Discovering Pergam Press

Posted on July 17, 2013 by Cathy

We followed Fabiano Santos of Pergam Press into his inking abode settled in the breathtaking city of Carapicuiba, Brazil. Opening the doors to his shop for us, Fabiano let us tour his cozy shop as well as exemplifying the care and technique one acquires when a Heidelberg is present.

THE PRESSES We have two presses, a Heidelberg Windmill and a Minerva Catu, which is completely manufactured in Brazil. Our first acquisition was Catu, here in Brazil it is called Catuzinha. It belonged to a printer man for many years and when he was retired he kept it in his garage. He was very careful man and the press was kept in a very good way. One day, my wife Cris saw an internet ad about the Heidelberg. It was at a company and was used just to put numbers, even so it had a beautiful story because the press belonged to the owner of the company who left it to his son.

SIZE OF PRINT SHOP Our workplace size is 30 square meters. It is my parents garage and the place was a wallpaper warehouse. We made a big effort to take away all those wallpapers and nowadays we use some to cover the presses or as a carpet.

TYPE OF SHOP Commercial.

LOCATION We are at grande SP outskirts, a city called Carapicuiba, where I have always lived with my parents. It is an ordinary neighborhood, with nice people, good neighbors, like country-side where everybody knows each other. People who live here always ask me about what my business is and they get amazed at how the presses work. Around us there are not so many skyscrapers or many cars. It is a very calm way of life. There is no traffic, just small industries and we can feel the fresh air which is something rare in a big city like SP. Further, we want to contribute to help people who live here, it is a special place to us.

FAVORITE THING ABOUT THE SHOP I like to arrive early in the morning, open the doors and feel the typical Pergam Press smell. It is a mix of paper and ink that makes the place unique and allows me to say “Wow! I’m at Pergam Press”. We have a bookshelf full of books and antique toys and also many vinyl Long Plays. But our favorite thing is the antique clichés from the 70’s and 80’s that we found out in the garbage of an old company and today they are here at Pergam Press and we love them!

NUMBER OF PRINTERS IN SPACE We have two printers.

MOST VALUABLE SHOP TOOL I believe the most valuable tool is the Boxcar Base. It is really important to us because it improved the quality of our prints.

INK OF CHOICE We use ink from an antique factory called Tradição Bremensis made in Brazil. Nowadays, we are in love with yellow.

SOLVENT OF CHOICE The clean-up used to be the slow step of the process since we are very careful about the presses. Usually we use Kerosene but we are searching for eco-friendly products to do the clean up.

PLATE AND BASE OF CHOICE We always use the Boxcar Base and Photopolymer KF95 plates.

OIL OF CHOICE We use Petrobras motor oil.

WHAT TYPE OF RAGS DO YOU CLEAN UP YOUR PRESSES WITH The good and old cotton shirt is irreplaceable. Some friends always donate to us.

FLOORING MATERIAL Our floor is made of concrete covered with ceramic.

FLOOR PLAN TIPS We appreciate the natural way of concrete.

PIED TYPE No.

ORGANIZATION ADVICE Always keep the inks very well identified & we also make more than we need in case of reprints.

PRINTING ADVICE It took a long time to find out how important it is to have the correct height of the rollers and the ink volume. At the beginning, we put a huge amount of ink and today we deal it as a chef deals with the ingredients to prepare a dish: with just the right amount.

We are young and have so much to learn about letterpress but everyday is a new experience, a new discovery.

Many thanks to Fabiano for giving us a tour inside of Pergam Press!

Endless Diecutting

Posted on July 12, 2013 by Carrie Valenzuela

This mesmerizing stack is what was left over after diecutting square coasters. What a splendid pattern leading into a dark infinite middle!

Carimbo Press: Innovating Letterpress in Brazil

Posted on July 9, 2013 by Rebecca Miller

Up until recently, Marcelo of Carimbo Letterpress & Design was known mostly for his prowess in the letterpress circles of Brazil and South America. Now he’s becoming a name to those outside of Brazil, gaining attention for Carimbo Press and spreading the modern letterpress love. Marcelo sat down with us between press runs to talk about the tactile appeal of letterpress and expanding his line of printed goods.

