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.

Inquisitive Printers Want to Know: More Extra Things That Caught Our Eye

Keeping our eagle eyes on the look-out for intriguing and cool things, this month’s installment of the Inquisitive Printers Want to Know highlights Lori Schneider (a woman with Multiple Sclerosis who has scaled  the “Seven Summits”), the wealth of information at letterpresscommons.com,  as well as a very beautiful look at global weather patterns. Read on to learn more!

From Cathy: Recently, I was fortunate enough to hear a talk by Lori Schneider, the first woman with Multiple Sclerosis to climb the “Seven Summits” of the world.  Here she is in a Ted Talk at TedXGrandRapids.

The Seven Summits are the highest peaks of the seven continents.

Listening to her describe her Mount Everest climb sparked a strong curiosity about this particular mountain and sent me searching for all sorts of information.  What I learned was equal parts awe-inspiring, eye-opening and a little beyond belief.  You can Google and find hundreds of articles but this How Stuff Works article is a good introduction to how daunting it is.

Next, I paid a recent visit to Letterpress Commons, specifically to view any of the new videos added since my last look (and to view some of the others again).  There is a wealth of info shared by others on “The Commons”, so it’s highly recommended that folks putter around at the site every few months to see what treasures have been added.  And if you have a tidbit or more to share, check out how to be a contributor.

From Rebecca Taking global weather pattern views to a whole new level is the Earth.Nullschool.net website. This handy website displays in real time the current wind, temperature, and CO2 levels. You can zoom in and twirl the globe to different locations worldwide to see how different weather patterns are moving.

It’s very fascinating (and beautiful!) to see how the Earth’s oceans and landforms effect one another.

Have something nifty or cool that you’d like to share with us? Let us know what it is in the comments below!

CBAA: Broadening Book Arts Opportunities

Boxcar Press is a proud supporter of letterpress printed short-run books.  We offer a 10% discount for fine press work and encourage all printers to explore projects like this.   Many printers are first introduced to book printing through their academic experience at college.  It is very likely their instructors were members of the College Book Art Association (CBAA).  Bridget Elmer, President of the CBAA,  provides an overview of this organization and the numerous options to members and those interested in the printed fine press book.     

A relatively new art form, artists’ books constantly defy a clearcut definition, as do their makers. While some books incorporate letterpress printing for text and image, others might incorporate screen printing, hand lettering, digital printing, or no printing at all. Similarly, their bindings may be in a traditional codex format, a series of broadsides, or a one-of-a-kind altered book. Teaching students both the history and methods of making artists’ books is a unique and evolving challenge.

The College Book Art Association (CBAA) is a non-profit organization committed to the teaching of book art. The association strives to support education about book art, including both the practice and analysis of the medium. It welcomes as members everyone involved in teaching and all others who have similar goals and interests. In addition to the educational community of teachers and students, CBAA’s over 400 members include academic librarians, curators, independent scholars, museum professionals, international private collectors, and practicing artists.

CBAA membership has many benefits, including project assistance and travel grants that are awarded to artists, teachers, and scholars, as well as scholarships for students and recent alumni that are co-sponsored by a growing list of partners including Arrowmont School of Arts and Crafts, Mills College, the Morgan Conservatory, Wells College, and Women’s Studio Workshop. CBAA fosters book art visibility and community engagement by organizing member exhibitions and regional events. CBAA also cultivates the expansion of book art criticism by publishing the scholarly journal, Openings: Studies in Book Art, and facilitates dialogue on the Book Art Theory blog. Finally, members have the chance to convene in person every year by attending CBAA’s annual meetings and conferences.

In 2019, CBAA will hold their biennial meeting in Tucson, Arizona from January 4–5 at the University of Arizona. Themed The Photographic Artist’s Book, this meeting is an interdisciplinary landmark for CBAA—keynote speaker Christina de Middel will discuss the ways her work blends documentary and conceptual photographic practices, and discussion sessions will explore topics including Printing Photographic Images Using Letterpress. Participants will tour the UA Book Art and Letterpress Lab and a multi-venue exhibition of photo-based artists’ books will be on display at the Joseph Gross Gallery in the UA School of Art and at the internationally known University of Arizona Poetry Center. Registration opens soon for this exciting opportunity to learn more about CBAA and the history and contemporary practice of photo-based artists’ books.

