had five sketches that he wanted printed. The challenge was to take these sketches and adjust them in a way that worked best for letterpress and kept the details. 

Carmela Heintzelman of Fiore Press

We needed to apply a screen, which I had never done before. Enter Prepress from Boxcar Press! I called Cathy and explained this project, and she was excited to help. She looked at each of the pieces and told me the best way to prep the artwork. I converted the scans to grayscale, adjusted the contrast, brightness and threshold, then saved it as a TIFF.  It came out perfect – the client was extremely happy!


Carmela Heintzelman of Fiore Press

In addition to the house renderings, I also printed for Edward a tall ships scene and two historical facades.  He framed and hung them all in his office.

Thanks Carmela for sharing the printing of these drawings.  In addition to being a learning experience for you on the file preparation side, it was a nice treat to see something a little out of the norm come to life in letterpress. This is a very limited edition art that will be viewed and enjoyed.

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!


Let’s See That Printed: Eleonore Lee’s Printing Tribute to Freddie Mercury

Sometimes the words on a person’s platemaking order just leap off the page and catch our attention. That was true with Eleonore Lee’s curving and falling text layout. Add in that they were lyrics by Queen’s Freddie Mercury and we just “had to see that printed”.  We hope this strikes a chord with you too.

Eleonore Lee's "Lover Of Life, Singer of Songs" fine art print tribute to Freddie Mercury of Queen strikes a chord with the heart.
Eleonore Lee's "Lover Of Life, Singer of Songs" fine art print tribute to Freddie Mercury of Queen strikes a chord with the heart.

In spring 2017, the Fine Press Book Association sent out a call for entries for their annual fundraising portfolio.  Since I already had a huge project to complete before heading off on a trip, it seemed fitting to add another project to my docket.  

Eleonore Lee's "Lover Of Life, Singer of Songs" fine art print tribute to Freddie Mercury of Queen strikes a chord with the heart.

This project was especially enticing as it would support their fine press journal, Parenthesis, and the portfolio would be shared among other printers. Last year was a year in which I was re-discovering myself after a good decade of hardcore parenting. An exchange portfolio would allow others to discover me too.

Eleonore Lee's "Lover Of Life, Singer of Songs" fine art print tribute to Freddie Mercury of Queen strikes a chord with the heart.

Like a lot of printmakers, I am a sucker for exchange portfolios. Something I particularly appreciate about letterpress and handmade paper exchanges is that they are a lot more lenient about format. The parameters for this portfolio were generous … produce 125 prints. Within these parameters, it was definitely possible to consider a less likely subject matter.

If you do not know, most often Fine Press work has a tendency to publish known and lauded dead poets. Always the contrarian, I felt like shaking it up a little with less-predictable words. My work aims to ask questions or bring attention to something you might not usually notice.  

Because music means so much to me, I have been considering making art about the music that pervades my life. Whilst at work I am known as “that person who wears their headphones and sings out loud”.  One epic late night, two BFA students and I had a lot of paper to make. We loudly sang through 2 CDs of Queen’s Greatest hits. That was my inspiration.

Eleonore Lee's "Lover Of Life, Singer of Songs" fine art print tribute to Freddie Mercury of Queen strikes a chord with the heart.

I was not a huge Queen fan in my youth, finding Freddie overwhelmingly exuberant. However, I grew into Queen. I learned the lyrics intimately in the same way that I spend a lot of time with the poems I work with. Singing along both joyfully and studiously, so that I could be as accurate as possible with the pacing and the sounds. By including the breaths, the uh’s and drawn out syllables, the project was most enjoyable.

I also revelled in the details: The paper is Neenah’s Flash Pearl Starwhite. Not only is it shiny pearlescent like some of Freddie’s leggings, but it also covers Flash, for Flash Gordon’s theme song, by Queen.