MODERN LETTERPRESS Carimbo Letterpress is the sum of the enthusiasm and efforts from Érico and Marcelo, two graphic designers with a passion for typography, printing and old stuff. We went to college together but had been working on separate jobs for several years. In the beginning of 2009 we began to notice some great letterpress work featured on the web and wondered how people were doing those beautiful things nowadays. Then we came to understand the use of modern letterpress with photopolymer, thick paper, cotton paper, edge painting and all that tactile appeal. At the time there weren’t any printshops in Brazil really doing this kind of work, so we went looking for our first press and began making plans for our letterpress studio. Besides that, we thought it was great that we could do things ourselves and be our own bosses.

THE CREATIVE PROCESS Despite being graphic designers, we had no experience being actual printers. So in the beginning, after some printing for ourselves, we decided to offer letterpress printing to friends. Soon we felt confident with the results we were getting and decided that we could do it professionally and thus began offering our services in our area.

FULL TIME FUN For some time Érico still kept his job working at an agency but now we operate as a full time letterpress printshop. Our current goal is to have a nice balance between commissioned work and our own. We have a lot of custom orders (and that’s the priority), but we are always looking for ways to improve our processes and have more time to print our own designs and projects as well.

PRINTING FEATS We are proud of learning how to print by ourselves and overcoming all the difficulties to start this kind of operation here in Brazil. It was – and still is – hard in so many ways, but we feel that we’re always improving. We never had a mentor of any kind, so to understand how to operate all these machines and also to do maintenance is kind of a big deal for us. We think that we helped develop a Brazilian market as well. At first we noticed we needed to have an educational role too, explaining why letterpress printing was so exciting and how it was different from current and modern printing techniques. We had several clients that were looking for something unusual but did not know exactly what letterpress printing was. After some time, we started to get a lot of requests specifically because we were doing letterpress and people had started to ask for it.

PRESS HISTORY We have a small tabletop press from Japan (still on maintenance work), a Heidelberg Windmill (1974), a Vandercook SP-15 (1968), and a Catu (which is a platen press made in Brazil). We have a working Linotype Model 8 (1929), but it still needs to be plugged in. We also have a manual Krause paper cutter, one corner rounding machine and one stapler machine. Our first press was the Windmill and it still gets most of the jobs. When we were looking for presses I remember asking what would happen if by any chance my hand got stuck on the platen. A mechanic that was showing us the machines answered that my fingers would be like a sheet of paper – and so we decided to go with the automatic feeding on the Heidelberg. Now that we have more experience we are confident with our hand fed Catu. We try to equip ourselves with different presses for different types of jobs. We mix our inks by hand according to the Pantone formulas / guide and we are always improving our edge painting technique.

BOXCAR’S ROLE Boxcar helps us in so many ways. First, by providing the press manual for our Windmill (later we would find an original and physical copy in Portuguese, but at the beginning we were always reading the Boxcar PDF). We find a lot of information on the site very useful too, like the instructional videos by Harold. It is hard to find good supplies here in Brazil, so things like the Boxcar Base, swing away lay gauge, roller setting gauge, gauge pins, etc. are excellent additions to our printing gear.

SHOP TIPS Always try to go by the book: adjust the press thoroughly and try to learn and understand all of its moves. Then it’s easier to figure what isn’t working properly and to think on ways to solve the problems. We also find that baby powder is useful in so many ways as it helps cleaning the rails, preventing the plates from over sticking to the base, drying the printed tympan after a missed sheet, etc, etc.

WHAT’S NEXT This year we are trying to get everything in place around here: we are improving our shop and presses so things can be done more efficiently. We also have a lot of ideas that we want to put out and we expect to finally make it through with our line of printed goodies. Our website is in a desperate need of a revamp and we are trying to tie this loose end, too. We have some other nice projects coming along as well.

Big round of thanks out to Marcelo of Carimbo Letterpress & Design for giving us a closer look at the shop!

Hot Off the Press: Spark Letterpress

Posted on July 9, 2013 by Cathy

Letterpress doing good! It’s happening everywhere, especially in the acclaimed shop of Spark Letterpress. James Watne, the printing buff behind Spark, shares with us how he’s growing his business and eco-friendly custom wedding line. We talked shop with James about Heidelbergs (his favorite subject), bringing letterpress to a wider audience, and of course, the alluring “green” nature of the press itself.

TWIN CITIES CHAMP I was born and raised in the Twin Cities and pursued a BFA in Design at the Minneapolis College of Art and Design.

SWEET BEGINNINGS My wife and I wanted to pursue our own stationery line back in 2004 and decided it would be prudent to be able to produce our own work. After a lot of research into what print options would be a possibility for our business, we chose letterpress for all of the reasons people love it. The tactile quality of the impression, the vintage nature of the presses, the eco-friendly aspects of letterpress and more.

