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
Welcome to Coffee with a Letterpress Friend. We are “sitting down” with many varied friends every few weeks for a cozy, relaxing chat. Certainly, we will ask questions about printing-related topics but things could go off in unexpected directions. This week during Letterpress Week, we’ll gather with a few folks, so go grab your beverage of choice and let’s start.
Today’s friend is Jim Moran of Hamilton Wood Type (HWT) in Two Rivers Wisconsin. Many of us are envious of his job at the Museum surrounded by the history and all those wood type specimens.
Boxcar Press: Hi Jim, Is there one defining moment that you can recall or point to that was the start of your printing career?
Jim: I was 10 years old and goofing around in my grandfather’s print shop. I had seen both he and my Dad setting type, so I had an idea how it worked. I opened a drawer of 18pt. Cheltenham and tried to spell my name. Where the hell was the letter J? I checked other drawers until I found one marked in pencil to designate their place. Once I set my name, I put it on a little Challenge proof press and inked it up. The black ink was always ready for proofing with a brayer hung on the end. The paper had an enamel finish for clarity. I inked up and pulled a proof! There was my name, magically! That’s all it took.
Boxcar Press: We can relate to that feeling. Is there a similar moment for your involvement with HWT?
Jim: I was working for a Green Bay printer 12 years ago and not liking it much. Sales in NOT rewarding, in my mind. I had been volunteering at Hamilton with my brother Bill, often thinking about how much I enjoyed working with type. I met a woman who was dating my cousin and we were talking about doing the things you really want to, in a general way. She said, “I think you have to ask yourself what you want and how much of your time you actually spend working toward doing those things.” She was not speaking to me specifically but I decided right then, that I would work toward getting a job at the museum. I applied for the job 6 weeks later.
Boxcar Press: Your Aha! moment. You are well suited to HWT. Tell us about mentors or printers that you admire or set you on a particular path?
Jim: I owe so much to my Dad. He was a VERY good printer and an even better artist. He worked me pretty hard, in that he expected my best and was extremely thorough in his approach to what I learned. That meant printing, repairing, composing, estimating, managing, laughing, reading and studying. Always learning. I worked with him for the better part of 29 years. My Mom’s lessons were much more subtle: patience, kindness, reading and keeping a sense of humor.
Boxcar Press: The people who guide us are always significant. So can be the equipment. Tell us about a press you remember fondly (or not so fondly) or one you have now that you prefer to use?
Jim: I have an 8 x 12 Chandler and Price that I was taught to run in 1969. I use it whenever I can.
Boxcar Press: What is that one project that you are always going to get to, that you really want to do but it just never seems to get done?
Jim: Printing a four-color billboard.
Thanks, Jim for the little chat. We appreciate this time of getting to know you and will have plenty more questions to ask at future times when the coffee is perked and we can sit again.
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!
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/
Welcome to Part 1 in a series of blogs that celebrate the Print Museum. We are happy to introduce you to places that preserve, collect and offer hands-on opportunities to learn about printing in a way that enjoyably informs and educates. Read on for a quick “visit” to these places that hold our collective printing heritage.
The Museum of Printing is just north of Boston in the old mill city of Haverhill, on the Merrimack River. There are three Vandercooks, two show card presses, a Kelsey table-top, and a large-format Gordon. There are working machines, including Linotype, Ludlow, and Heidelberg Windmill. There is even a Keurig coffee maker and the fridge is always stocked with libations.
The cabinets are filled with paper. The type cabinets hold metal and wood fonts and the 40-drawer cut cabinet has almost one thousand wood and metal engravings The drawings for every font done by Linotype are here.
Craig Busteed is one of the many volunteers at the 41-year old Museum of Printing in Haverhill, Mass. He finds the Museum’s studio a mecca for himself and other members.
He produced the poster for the Museum’s annual Printing Arts Fair with wood and metal type. Craig also assists at workshops that teach letterpress to novices, young and old. One workshop taught by veteran Ted Leigh covers printing with the hand press using the Museum’s 1888 Acorn press.
The Museum hosts school groups from all over New England. In most cases, the kids set their names and print them. One of them is now in their twenties and shared with us that they still have that print.
Craig also comes in on Wednesdays and helps his team restore vintage Kelseys and C & P’s, many of which are sold at two annual letterpress sales. The Museum Gift Shop sells type and other letterpress items. There are also two annual books sales that offer redundant books on graphic arts.
The Museum of Printing preserves the rich history and working tools of the graphic arts. It archives the largest collection of typographic art and ephemera in the world.