The font is Montserrat. Freddie had a dream to perform with and finally collaborated with Montserrat Caballé on the album Barcelona. And of course, I did my research: Freddie loved red and yellow, bold loud colors. The rhythm of the song is included in the yellow and red dots. They are foam dots, with 2” dots representing a full beat, 1” dots a half beat and ½” dots a ¼ beat.

I wanted a mix of more iconic images of Freddie as well as images from his videos. I chose the song because the lyrics combined with the video spoke volumes about Freddie.

He lived flamboyantly and boldly in public, at a time when being gay was a crime in most countries. In ‘I want to Break Free’ the band appears dressed as working class women. We first see Brian May wake up, with curlers in his hair, very rapidly followed by a hairy arm wearing bangles brandishing a vacuum. After a few swipes, all of Freddie scurries out boldly, staring right at the camera and gives us a brief, contented smirk before proceeding with some very sexy vacuuming (to the music). He dances and sings and winks appearing to enjoy himself a lot. It may seem run-of-the-mill today. It was bold back then, especially for a shy, cat-loving man wrestling with his sexuality. All of these words and images worked well on the tri-fold design I had in mind.

Eleonore Lee's "Lover Of Life, Singer of Songs" fine art print tribute to Freddie Mercury of Queen strikes a chord with the heart.

Although the images have enough small details and fine lines, I would never have attempted type with such fine details so I thank Boxcar Press for the plates. They also provided a fine press discount on the plates for this project.  

I hope others in this exchange enjoyed this project as much as I did envisioning and printing it.
You can learn more about Eleonore’s project with Parentheses at  FPBA.com.




Let’s See That Printed: Isle of Dogs by AJ Masthay

As soon as AJ Masthay’s “Isle of Dogs” print passed through our platemaking department, we had to know more. Discover as we catch up with AJ of Masthay Studio, and this sneak peek. Find out what is the inspiration for this ultra-detailed piece… and where can you enjoy this piece.

The piece was created for an upcoming Isle of Dogs group exhibition hosted by SpokeArt NYC at the Parasol Project, 213 Bowery, NYC. From their Facebook event page:

“Spoke Art is pleased to present the Isle of Dogs Art Show. This is an officially licensed art exhibition tribute to Wes Anderson’s most recent film. The dynamic group show features over one hundred artists, painters, sculptors and print makers, debuting one weekend only in New York City’s Lower East Side.

Isle of Dogs Wes Anderson AJ Masthay letterpress print

Isle of Dogs

Isle of Dogs, Wes Anderson’s most recent project, is a stop-motion animated film set in a Japanese dystopian future. The story follows a boy’s journey to find his dog after the species is banished to an island following the outbreak of canine flu. Inspired by the adventurous tale that Anderson brought forth, a select group of artists have created character portraits and highly detailed environments and scenes inspired by Isle of Dogs. Featuring a diverse array of painting, sculpture and limited edition prints, each artist offers their own unique perspective and interpretation of the Wes Anderson film. This whimsical and canine filled pop-up exhibition is an absolute must see.

About the Piece

I personally love the quirky works of Wes Anderson and am a huge dog lover. I have two very spoiled Labrador Retrievers Dexter & Halley. When asked to participate in this exhibition I immediately said YES!

My piece features the main characters from the film, both human and canine. As well as, the scene in which they debate whether to attack. Spoiler alert – they realize he has come searching for his own dog “Spots” and decide to help him in his quest. 

Isle of Dogs Wes Anderson AJ Masthay letterpress print

The print is a reproduction of a detailed graphite drawing utilizing a Boxcar Press’ photopolymer plate with a 133 LPI halftone screen applied. We’ve found that once dialed in on our Vandercook Universal III, these halftone plates reproduce tonal drawings beautifully. They come very close to the detail typically found in lithographs.