CBAA’s 2020 biennial conference will be held in New Orleans, Louisiana from January 2–5 and hosted by a dynamic collaborative of academic institutions and community-based organizations, including Tulane University, Loyola University, Baskerville, and Paper Machine, among others. With a theme of Intersections, the conference program will aim to expand the discussion of book arts and foster an inclusive field that embraces both academic and independent educational programs, welcoming ideas that come from all races, classes, genders, and levels of education.

Sharing Letterpress In Pennsylvania: The .918 Club

Keeping letterpress alive in practice and demonstration is at the heart of The .918 Club. We shop talked with Ken Kulakowsky on how The Club got its start, and the sharing of the tradition of letterpress by providing hands-on learning experiences, educating the public through their museum efforts, and the cool happenings at their recent September Printer’s Fair. Come check out a nifty “walk-through” video of the Fair on their Instagram account!

The .918 Club in Lancaster, Pennsylvania was founded to preserve and teach the art of letterpress printing. The Club is an all-volunteer 501(c)3 non-profit group of educators, printers, and the general public which has as its goal keeping the craft of letterpress printing alive. The .918 Club is named after the standardized height of printing type in the United States. Letterpress was the predominant method of printing until the 1950s but it still has widespread applications and avid followers today.  Printers today produce posters and short-run books, and all kinds of personal printing. The .918 Club’s goals are to educate about the history and process of letterpress printing and to provide opportunities for letterpress printing by students and the general public.

People can enjoy hands on experiences with presses that the .918 Club/Heritage Press Museum has collected and stored since it’s beginning.  There are plans for future expansion of its programs through the Heritage Press Education Center so finding and preserving the tools of the trade are a focus.

The .918 Club began with a partnership in 2004 with the Lancaster Heritage Museum, establishing a working print shop at 5 W. King Street to help meet their first goal of education. After the Heritage Museum closed in 2009, The .918 Club found a new home at the warehouse marketplace known as Building Character on North Queen Street in Lancaster. The museum program was restored, but there is no space for classes and hands-on printing.

In 2014 the Thaddeus Stevens College of Technology offered space for presses and classes. Because this successful program has already outgrown the available space, Thaddeus Stevens College of Technology offered The .918 Club the unused Naval Reserve Training Center building at its nearby Branch campus. This 3000 square foot building is directly across the street from the current facilities. It would greatly expand the educational and work space available while the museum will continue to operate at the North Queen Street location.

The .918 Club has offered workshops and programs attractive to a wide range of ages and interests. Some visitors have the museum as their destination while others encounter the displays while shopping inside Building Character.

The largest group making scheduled visits to the museum are public school students from elementary through high school, homeschool students, and attendees of summer activities such as the YWCA Empowerment program. Visitors to the museum get the opportunity to hear a presentation, see a variety of printing presses, and have the chance to print a keepsake.

At the Thaddeus Stevens College of Technology site, all graphic arts students from neighboring Millersville University, The Pennsylvania College of Art and Design and Thaddeus Stephens College of Technology take a class taught by The .918 Club to learn the history and contributions of their future profession.  They greatly enjoy setting type and printing on antique iron hand presses. 

Lancaster County Boy Scouts can attend a workshop to earn their Graphic Arts Merit Badge and they are joined by Scouts from as far away as New York, Virginia and Texas. Most of the time there is a waiting list for this popular workshop. Limited workshops are also held for the general public. The .918 Club provides speakers for programs at libraries and for various groups, such as schools, clubs, and retirement homes. There is usually an opportunity for participants in these programs to letterpress print a bookmark or other ephemera.

For the past 5 years, The .918 Club has held an annual Printer’s Fair in downtown Lancaster to demonstrate letterpress printing and acquaint the greater community at large with The .918 Club/Heritage Press Museum and its activities.

Allison Chapman and Why She Loves Letterpress – Printing Passed On

Letterpress leaves a lasting impression on a young printer who now loves to kindle this spark in others. Allison Chapman, of Ohio-based Igloo Letterpress, shares with us how a family tradition lives on in her press shop and how she came to love letterpress.

I was lucky enough to learn about letterpress printing from my grandad, Mark Gibson.  He became a hobby printer in the 1960s after finding a Johnson Peerless platen press in a neighbor’s barn.  He restored the press, joined the Amalgamated Printer’s Association and was hooked.  As his “assistant” growing up, I loved to help with whatever projects he was working on.  I soon had a small toy press that I could use while he was printing.  As a kid, I loved letterpress because of the sound of the press running, the smell of ink and paper and the pleasure of repetitive tasks.