PRESS SHOP GOODIES Three Heidelberg 10×15 windmill platens, Heidelberg KS and KSBA cylinders, C&P10x15 New Series, C&P 12×18 Craftsman with Rice feeder, C&P Pilot new style, Challenge 305 cutter, and a bunch of other miscellaneous equipment and tools that help us to get the job done.

DESIGNED FOR SUCESS My background is in design; however, with the growth of our business, I am finding less and less time to design. I primarily print on a daily basis on all of our presses, along with all of the maintenance and repair that is needed.

THE CREATIVE PROCESS Since I do print full time, I have to admit that I can picture a time in the future where I am not printing full time. I don’t want to get too far ahead of myself since growing the business is the stage we are in now. I think long-term I would like to get back to designing more along with helping others set up their presses and repairing/restoring them.

PRINTING FEATS Teaching myself what I needed to know to consistently deliver high-quality work and to keep our machines in top condition for the future.

PRESS HISTORY A Chandler & Price 10×15 new series which we are hoping to dust off and bring back from temporary retirement.

BOXCAR’S ROLE We use Boxcar bases on all of our presses and feel that they make modern letterpress printing a lot more attainable for more people.

SHOP TIPS Those around me will confirm that I can go on forever about Heidelbergs, but one core thing is to master the ink fountain. In addition to adding ink as needed for heavier coverage, it can also take ink away. If the fountain roller has less ink at a given point than the ductor roller, it will pull ink back to the fountain side. Set correctly, this can regulate the ink flow for long runs so it stays consistent end to end.

WHAT’S NEXT We released our new line of custom wedding designs on June 1, and we will be working on our next release right after we get the new line out there.

Huge round of applause out to James of Spark Letterpress for letting us get the full scoop!

Pursuit of Happiness with Papypress

Posted on June 28, 2013 by Rebecca Miller

In the hustle and bustle of the rapidly changing Singaporean landscape, Corby of Papypress is methodically calibrating her Windmills and Adanas. Outside of her shop, one might see technology blurring faster than oil-based ink dries on rollers, but inside, Corby muses over reviving letterpress in a sea of mass printing and fast-paced technological pursuit while discussing the future of letterpress.

(photo: Corby’s printing partner, Ian, and fun letterpress goodies)

THE PRESSES We have six presses for letterpress; two 8×5 Adana’s, two 10×15 Heidelberg Windmills, one 8×5 Kelsey Excelsior, and one 10×7 Floor Model Platen. We also have one 2-color GTO and one 1-color RYOBI for offset.

SIZE OF PRINT SHOP It’s 1600 square feet, which is awfully small as it needs to house all the above machines, our stacks of papers, as well as 10 people!

TYPE OF SHOP It’s an industrial building that we own a unit in on the 5th level. We have been in this location for 13 years and it’s still serving us well.

THE LOCATION It’s in an old flatted factory located 10 mins from town. The area that we are in has some of the best local food, so we never really have to go hungry even when working till the wee hours of the morning. It’s many Singaporeans’ favorite supper haunt.

FAVORITE THING ABOUT THE SHOP I love the smell of inks and paper! The production room has always been my favorite, and the whole space is what we call an organized mess. Our prized possessions are obviously all of our letterpress machines and lead type, as they are almost impossible to find locally. All of our overseas trips are spent sourcing for more type and machines ever since we started reviving letterpress in Singapore.

NUMBER OF PRINTERS IN SPACE 10

MOST VALUABLE SHOP TOOL It’s undoubtedly the Heidelberg Windmill. It can do practically anything! Even after so many decades, the windmill can still create beautiful prints that elicit feelings of intrigue and awe in people. It never fails to amaze me each time I discover something new I can do with it.

FAVORITE INK We use oil based inks. We usually hand mix colors ourselves hence the collection of little boxes of pre-mixed pantone colors. Papypress loves bright colors. Pantone 806 in particular.

SOLVENT OF CHOICE If it’s the Adana a little squirt of kerosene and 2 sheets from my phone directory will do the trick! It’s the fastest and cleanest way I have been taught.

PLATE AND BASE OF CHOICE Handed down from an old print shop, it’s a solid piece of aluminum block with self-made grid lines. I know it’s a far cry from the Boxcar base, but it’s what we have been using since we got the press. I have wood blocks lying around too, but use them only if I want more “Retro” prints. Most times we just stick to polymer plates.