To mimic the graphite work we do the following steps. First, we mix a fairly stiff, dark gray ink with a touch of brown to warm it up a bit. Next, we use a paper that is soft and supple, such as Arches 88. Finally, we finish the piece with a hint of hand-applied color in the pilot’s eyes. As a result, this slight variation adds a personal touch of individuality. The hand coloring piece complements the printing perfectly.

Isle of Dogs Wes Anderson AJ Masthay letterpress print

The Final Edition size is 100 signed, numbered and titled, 15”x20” on Arches 88. Prints are available to purchase at the event. Remaining prints will be made available online following the event, through SpokeArt.

The Isle of Dogs Art Show group art exhibit is running from November 9th, 2018 – November 11th, 2018. For more details, check out their Facebook page here.

2018 Seattle Children’s Hospital Broadsides: Part 2

Part two in this year’s Broadside blog series highlights more of the beautiful art prints from the printers and writers who came together in the 2018 Seattle Children’s Hospital Broadsides project. The Writers in the Schools program (WITS – a poetry program created by Sierra Nelson and Ann Teplick), the School of Visual Concepts, and long-term patients at Seattle Children’s Hospital all joined creative forces to produce original stories that come to life in beautifully crafts printed works. Sarah Kulfan reflects on this year’s printing experience of adding in fun & color to their special young writer’s words.

“I am always blown away by the talent and commitment of our young poets and this group of printers. Many have been involved with this project every year. Its an honor to be a part of this amazing collaboration. I am grateful for the support of business partners like Boxcar Press who help fuel this creative endeavor from the beginning.”

2018 Childrens Broadsides -IMG12018 Childrens Broadsides

Sarah Kulfan

There are a couple of lines from the poem by Amanda Longees, Age 11, titled Beliefs, that inspire the forest and tree theme illustrations. My goal was to create a broadside that was bright and optimistic. In the first print pass, I created a split fountain gradient that represents the rising morning sun. With a design perspective of looking out across the treetops, there is a sense of spiritual uplifting. Which also reflects the title of the poem. 

With the tree element design, it was only natural to include a wood type for the title. I worked with Boxcar Press to create plates for the poem and colophon.

Sarah Kulfan Boxcar Press 2018 Seattle Children's Broadsides

The reduction cut process includes a total of 4 colors. Each color is a successive layer that is carved from the same block.

Sarah Kulfan Boxcar Press 2018 Seattle Children's Broadsides

The colors typically go from light to dark. This year’s challenge for myself was to print a full bleed and a gradient on a portrait style broadside. Which includes several rounds of careful trimming, and maxing out my press’ sheet size in order to make that directional gradient work.

Sarah Kulfan Boxcar Press 2018 Seattle Children's Broadsides

The talent and commitment of our young poets and group of printers are impressive. It is an honor to be a part of this amazing collaboration effort. I am grateful for the support of business partners like Boxcar Press – who help fuel this creative endeavor from the beginning.

Heidi Hespelt

This year’s broadside design illustrates a poem written by Ella Joy Won, Age 7, titled The Secret Place. Ella is a “sparkly girl,” and the design reflects this through the incorporation of bright colors and metallic inks. The printing of the poem starts with text which uses polymer plates from Boxcar Press. Next, is the artwork. This piece, in particular, there were 7 passes through the press. The press used a large reduction linoleum block that carves away sections of the block between each color pass.

Heidi Hespelt 2018 Seattle Children's Broadsides Boxcar Press

Printing silver over a blue background for the first cut on reduction block. Carving away the things that I want to stay medium blue and then next is the teal layer…

Heidi Hespelt 2018 Seattle Children's Broadsides Boxcar Press

Next, printing the gold pass. Followed by mixing ink for the purple coloring for its pass. Finally, I will print the text and trim the paper.

Heidi Hespelt 2018 Seattle Children's Broadsides Boxcar Press

Amy Redmond

As a letterpress instructor at the School of Visual Concepts, it’s a real joy to see students evolve from fledgling ink slingers into skilled printers, and this Broadside project represents a milestone in that journey. There are many new names on this project’s list of printers this year, but by no means are they new to the press. This year the stars finally aligned for them to join this kind-hearted & generous group, raising the bar of talent even higher than before.

