Pleasant At Pheasant Press

Posted on March 11, 2014 by Rebecca Miller

Sarah Ridgley, of Pheasant Press, weaves letterpress magic: from mixing a dash of UK love with her letterpress obsessed research to seeing her designs come to life on her presses. We caught up with Sarah at her Arkansas print studio to talk shop and the irresistible smell of ink and pulling the first perfect proof.

PRINTING ON THE PRAIRIE Hi! My name is Sarah and I live in Fort Smith, Arkansas. I’m married to a Texan from Dallas (Kevin) and we have one son, Finnegan. I’ve lived all my life in Arkansas except for one glorious year in London after I graduated college. I love traveling and try to visit the UK and Europe as often as possible.

LOVE AT FIRST SIGHT Like a lot of other printers I’ve met, I fell in love with letterpress while researching invitations for my wedding. I became obsessed with it and read everything I could find about printing. I decided the best way to really understand would be to get a press, so I bought one on eBay. Back then presses were cheap, and I got my Kelsey 5 x7 complete with a cabinet full of type for only $100. It belonged to a pharmacist and had lots of fun skull & cross-bone ornaments. I immediately ordered a Boxcar base and my first set of photopolymer plates.

PRINTING IN THE NATURAL STATE I love my print shop! We bought a house at an auction several years ago and the main attraction was the 1600 sq. ft garage. There’s room for our cars, my husband’s workshop, my studio and even a gym.

I have my C&P 8 x 12 and a Vandercook 1 along with my little Kelsey. I recently bought a C & P 10 x 15 that’s in pretty bad shape. I can’t wait to get it restored and running. I used to have a Windmill 10 x 15, but it was just too intense for me. I like hand feeding and I never do huge print jobs, so the setup was annoying. I stumbled across the Windmill at a local bank auction and got it for only $100! Luckily our family business is industrial so I had access to all the equipment (and manpower) needed to move it to my studio. And back out once I decided to sell it.

PRINTING MENTORS I’m not sure about this question. I can’t remember who printed all the wedding invitations that inspired me to get involved, but I do know that I first saw a letterpress invitation in the Martha Stewart Weddings magazine.

I am completely self taught, but I had a lot of help from people on Briar Press. I started my letterpress research by reading the book “Platen Press Operation” by George Mills. I was pretty startled to learn that he was from Fort Smith and had a print shop here. I think he died right before I started printing, so I never got to meet him. I always wondered what happened to his print shop.

DESIGN + PRINT I am both a designer and printer. It feels funny to call myself a designer since I’ve never had any formal training in design. But I love designing and seeing it come to life on my press.

CREATIVE PROCESS I get inspired all the time, so I keep track of my ideas with Evernote. Then I usually brainstorm with my husband to refine several ideas and see which ones I want to pursue. Next, I start experimenting with fonts and designs until I can get it to look the way that I see it in my head. That’s the most difficult part for me — getting what I have in my head to come out and look good on my screen or paper.

FULL TIME FUN No, printing is more of a hobby for me. It would be fun to be able to spend all my time printing and designing, but I am not pursuing it as a main goal. Once you have to do that much printing, it would just turn into work and wouldn’t be fun anymore. I still get excited about the smell of ink on the press and the first perfect proof, and I don’t want to lose that.

PRINTING FEATS After I got my first press, I practiced all the time. I was really proud that I was able to print my sister’s wedding invitations only a year later.

BOXCAR’S ROLE When I first started printing, I ordered all my plates from Boxcar. I love the Boxcar Base and I love the service they provide. I make my own plates now, but I never could have gotten where I am without being able to rely on Boxcar in the beginning.

SHOP TIPS I have experimented with my setup quite a bit and have found that thin lead spacers or pieces of rule work really well as gauge pins. I just tape them onto my top sheet with double stick tape and make small cardboard tongues to help hold the paper in place. The spacers are nice because they are thinner than the polymer plates so they don’t get smashed by my base. They are also very sturdy and give me a good ledge to help align the paper.