We live halfway across the globe in Asia, where the rapid pursuit of technology and mass printing has meant that there is now a death of letterpress related equipment and accessories here. I probably only know of one other active letterpress printer in Singapore. Supplies are a pain to get here and I usually get them shipped in from the US or UK.

OIL OF CHOICE We’ve been using SDM-801, seems to work well for us. Takes some time before it starts dripping.

WHAT TYPE OF RAGS DO YOU CLEAN UP YOUR PRESSES WITH Definitely old tees. Once in a while a Spiderman or Superman shirt comes along, Pokemons are really common!

FLOORING MATERIAL Concrete. It’s the best in my opinion. It’s easy to clean and mop. Some ink blotches here and there, but inevitable in any print shop I guess.

FLOOR PLAN TIPS I like to have everything around me. Within reach. Always make sure there is enough space to push a little trolley on which you can place your papers around.

PIED TYPE Plenty, especially since we buy bags of types from overseas since the circulation of type in Singapore is almost zero.

ORGANIZATION ADVICE Whenever you take something, just make sure you put it back in the same place! Somehow the human brain is able to build a map of where everything is after a while…

PRINTING ADVICE Post-It notes/pads! I have lots of them around. Whenever you need to increase the packing in a certain area, just slap one of these on the draw sheet for a quick fix! It’s removable and can be easily moved around. Tape and paper tend to damage the drawsheet.

Many thanks to Corby at Papypress for giving us a behind the scenes look at their Singapore letterpress shop!

Bridging the Gap: The Aesthetic Union

Posted on June 10, 2013 by Rebecca Miller

Just shy of three years ago, James Tucker created The Aesthetic Union, a San Francisco press shop that is built to fill the gap between designers & production — and his career has only mushroomed since. With the blossoming business, Tucker has found that he’ll now have more time to enjoy sailing in addition to teaching & printing the finer details of letterpress.

LETTERPRESS LINKS The Aesthetic Union was created about 3 years ago as a need to fill a gap I saw between designers and production. Usually designers would be designing for web or digitally printing and wanted to explore letterpress and more traditional ways of printing. Their designs weren’t translating well with traditional methods and the final product showed a lack thereof. Through a direct collaboration with a team and making sure designers know how the method of printing is done and what the limitations are of letterpress and how to better to push the boundaries, I immediately saw an improvement in the finished products.

HOOKED BY HATCH My first exposure to letterpress was back in college. I was studying printmaking at Maryland Institute College of Art when I saw some work by Jim Sheridan at Hatch Show Print. I was immediately hooked and found myself there that summer as an intern to study with him and Brad Vetter. I continued to work as a pressman after I graduated and moved to San Francisco.

I was first introduced to Heidelberg Windmills and Boxcar plates at a five year stint working as the lead pressman for Hello Lucky and fell in love with those machines and the simplicity of the process of platemaking.

SAN FRAN FUN I’m currently looking for a new space in San Francisco to house my shop, as for now I’m carrying the venerable torch of a tramp printer. I print for many places in San Francisco and in exchange I use their shops as my own. I also teach a number of classes at SF Center for the Book, which just moved into a new space and obtained some great equipment.

FULL TIME FUN Up until recently I was printing full time, but since I started my own business I have had more time to pursue my love of sailing and working on tall ships. So when I’m not in the pressroom, I’m out on the San Francisco Bay chartering large schooners.

PRESS HISTORY My first press was a 10×15 Old Style C&P. I pulled it out of a woman’s basement in upstate NJ in pieces and rebuilt it. I’m currently selling it to pay for my new investment, a late Heidelberg Windmill with lock ups and a rare Asbern proof press.

BOXCAR’S ROLE Boxcar has made registration extremely efficient with the help of the gridded base and transparent photopolymer plates. This decreases makeready and saves time and money.

SHOP TIPS If I could pass along some advice to my fellow printers I want to convey that working smart, clean and efficiently will save time and your sanity.

WHAT’S NEXT The rest of 2013 will be eventful for The Aesthetic Union. We are on the search for the perfect space and once we have it, we’d like to ramp up production and tackle some in house projects I’ve had on the plate for a while. We will also be teaching more at SF Center for the Book, The Arm in Brooklyn, at Skill Exchange and will be giving some more lectures.

Big round of thanks to James Tucker at The Aesthetic Union for letting us catch up with him!