Amy Redmond letterpress Seattle Children's Broadsides project.(Above: Photo courtesy of “Carrie Radford / Radford Creative”)

When first reading, A Lion by Rowan Delloway, Age 6, I was struck by how much power just a few words carry. Looking beyond the face value of his admiration of a lion, I interpret the lines “so you don’t run from anything / because no one can hurt you” as representing Rowan’s own fierce determination and strength. This concept was my guide through the design process to include bold elements and a careful use of color.

Amy Redmond letterpress Seattle Children's Broadsides project.(All other photography courtesy of Amy Redmond.)

It would be easy to show the lion’s power through a literal translation of Rowan’s words. However, after making some quick thumbnail sketches, I chose to illustrate it through a display of calm confidence.

The lion may be at rest — claws in, tail curled around its body — but its one watchful eye says, “Think twice before you make your move.” I imagine it protecting Rowan, watching over him… ready to pounce and unleash that power upon any threat to his well-being. The first rough layout sketch was effortless. In contrast to how my process usually goes. When looking back at my choice to sketch on top of make-ready tells me I really didn’t expect that to happen.

Amy Redmond letterpress Seattle Children's Broadsides project.

I wasn’t sure if I would be able to capture that energy if I redrew it again. Instead, I used a thick charcoal pencil to rework the sketch on top of the original. When I removed the tape that was masking my margins and lifted the page from the table, I got a kick out of seeing my make-ready for Zack Edge’s poem (from the 2016 portfolio).

Amy Redmond letterpress Seattle Children's Broadsides project.

Moving on to typesetting, first I started with the easiest part: LION! Big and bold, the size alone limited my choices. Next, I selected a Latin wood type that when aligned to the right margin of my sketch. This left just enough room for the body text and colophon. Also, it also gave me the excuse to use the Latin Wide metal type in my collection. Typically, this is not a face I would normally choose for body text. Due to the short nature of the poem made it feels safe enough to try. I’m delighted that it worked!

Amy Redmond letterpress Seattle Children's Broadsides project.

By this point, my typesetting was complete for the day even though the colophon wasn’t done. This is my 8th year contributing to the broadside project. And my first year contributing by carving an image from linoleum. For those who are familiar with linoleum, it cuts the smoothest when warmed by the sun. Lucky for me, Seattle was having an unusually warm sunny spell in May. Time to move outside.

I usually shy away from carving. However, I had a strong vision of a bold and graphic piece, that I went for it. For the first time in over 20 years, I invested in a new set of carving tools. I also made sure to purchase extra blocks, just in case of a few errors. Careful viewers can see, right out of the gate, I forgot to reverse my image before carving.

Amy Redmond letterpress Seattle Children's Broadsides project.

On the second carving attempt, I decided to slow down and take a proof before moving forward with the paws and tail. The placement needed to be just right in order for the type to work. Refreshed by a new day, I also finished typesetting the colophon and proofed that as well. Out came the scissors and tape and Sharpies.

Amy Redmond letterpress Seattle Children's Broadsides project.

Paw and tail position decided, the remainder of the lion carving went well with only a few minor slip-ups. The sun was having a positive effect on my outlook, and I decided I could live with a few wayward marks. I moved back into the studio, locked it up, and printed the first run on my Colt’s Armory platen press.

Amy Redmond letterpress Seattle Children's Broadsides project.

With the lion in place, I now had a map from which I could now measure all future passes. I locked up the first form, gave the type a good scrub, and ran the second pass. (Shiny clean type is so satisfying.)

Amy Redmond letterpress Seattle Children's Broadsides project.