As soon as I got to college I realized how special the time in his print shop had been.  I took every printmaking class and started making up independent projects so that would allow me continued access to the print studio.  I successfully schemed and created a study away experience that focused on letterpress history.  I began an internship under Elizabeth Harris and Stan Nelson at the Smithsonian Institution’s National Museum of American History.  At the time there was an amazing demonstration area in the museum where I learned how to knock up ink balls, change the frisket on the common press and fold newspaper hats.

That internship cemented my love of letterpress and of making.  I wanted to read and write about the history of printing, but I also wanted to increase my skills.  I began working at Minnesota Center for Book Arts and learned how contemporary artists were using letterpress and bookbinding.  The 11 years I spent working at MCBA heightened my appreciation for the finer points of the craft.  I became a better printer and bookbinder through the instruction I received and the projects I completed in my home printshop.

A surprise move from Minnesota to Ohio forced me to move the presses out of the house and into a storefront.  This became an accidentally wonderful way to build a community for myself in my new town.  I quickly found an active design community that welcomed Igloo as a print resource.  To build the business I ramped up custom work for local customers and launched a wholesale line at the National Stationery Show.  As production increased I brought in extra hands through talented interns and contractors.  Eventually, I gathered a talented crew of artists and makers to join Igloo’s staff.  Through our work as letterpress printers and bookbinders, we encourage a love of making and an appreciation for fine craft.  Visitors are welcomed to see the presses in action as they shop in our store and are encouraged to stop & make a journal at our book bar or sign up for a class to create their own project.

After 22 years of collecting and teaching, I still love letterpress and find joy in making something new every day.

Smitten for letterpress? We’d love to hear from you! Share your story in the comments below!

Rob LoMascolo: The Call of Letterpress

We enjoy hearing from wonderful members of the letterpress community on how the printing tradition has inspired them to their true calling. Aurora, NY-based Rob LoMascolo of The Press of Rob LoMascolo shares with us on why he is smitten with the printing tradition.

Why do I love letterpress? Letterpress appeals to me on many levels, but I think it is the tactility of it that appeals foremost to many of us. You can feel and see the difference. When looking at crisply printed type with just a slight bite into the paper one gets the sense that each and every letter is a physical thing, not a digital recreation of a thing, but every letter is a real actual thing that is very much part of that printed sheet.

My mom likes to tell people that in first grade we kiddos were all asked what we wanted to do when we grew up. Most of my classmates wanted to be athletes, firefighters or follow in their parent’s footsteps, but I wanted to own my own museum!

Yup, visitors always say my shop is like a working museum. Letterpress combines my loves of history, art, design, books, old machines, and above all, it has a realness about it that is lacking from so much of our digital world.

As much as I love letterpress for all those reasons, the reason I do it is simply because I have not found any better way.

Flourishing Creativity with PRESSDD

Braiding her cross-disciplines of graphic design, web programming, psychology and a love for minimalistic & organic design, Giorgia Katerina of PRESSDD creates beautiful letterpress pieces with panache. Having come by letterpress from a curiosity to know more about the printing tradition, Giorgia has woven into her bespoke creations a love of floral motifs, her great eye for detail, and welcoming warmth. We talk shop on her next adventures into a custom line, the joys of finding zen in her press room, and the exciting feeling of accomplishment when an ink run lines up just perfectly on the press.

RENAISSANCE WOMAN Obtaining a degree in psychology, I originally envisioned pursuing something in this field. Shortly thereafter, I came to the realization my love for design was stronger than that of psychology. As a result, four years ago I started out as a freelance graphic designer and web programmer. Now, I specialize in bespoke wedding stationery. 

GETTING HOOKED ON LETTERPRESS  My journey into letterpress was very unconventional. With a background in graphic design, letterpress was the last thing on my mind. Always looking for design inspiration, I started noticing beautifully printed pieces. Curious by nature, I became eager to learn how to make stationery pieces. As a result, I became hooked on letterpress!

PEACEFUL PRINTSHOP My press room is my personal oasis, complete with no distractions … just me and my press. First and foremost, the accessibility of my press room is second to none. Connected to my home studio, this gives me the flexibility to print at any given time. In this room, you will find a Chandler and Price 12×18 press. In addition, I have a Kensol 27T (which is not part of my studio). Complete with no distractions, just me and my press!