Flying High With Two Crow Press

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Beneath the expanse of the blue skies and huddled next to the wheat & sunflower patches of Kansas, holds Two Crow Press. A Kansas born and raised Ashley Flinn meticulously threads her unique triple-play passions of bookmaking, papermaking and letterpress within Two Crow Press’s shop space. Ever one to experiment with the boundaries of printing & the love of paper, Ashley spent some time catching us up on the whimsical new “unromantic” Valentine’s Day cards and being featured into the finals for Kansas State University’s “Next Big Thing” Contest (to which she’s taken the Gold).

BIG PRESS ON THE PRAIRIE I’ve lived in Kansas for 25 years. I was raised in Manhattan, KS, attended classes at K-State, and got my BFA in Printmaking from the University of Kansas in Lawrence. In 2010, after graduating, I moved back to Manhattan and married my long-time boyfriend at a kick-ass wedding on the prairie. I’ve been taking graphic design and business classes at K-State and I started my own letterpress and graphic design studio last March. My first job was printing wedding invitations for friends from New Jersey.

LOVE AT FIRST SIGHT At K-State there was a very talented book artist, Rachel Melis, and I had her for 2D Design. She was a great teacher, so I kept taking her classes. The next class I had with her was a summer class in book arts and letterpress. Before then, I had just been a photographer, but when I saw what letterpress could do and that you could make books by hand I was floored. It was amazing. Luckily, when I transferred to KU another teacher, Linda Sampson-Talleur, offered classes in those subjects AND papermaking. Basically if it involves paper, is process oriented, and needs a ton of paraphernalia, I’m into it. KU has a great letterpress studio and type collection, including 3 Vandercooks! I miss the shop there a lot. So much space.

SPECTACULAR IN THE SUNFLOWER STATE My print shop is in my basement studio. On one wall, I have a drying rack next to my press. I keep all my inks and supplies under the press table. Next to that is my binding and folding station on a low table in the corner. The rest of the studio is drawers of supplies and paper.

THE CREATIVE PROCESS My designs can start in a number of ways. Usually it’s an idea or theme I want to work with like “un-romantic” Valentine’s cards, neurotransmitters, or evolution calling cards (for when you really don’t want to explain for the nth time why monkeys don’t give birth to humans or “gaps” in the fossil record). Other times it’s just playing with type. One of the best things about designing on a computer is the amazing variety of forms we have access to. Though as a printmaker, I do love working within the limitations of a craft (I’m thinking about you, intaglio…), if I had room for physical type, I’d love playing with that just as much.

PART TIME PRINTING I don’t print full-time. My day job is being a computer lab aide at the local high school. My days are literally non-stop troubleshooting. My ultimate goal is to open a maker space with my husband that will have letterpress, screenprinting, intaglio and relief presses, papermaking, bookbinding, metalsmithing, and all kinds of tech things he’s involved in like 3D printing, a laser cutter, a CNC router, etc. with a shop and gallery attached. I’m really into educating people about various art forms and technology, but I also love creating objects (be it stationery, copper vessels, or limited edition prints). Also my husband wants to experiment with integrating letterpress with the things he knows, and try things like making wood type with a CNC router, etc. and we’re starting to form a sister brand to Two Crow Press for our collaborative work that will be a little edgier and darker (death metal Easter cards, etc.).

PRINTING FEATS Hand watercoloring autumn leaves for 100 wedding invitations for my friends. I felt like a badass. I never push my paper farther than it can go. I understand the desire for a deep impression, but I refuse to punch the paper to the point there’s a big indentation on the other side. If someone wants a deep impression, I use thick paper. I always print my paper damp as well (thank you Linda!) As for material accomplishments, I’m pretty new to the game, so no killer accolades yet. I have been doing pretty well with Etsy sales though, so things are shaping up nicely.

PRESS HISTORY My first (and currently only) press is a New Style Chandler and Price Pilot. I’ve had the pleasure of working on a Vandercook Universal I, but at the moment don’t have the space for a big press like that.

BOXCAR’S ROLE Without Boxcar Press, I don’t think my business would be sustainable. The ease and affordability of ordering plates through you guys is unrivaled. That less than 90 sq. in. equals 2 Day Free Shipping deal is AWESOME. Your website is also very nicely designed. Not to mention the recycling of plates gives me one more green selling/bragging point (and it’s just the right thing to do).

SHOP TIPS Try printing with damp paper at least once. Also try printing on many different papers. I started printing on printmaking papers (Somerset Velvet and Rives BFK) because that was what I was most familiar with, and then branched out to other papers. They all have very different qualities, and it’s good to experiment to find the ones you like best for certain projects.