In a fit of stubborn efficiency, I decided to print the lion’s eye color with the last line of the poem (“LION!”), in one final pass of orange ink. To guarantee perfect alignment, I mounted a small rectangle of uncarved linoleum to a piece of furniture, made it type high, and composed it with the wood type.

Amy Redmond letterpress Seattle Children's Broadsides project.

Taking measurements of the lockup from the text printed in black, I was able to lock up this new form in the exact location in needed to be. Without changing my page guides on the tympan, I then pulled a blind proof on a still-wet print from the second pass to confirm that the text aligned as I wanted. The black eye of the lion offset onto the uncarved linoleum, revealing exactly where I needed to carve. I added a little trapping as a safety measure, in case some of my earlier prints had shifted alignment in the run.

Amy Redmond letterpress Seattle Children's Broadsides project.

This small series of careful acrobatics worked well, and I’m pleased with the final print. I hope others see in its design what I see in Rowan’s words. “That underneath his joyful and seemingly wild exuberance lies a trained force of powerful inner strength.”

Amy Redmond letterpress Seattle Children's Broadsides project.

 

Come check out Part 1 of this year’s Children’s Broadsides project!  We would like to thank all of our young writers, organizers, printers, and families who help make the 2018 Broadsides project memorable and powerful.

2018 Seattle Children’s Hospital Broadsides: Part 1

We enjoy giving back to the letterpress community and supporting amazing opportunities for printers around us to create, shine, enjoy, and share in the magic that is printing. In its eighth year, Boxcar Press has had the honor of contributing photopolymer plates to the 2018 Seattle Children’s Hospital Broadside project. The culmination of combining the talents of Ann Teplic and Sierra Nelson of the Writers in the Schools program (WITS), the School of Visual Concepts in Seattle, and young local poets at the Seattle Children’s Hospital was 20 cleverly crafted broadsides. Each print had a limited run of 110 editions. This first installment of a two-part blog highlights four printers who share their heartwarming experience bringing their young poets words to life.

2018 Children's Broadsides -IMG12018 Childrens Broadsides -IMG1

Bonnie Thompson Norman

The process of working on the Children’s Hospital broadside project each year is a combination of dedication and commitment as well as skill and inspiration.

Each year, children present to us a selection of poems before we come together as a group of printer/designers for the first meeting. At that gathering, the wonderful poets-in-residence who bring such heart to the project, Sierra and Ann, read each poem written by their young proteges. We have our preferential choices and usually end up with the poem we most wanted to work on…although that process may occasionally require some good-natured negotiating. It never feels like enough time to work on our broadside. Sometimes we receive helpful hints or information from the poet and/or their family. Sierra was able to connect me to the family of the delightful young girl who wrote about her grandmother’s dog and the times she spent with them. Her parents sent me some photographs of them with their daughter and she was happy, gay and playful in the photos.

Bonnie Thompson Norman 2018 Seattle Children's Broadsides

I wanted to convey that delight in the broadside so I carved a linoleum block of a young girl dancing and spinning and another block of a playful dog who (I hope) looked like the one her grandmother had.

Bonnie Thompson Norman 2018 Seattle Children's Broadsides

The type for the poem, title and colophon was a combination of handset type and ornaments from my own cases and Linotype set according to my specifications by my good friend and Linotype master in Los Angeles, Bill Berkuta. Each color is ran individually on the press. The sheets of paper went through my Vandercook SP15 and my Chandler & Price 10 x 15 a total of eight times. This was in order to avoid over-inking the type and/or under-inking the images.

Because of the nature of this project, there is a great deal of poignancy with it. I learned that my young poet had already passed away by the time this year’s project had begun. While I was charmed by both the exuberance of her poem and her photographs, it was bittersweet to know that she couldn’t see herself in the final printed poem.

Justin Gonyea

When I first read Jesse’s poem, his words really stood out to me, and I wanted to put them front and center. To achieve this, I used his poem to create a typographic portrait instead of calling out a specific image he evoked. I wanted to elevate his voice rather than creating my own interpretation of what he was saying.