BEAUTY IN THE BUCKEYE STATE I’m based in Rocky River, a suburb of Cleveland, Ohio. A picturesque little town where coffee shops and restaurants are all within walking distance.

FINDING THE CREATIVE VEIN As a self-taught printer, with no true print mentor I find my design inspiration comes from minimalism and organic elements. With a passion for exploring various textural elements, I love how letterpress can create a beautiful, deep blind impression.

PART TIME PRINTING, FULL-TIME FUN As a stationery designer, and a part-time printer I always look forward to press days … as it gets me up and moving, and away from the computer! 

EFFECTIVE AND FLORAL INFUSED DESIGN  As a designer, I like to keep things simple and modern with a touch of organic elements. I love working with florals. Whether it is scanning them to use as background images or sketching them for the press. Similarly, I like to incorporate elements of old-school romance in my work. My favorite period is the French Renaissance!  

PRINTING FEATS My clients are second to none, and I absolutely love working with them and helping bring their vision to life. Simply put, there is no better feeling than being able to give my clients a bespoke letterpress wedding suite designed and pressed specifically for them.

PRESS HISTORY As a perfectionist, and having spent countless hours on any given project, my first print job was such a rush! I had just started as a full-time freelancer … and my first assignment was a wedding suite.

BOXCAR’S ROLE First and foremost, I want to give a shoutout to my girl Rebecca, who was a dream to work with! She and Boxcar Press have saved me quite a few times during the plate making stages. From helping me stock my studio with all the essentials (like everything in my shop … and outside of my C&P and type) to being an excellent printing resource in my times of need. Needless to say, I was lost without the help of Boxcar Press!

PRINTING TIPS My biggest frustrations is setting up a registration for a run. I have spent countless hours measuring, and remeasuring just to ensure the plate is in a perfect position. My advice, print a digital copy of the plate design using the same size sheet of paper you’ll press. Next, tape the plate over the print and transfer it to the base. This will help you save time, and will minimize the number of hours spent measuring (or remeasuring).

WHAT’S NEXT There are a couple big plans on the horizon for PRESSDD. Most recently, I’ve reintroduced greeting cards into my printing repertoire. In addition, I will also be looking to expand my wedding stationery and will be releasing a semi-custom collection.

We here at Boxcar Press would like to give a huge round of applause and thanks to Giorgia Katerina of PRESSDD! We’ll keep our eyes peeled for what she cooks up next in the print shop.

If you would like to be one of Boxcar Press’ featured printers, please complete the Printers Profile questionnaire.

Inquisitive Printers Want to Know: More Things That Caught Our Eye

Always scanning the horizons (and our internet browsers) for intriguing and cool things to bookmark, this week’s installment of the Inquisitive Printers Want to Know showcases the Austin Center for the Book’s amazing workshop offerings, horse-riding librarians in the Great Depression era, and two handy websites that help identify that mysterious typefaces & fonts. Read on to learn more!

From Cathy: I have been enjoying a little stroll through the pages of the Austin Book Arts Center website.  The Center has only been around in its official state since 2015 but was a growing idea since the 1980’s through a group of enthusiastic book workers.  They offer an amazing wide variety of workshops every week and I am drawn to the ones for teachers and kids.

Combine women, books, and horses into one bundle and you get the Pack Horse Librarians.  Started in 1934, over 50,000 families in Appalachia were served with books delivered on horseback.  This program was started as part of the New Deal’s WPA and books and magazines were donated.  When they became too worn, they were repaired or turned into scrapbooks and circulated again. Here are two websites with fascinating stories and photographs. In this age of E-books, it is neat to read about a time when books were scarce treasures.

From Jake:  The printshop offers many wonders when wandering through on a daily basis. The photography captured here shows the light spectrum in all its rainbow glory in the wash-out unit in one of our platemakers. 

Jake-inquisitive-printers-platemaker

From Rebecca: Ever come across a design with such a gorgeous typeface or font….but you don’t know what the name of it is? For both computer and mobile,  WhatTheFont is a great starting point to demystifying that font that’s been on your mind for ages. WhatTheFont is a site where you can snap a photo (or upload one if you are working on your computer) and the online program will start identifying what it may be.If you are into a more answer-questions-type-of-mood, a secondary good website is Indentifont.

Have something awesome or cool that you’d like to share with us? Share with us what it is in the comments below!