WHAT’S NEXT This year, I’m hoping to have more time to dedicate to printing. I’m planning on increasing the amount and variety of things I print, and adding a part-time intern to my payroll. I’m really hoping to collaborate with a few local artists to produce limited-edition letterpress art prints. Maybe 3 color and 7” x 10” prints (that’s about the max my press can handle). I’m also going to try letterpress printing paper that has been chine-colléd, some delicate washi attached to Lettra might be really awesome.

Big heaps of thanks out to Ashley for letting us take a look at Two Crow Press!

Shop Tour With La Trasteria

Posted on May 17, 2013 by Rebecca Miller

In the sunny warmth of Barcelona, Spain holds a letterpress shop with a cheerful flavor and festive personality. Mònica and Germán, of La Trasteria (“Trastero” is Spanish for “lumber rooms” as the original space was intended for cut timber) are the power duo of printer & designer for the company, and you can find their work gracing worldwide art galleries and shows. The playful pair took a break from printing their dazzlingly detailed letterpress pieces to tour us around their shop. Olé!

THE PRESSES Just one, a beautiful Heidelberg Windmill lovingly named “La Pecosa” because it came to us fully splattered of ink after 54 years of service. We are looking for a proof press to make the family bigger.

SIZE OF PRINT SHOP We have a 322 sq ft workshop and 129 sq ft studio.

TYPE OF SHOP Our workspace is located in a town near to Barcelona. We have restored two old storage rooms surrounding our house’s garden to set up “La Trastería”.

THE LOCATION One of our favorite thing about the shop is that you can find a lot of things full of history in every corner. We found a lot of useful stuff while we arranged the workshop.

FAVORITE THING ABOUT THE SHOP Choosing one could be difficult, but maybe the most atypical thing could be an old book called “Hints for the pressman”. The fact that we live far from the city keeps us creative and comfortable, we feel more comfy with a quiet life style.

NUMBER OF PRINTERS IN SPACE As we are working in our own house, it is a private space. I am the printer (Mònica) but Germán helps me whenever I need him!

MOST VALUABLE SHOP TOOL A flathead screwdriver, a depth ruler and an apron.

FAVORITE INK We print with Martinez Ayala inks, they are made here in Spain. We have no favorite color, we love all of them, but it seems that a big range of turquoise is in its wave.

SOLVENT OF CHOICE With just one press we have a tiny workshop, so clean up is not a big problem if you keep your workspace arranged after using it. Besides cleaning our Windmill is not hard to do. We use Varn’s Primula Wash.

PLATE AND BASE OF CHOICE During the first year of La Trastería we have been using a 9×12 inch boxcar base with Jet plates.

OIL OF CHOICE 30 weight non-detergent oil. Works awesome!

WHAT TYPE OF RAGS DO YOU CLEAN UP YOUR PRESSES WITH We use recycled cotton rags. They work well and keep away dust and particles from our rollers.

FLOORING MATERIAL A dark grey poreless tilling floor, it’s very easy to clean!

FLOOR PLAN TIPS The main thing for us is to have all machines in a small perimeter, it helps us to clean faster. When the day is over, we just have to sweep and mop the floor. 10 minutes and ready!

PIED TYPE We don’t have any type because we don’t use it. We would like have some big old wood type but it’s hard to find!

ORGANIZATION ADVICE Keep it clean and clear. Clean and put back to their place every tool once it has been used.

PRINTING ADVICE It’s not a secret, in the beginning, when we were learning, we wished to have an experienced person telling us: “Don’t be discouraged, come on, it’s just that the press you have must be perfectly adjusted”. If something doesn’t work, take a deep breath and look for the solution in the simplest things. Once everything is in place, the press will run perfectly.

The Triumphs Behind The Victory Special Press

Posted on May 7, 2013 by Cathy

The Victory Special Press is run by Emily Harris: Nebraska born, Boston raised, and Alaskan forever. Her Anchorage-based press finds its creativity from passions that combine paper-making, letterpress, vintage finds, and of course, the incurable itch to create more. We caught up with Emily to catch the secrets behind The Victory Special Press.

NORTH AMERICAN PRINTING TREK The Victory Special Press is based in Anchorage, Alaska. We moved up here in the summer of 2012, and it’s been an amazing experience for me personally and for my design aesthetic.