Justin Gonyea Seattle Childrens Broadsides project - IMG1

My broadside had a total of five passes on press using wood type, metal type, and photopolymer plates. I first handset and printed four lines of the poem that I wanted to emphasize in wood type. Scanning this type allowed me to arrange the text on top of a silhouette. I set the rest of the poem digitally using HTF Knockout, HWT American, and HWT Catchwords. I resized and rearranged the scanned wood type and digital type until I was happy with the composition.

Justin Gonyea Seattle Childrens Broadsides project - IMG1

Back in SVC’s letterpress shop, I used a printout of my digital layout as a guide. I set it down on the composition table and set type on top of the paper. Using upside down wood type, I created a woodgrain texture around Jesse’s words to help create the form for the silhouette. I handset the type for colophon, byline, and title using metal and wood type.

Justin Gonyea Seattle Childrens Broadsides project - IMG1

The woodgrain texture was my first pass on the press. I scanned one of the final prints of this first layer, made sure all of my digital text lined up properly, and then put in an order for my photopolymer plates. On press, I printed the handset colophon, followed by photopolymer plates for the light and dark blue layers. For the green layer, I used a smaller Boxcar base, so I could also print the handset title and byline at the same time as the green photopolymer plate.

Justin Gonyea Seattle Childrens Broadsides project - IMG1

Unfortunately, I didn’t get a chance to talk with the young author for this project. I just hope that my broadside helped amplify Jesse’s voice. It was really fun to design a piece of artwork around his words, and it was an honor to be part of this year’s Seattle Children’s Hospital Broadside project.

Annabelle Larner

This year’s piece is all handset metal type and carved linoleum. In the past, I’d done elaborate pressure prints and layers. This year, I wanted to keep it simple and clear as I did not meet my poet.

Annabelle Larner Seattle Children's Hospital Broadsides.

The poem is called Brother & Sister Bear, by poet Jessyka Smith, age 16. It’s about her little brother, and what a great support and defender of her he’s been in her life. He calls her Big Sister Bear.

Annabelle Larner Seattle Children's Hospital Broadsides.

Jessyka’s poem made me think of a protective, strong, and fierce bear. Using linoleum, I carved a big slumbering bear to lay across and frame her poem.

Annabelle Larner Seattle Children's Hospital Broadsides.

It ended up looking like a polar bear. I thought it would be nice to have a cool, icy-blue area for the bear to rest on, which also added depth under the poem. This blue background was carved in linoleum as well.

Annabelle Larner Seattle Children's Hospital Broadsides.

Regarding the type, I hand-set her name in big, 72 pt. Goudy Text to make it stand out. I also liked how the curves and lines of the typeface looked with the bear. I chose Bernhard Gothic for the poem itself, to contrast with the Goudy Text. Also, I loved the W’s in this typeface, since there were so many that started each stanza! And the Bernhard Gothic ampersand for the title was unique and pretty.

The first item that goes to print is the bear, which uses black ink. Second, is the blue background with a split fountain which contains blue on the outside bleeding to trans white on the inside. Finally, the poem and colophon go to print.

Laura Bentley

Sarah’s poem entitled “Roots” speaks to me because of the nature imagery. Specifically, the imagery of wildflowers and roots. I often print from handset type, but for this broadside, I decided to print from polymer plates. This allows for flexibility on choosing cohesive imagery for the wildflowers and the roots.

Laura Bentley 2018 Childrens Broadsides -IMG1

The layout of the text was designed on a computer with digital fonts, of course. In addition, the foliage and flower imagery are also from a font! Really! The font is called Makalu and is a series of illustrations created by Juraj Chrastina. 

I felt like the playful feel of the illustrations. It fits Sarah’s imagination and her poem. The overlapping of colors to fill the top of the page was a natural fit. To evoke a mid-century modern feel, the roots are a tangle of geometric lines.