Tight Registration with Slackline Press

Connecticut-based Lourdes Irizarry of Slackline Press balances printing life with outdoor adventures in her garage-turned-printing haven. With her Golding Jobber press (which she rescued from dust-covered days), Lourdes enjoys creating punchy, colorful designs and incorporating her love of travel into her work.   In our chat with Lourdes, topics flow from selecting the perfect paper for large solid jobs, to the allure of letterpress and sketching out her future line of wedding invitations.

PRINTING PASSION  My name is Lourdes. I’m a digital art director by day and run Slackline Press as a passion project for now. I was born and raised in Puerto Rico, lived in Orlando, Florida and now reside in Connecticut with my boyfriend and two dogs.

LOVE AT FIRST IMPRESSION I started my letterpress journey in 2013 as a creative outlet from my day job. As a designer, I had always been interested in letterpress but had never looked into what it would take to get set up. After researching different types of presses, I decided a Golding Jobber or Pearl would be the right size for my studio and the type of work I wanted to create. I started poking around online and found a Golding expert in my area that did workshops. It was love at first sight and I immediately became obsessed with building a letterpress studio.

CREATING IN CONNECTICUT My shop is in half of a detached garage behind our tiny cape on the CT shoreline. The detached garage was a selling point when we bought the house but it was in pretty rough shape. We hired a contractor who worked with my crazy vision of building a tiny loft in the crawlspace. It’s definitely my favorite thing about the space. It turned out way nicer than I ever would have imagined.

SURROUNDED BY ADVENTURE I love that I can bike to the beach in our town. There are also a number of outdoor adventure opportunities in the area. Rivers for water sports, plenty of forested trails for hiking and letting the dogs run around as well as a number of quaint town greens with farmers markets, shops and restaurants.

My favorite landmark is the shoreline trolley museum which renovates and runs old trolleys from East Haven to Branford. We’re also 1.5 hour train ride from New York City.

PRINTING MENTORS Yes! John Falstrom of Perennial Designs connected us with our first press and offered an incredible amount of knowledge on the best way to move and renovate our Jobber. Also John Barrett of Letterpress Things whom I acquired my other 2 presses from. His warehouse is packed with supplies and letterpress ephemera. They are both a huge wealth of knowledge and are just wonderful people to know.

Inspiration is everywhere in our surroundings but I’m particularly inspired by travel and culture. I am currently infatuated with Mediterranean patterns.

PART TIME PRINTING, FULL TIME FUN I have a day job so I work my printmaking schedule around that. I’m still working out my long term goals for my letterpress business and figuring out the balance between custom work and my own stationery line. But I would love to build relationships with other crafters and artisans who need branded stationery or packaging.

THE CREATIVE FLOW I always start with really rough thumbnail sketches on paper, on my iPad or just write down ideas. I then try to choose a few that I keep coming back to, develop the sketches a little further and then illustrate them in Adobe Illustrator. Lately I’ve been designing vector art on my iPad Pro to save time going from sketch to digital. I then send my designs to Boxcar Press to get plates made and then print in my studio. I love to photograph my travels and surroundings and often times I use that as inspiration or reference vs having to go online and look for visuals.

PRINTING FEATS I’d say my biggest accomplishment so far is just getting a dedicated space built to house my presses and that I can work in through the seasons. Having it separate from the house but still easily accessible is really convenient.

PRESS HISTORY A Golding Jobber 8×12 platen press that was cooped up in a tiny stone cottage in the mountains of Vermont and unused for 7 years.

BOXCAR’S ROLE First and foremost, Boxcar customer service is the best! They helped guide me when I got started, and are very quick to get on the phone when there’s something wrong with my order or if I have questions. A moment that stands out to me when Boxcar went above and beyond happened when I was having an inking problem. They worked with me for hours (some of which were after business hours) to help me solve my issue. Boxcar has a quick turnaround, convenient real-time uploading and proofing, and fast shipping. Overall, it’s been an affordable way for a small press like me to get started.

PRINTING TIPS The more I print, the more I realize how inking varies depending on the paper I use. If I design something with larger areas of solid color or want smoother inking, I try to print on smoother paper and tend to over-ink. If I have a design that has more fine lines or has a grungier style to it, I try to print on a more textured paper with less ink to add to the grunginess of the design. Also, the brighter white paper is less forgiving in terms of showing imperfections.

WHAT’S NEXT I’m growing my stationery line of greeting cards as well as adding more personalized options like wedding invitations. I would love to attend the National Stationery Show for the first time next year and am learning as much as I can in order to get me there.