I’m originally from Nebraska, spent about eight years living in Boston, and lived abroad a couple of times. I’m definitely eclectic and enjoy exploring different places and cultures (hence all the moving around). We came up to Alaska on holiday last winter, totally loved it, and decided we wanted to make Alaska our new home. Within a few months we had crated the presses, packed up the car and headed north. The drive lasted about six weeks, spanning the continent from Boston to Anchorage: about 9,000 miles. We took a circuitous route and visited many friends and family along the way. I also emailed letterpress printers in some of the towns we stopped in, so we got to meet some amazing people and see some cool shops throughout the US and Canada (thanks to all for opening your print shop doors!). It was really great to continue the letterpress dialogue as we traveled. The highlight was meeting Fritz Klinke and finding the original card of sale for my Vandercook 3 (thanks, Fritz!).

FOR THE LOVE OF LETTERPRESS When I was living in Boston, I woke up one morning with a strong desire to make my own paper. I took a really great week-long intensive class, then ended up with a bunch of paper that I wasn’t sure what to do with. A community print shop offered letterpress classes, so I enrolled in a beginners series and printed solely on my handmade paper. The class was so fun; I totally fell in love with letterpress printing. From there I became a member of the print shop and printed on their Vandercook 4, honing my skills. About a year after I began printing, I got my own Vandercook 3 and started up my company!

I still print on my handmade paper from time to time, but for most jobs I stick strictly to commercial papers. However, there’s something very calming about pulling sheets from water, so I’m hoping at some point to have a section of my studio built out for papermaking.

LETTERPRESS IN THE LAST FRONTIER STATE Since we moved not that long ago, the print shop is currently in the garage. I actually quite like it – when the weather is nice I leave the garage door open so I get lots of fresh air, and the occasional curious moose that walks by! It’s also been a great way to meet the neighbors – everyone seems to have a fascination when the presses are running.

We transformed one of the extra bedrooms in the house into my studio space, so I have plenty of room to spread out. I also like being able to keep finished product far away from the presses – there’s a “clean” room and a “dirty” room.

THE CREATIVE PROCESS I’m both a designer and printer, and have been printing full time for about two years. Because of my Nebraska roots and now living in Alaska, I’m totally fascinated by western, old-timey imagery and images from the Gold Rush in Alaska and the Yukon. I like to flip through books of antique cuts from the 19th century or find vintage photos, postcards, etc. on the internet or at the library. The Anchorage Museum has had some exhibitions recently of etchings from some of the first trappers in Alaska, and photos from the Gold Rush that I spent a lot of time looking at. I use all of that research as inspiration, then sketch ideas out by hand. I then translate the design to the computer by redrawing in Illustrator.

PRINTING FEATS Last year was our first year at the National Stationery Show trade show in New York City. We met some key buyers during the show, and then a large order developed in the weeks after the show, which was during our cross-country trek. We would have to optimize times when we had a WiFi connection (or at least some sort of cell service) so I could read and respond to emails. Because of the store’s deadlines for the holiday season, by the time we got to Anchorage we didn’t have much time to print, package and send off the product. I’m really proud of the fact that, while it was stressful at times, it didn’t stop me from enjoying our trip and experiencing all the beauty our drive had to offer, and that I was able to turn the order around so fast once I got the press uncrated!

BOXCAR’S ROLE Boxcar has helped in a myriad of ways: as a resource for supplies when I got my first press, tips and tricks from the blog, an easy-to-use base with a grid that makes registration much easier. But perhaps most importantly, Boxcar doesn’t care where I live.

When I moved to Alaska, I had to change a lot of my suppliers because the shipping charges were more than the cost of the product. Boxcar has a flat rate for shipping their plates and it’s allowed me to continue to have high quality plates that my product depends on, while not breaking my business’s bank.

SHOP TIPS Don’t forget to keep a playful mind when printing. Since I’m somewhat self-taught, I often think, “What would happen if I do this?” And I try it. Sometimes it doesn’t work, but sometimes it does work, and it can make the print even better than I expected.

WHAT’S NEXT We’ll be going back for our second year at the National Stationery Show in New York this May. If you’re there, swing by Booth #2262 and say hi!

Big round of thanks out to Emily Harris, the clever letterpress printer behind The Victory Special Press!

Thomas & Brown: Covered In Ink

Posted on May 3, 2013 by Rebecca Miller

A final printed letterpress piece or custom made artist’s book is kinetic. Mark Moroney, the printer behind Thomas & Brown, is just that — a kinetic engine full of creativity, intuitive know-how, and ambition. Mark deftly weaves the idea to the rough sketches, to the possible digital manipulation, and to the whirling of the press that produces it. We sat down with the printing aficionado to capture that dynamism.