Laura Bentley 2018 Childrens Broadsides -IMG1

Each of the four colors was printed separately. For an edition of 120, I started with 130 pieces of paper. For all of you counting this means I am feeding paper through the press 520 times!

 

Stay tuned for Part 2 of our blog article series featuring more printers and their original and inspired prints.

Let’s See That Printed: Mindy Belloff of Intima Press’s ‘Minotaur’

We keep tabs on the many wonderful and intriguing designs that come through doors here for our custom-made photopolymer platemaking services. One that we’ve been following for quite some time is Mindy Belloff (of Intima Press)’s highly detailed illustration and creative typesetting designs in her latest fine edition book project.

As a book artist, letterpress printer, and educator, I have been a loyal fan of Boxcar Press, having ordered plates since the beginning of Harold’s enterprises. The staff have always been helpful, especially when polymer platemaking and digital spec instructions were still in their infancy.

During this time, I have sent to Boxcar a wide variety of digital designs of artwork, student work, and job work. A few years ago, as a new livre d’artiste was in the works, they took notice of the beginning of the work. As I firmed up designs and sent a flurry of large plate orders, I was asked about the scope of this project as it had piqued their interest. I was happy to share the text, but could not stop production and take time to send images of the various pages, as I was working so intensely, designing by night and printing all day. I had close to 2,000 sheets in my studio in various stages of printing for over a year and a half.

Recently, I was asked by Boxcar to reveal more about the fine edition book I have just released, after two intense years of work, which follows.

The book is titled, “A Golden Thread.” It is 92-pages, in a format of folios, featuring the text of “The Minotaur,” a short story by Nathaniel Hawthorne (1853). It is composed of 100 original drawings, some with hand painting, and 200 press runs, in an edition of 40, printed on cotton rag papers with a sheet size of approximately 15 x 21 inches. It is a contemporary twist on the medieval illumination, letterpress printed on a Vandercook Uni III automatic press.

The story begins in blue and gold ink, with our hero Theseus, as a young boy. As the story unfolds, Theseus grows to be a young man and journeys to Athens to find his father, King Aegus.

Theseus has an unpleasant encounter with the wicked Medea before he finds and is embraced by his father. He soon learns of the fate of seven young men and seven maidens, to be chosen as a sacrifice to the Minotaur, a beast housed in the labyrinth of Crete.  Theseus volunteers to sail to Crete with the youths. (By now, you may recall the details of this tragic myth.)

When the ship arrives in Crete, the evil King Minos throws them in the dungeon, to await their fate. Enter the heroine, Ariadne, who secretly releases Theseus and leads him to the entrance of a maze.

The middle section of the book, as Theseus makes his way through the labyrinth to find the Minotaur, is designed with typography that blankets the page. The plates for this section were, of course, quite large, and many pages were printed on one side of the sheet, and then turned (plates and paper), to accommodate the sheet size. Most pages have 5 to 6 press runs each.

In the third and final section of the book, Theseus emerges victorious, having slain the bull-headed Minotaur monster. Our heroine awaits, still holding the golden thread at the entrance to the maze. Theseus and the other 13 youths sail back to Athens, where they encounter more obstacles and tragedy, as expected in a classic Greek myth.

On the final page of the story, our hero becomes King. Below is an image of the page showing two of the four-color press runs, which includes ornamented initials, and border drawings.

The book is hand sewn and beautifully bound with a blue leather spine and gold gilding.

Mindy received a fine press book discount for her entire project for the plates Boxcar Press created.  We appreciate her giving us a sense of her book “A Golden Thread” with words and photos.  Mindy Belloff produces fine letterpress printed book and broadside editions at her Union Square studio under the imprint Intima Press. Her artist’s books have been included in many publications and she received an award for Excellence in Book Design.

You can visit Mindy’s website for more on the Minotaur edition at Intimapress.com.