Letterpress Printer Mark Moroney of Thomas & Brown

All photography courtesy of Amanda Sudimack | Artisan Events

THE INS & OUTS OF PRINTING I am the owner and operator of Thomas & Brown in Oak Park, Illinois. I have been doing that for a little over a year. A couple years before that I worked at Rohner Letterpress in Chicago. Over there, Sam Wilder and Matthew Cordell taught me all the ins and outs of running a Heidelberg windmill. And in the years between I spent time being a dad for two little boys.

IN THE BEGINNING The story kind of starts when I was a Peace Corps volunteer in West Africa. With a lot of solitude and free time I became obsessed with writing and lettering. Lots of bookmaking and letter writing. Upon returning to the US, I thought I would work my skills into the graphic design thing. After a time of working in front of the computer I found that the translation didn’t always work for me. I sort of have a difficult relationship with technology. What I truly enjoyed was crafting with the hand, touching the material, etc. But fortunately for me, Chicago has the allure of letterpress built right into the city. Heck, I lived in a neighborhood called Printer’s Row. I found myself frequenting places like the Newberry Library and Columbia College Center for Book and Paper Arts. At the time, Bill Drendel was working at CCCBPA and I was always amazed at the work he was bringing in to exhibit. It was exactly what I wanted to be doing as an artist and designer. He, along with Suzanne Cohen-Lange, encouraged me to apply to the program there. So I did and that is where I finally got my hands covered in ink.

PARADISE IN THE PRAIRIE STATE My shop is small but capable. I have a Heidelberg windmill, a Challenge paper cutter, and a platemaker. I have lots of letterpress gadgets and I also have a bunch of drawers of type and cuts. It is not terribly exciting but it gets the job done.

DESIGNED FOR PRINT I am a designer/printer and also a jobber. I will do design for anyone who needs it, but I also think it is great working with designers and other creatives who have such wonderful visions. I enjoy helping designers make good choices, understand the medium, and ultimately realizing the project in a physical form. And I think my background in graphic design makes this a lot easier for me.

ROOM TO GROW At this point we do not have enough work to consider myself full time, however with our design and printing we keep busy but of course there is always room for growth. But yes, that would be a goal for the future. And I am working with that in mind.

THE CREATIVE PROCESS My process can go one of two ways depending on the project. If I am designing for a client with a specific goal and and a clear vision, I usually start with a sketch. From there I park myself in front of the computer and assemble the parts. I work on choosing typefaces, take care of leading and kerning. Also, any imagery or graphic elements that need to be included are positioned and refined on the computer. The other way I work is more intuitive. This involves putting together cuts and type together on my stone. I do any color mixing on press, working from light to dark with lots of trans white. I end up with a lot of make ready. Usually designing this way I get some stationery or business cards for a friend. If I am really ambitious it can lead to the creation of an artist book.

PRINTING FEATS Well, I have exhibited in juried shows and done artist in residence programs but, in all honesty, I am always most proud when I get a phone call or an email from a customer who was so happy with their project. People can fake enthusiasm when they are looking at an open gallery but it doesn’t happen when they have spent their hard earned money.

PRESS HISTORY The first press I worked on was a Vandercook Universal. The press that I own is a Heidelberg windmill. I’m sure it has been passed around Chicago the past few decades. At one point – maybe originally – it belonged to Bloom High School in suburban Chicago Heights, Illinois.

BOXCAR’S ROLE I have a platemaker but I do not have an imagesetter. My biggest problem was finding a local reliable film source. With Boxcar, I can just do the whole process online. And the new online order form makes it really easy. I can instantly transfer files and even hold them there until my project is ready. I know exactly what I am sending and how much it is going to cost me. The time I used to spend making plates is now spent on other parts of the business. Also, I was not particularly great at making plates and with the cost of polymer I was always worried about losing money on that part of the process. I know that Boxcar guarantees their plates and I will have what I need for my jobs.

SHOP TIPS Of course I have tricks, dozens and dozens of them. You can’t do this kind of printing without them. The press does not have a computer with alarms and lights monitoring color and alignment and whatnot. Every job is a different set of challenges with a different set of solutions. My best advice would be to find some salty veterans who are passionate about printing & sit down with them and listen to what they have to say.

WHAT’S NEXT My plan for 2013 is to get the word out there that we are here. I would like to find some more designers who still care about the end product. And maybe if I acquire an additional press I would like to open up the studio to artists and offer a hands on experience for the local community.

A large round of thanks out to Mark Moroney of Thomas & Brown for letting us take a peek at his shop!

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