I use baby wipes to clean my hands while I am printing, but not on the plates themselves. You can get cheap ones from Aldi that are great. A giant bottle of hand sanitizer also works really well to get the ink off your fingers. I’ve used Burt’s Bees hand salve, but it leaves behind a residue that sometimes gets on the paper.

WHAT’S NEXT Lately I have been working on trying to create a cohesive style for Pheasant Press. I am usually all over the place with so many different designs that I don’t feel there is any connection in what I do. I have enjoyed trying different things, but I would like to focus on developing my own style. My favorite eras are Victorian and Midcentury modern, so however those can mesh together is where I want to be.

Big rounds of applause out to Laura for letting us get the full scoop on Pheasant Press!

Vandercooking

Posted on November 8, 2013 by Carrie Valenzuela

Jake is printing bellybands on the Vandercook press. Notice the tape registration system he’s got set up – black straps that hold the sheet against cylinder for returning sheet to operator instead of having to collect it from the end of press bed.

Tim, the Headless Pressman

Posted on September 13, 2013 by Carrie Valenzuela

Tim is completing makeready on his Heidelberg Windmill.

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!

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!

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!

The Vintage Energy Behind Volta Press

Posted on April 26, 2013 by Rebecca Miller

The life of Oakland California’s phenom printing duo has changed fast. From solid beginnings under the guidance of Bay Area letterpress great Betsy Davids to teaching letterpress, the pair behind Volta Press still reminisce about the long nights that honed their trade. During a break between print runs, Boxcar caught up with Laureen Mahler and John Peck for a quick chat.

PRINTERS FROM THE GOLDEN COAST Volta Press is Laureen Mahler and John Peck, a husband-and-wife printer team based in Oakland, California.

LATE NIGHT LETTERPRESS LOVE We started printing while Laureen was in graduate school at CCAC, where we spent countless late nights on the print studio’s Vandercooks. Initially, we wanted to create our own literary journal, complete with letterpressed covers and hand-sewn binding. With invaluable guidance from Betsy Davids (a well-known and much-loved influence on the Bay Area book arts community), we launched Beeswax Magazine in 2005. Now on its eighth issue, Beeswax is still letterpressed & hand-sewn — and truly a labor of love! The journal quickly transitioned into letterpressing for our friends, and we printed everything from poetry chapbooks and LP covers to gallery postcards and party invitations.

THE CREATIVE PROCESS We design and print, although we also work with other designers. Our design process is very much about experimenting with our press and its capabilities; we love to play with texture, size, color, and contrast in our designs, and we’ve learned a lot about the press and our own aesthetic over the years.

FULL TIME FUN A tough question! We did print full time for several years, but to make ends meet that meant taking every job that came our way. We found ourselves losing sight of why we’d become printers in the first place, so we started teaching, took a hiatus from custom work, and focused on building a portfolio that truly represented who we are. Now we teach to supplement our printing income and are happy to say that we’ve found a nice balance of custom work and self-made projects.

PRESS HISTORY Volta Press officially started in 2006 in Betsy Davids’ backyard: she has a meticulously restored SP15 tucked away in an old carriage house. It was a wonderful press, but the building had very little insulation: in the (albeit California) winters, we wrapped up in jackets and scarves to print jobs and had a backup supply of fingerless gloves. Since then, we’ve printed on a range of Vandercooks and C&Ps, and ultimately decided to purchase a Vandercook 3.

In 2009, we moved to our current studio near Jack London Square, where we now occupy two floors in an old pickle factory overlooking the Port of Oakland.

PRINTING FEATS We’re still pretty proud of purchasing our first Vandercook. It’s also really gratifying to be part of Oakland’s thriving small business community, from establishing relationships with other independent businesses to printing everything from coffee bean packaging to bookstore broadsides. Printing what we love and making the press work on our own terms are big accomplishments, though we’re definitely still learning on a daily basis.

BOXCAR’S ROLE We’ve been ordering plates from Boxcar Press since 2006, and we still remember opening the package that held our first Boxcar base. It was like letterpress Christmas, and we haven’t looked back since.

SHOP TIPS Always have masking tape handy, invest in a complete set of Allen wrenches, love the craft and its history, learn to be a grease monkey, make friends, and remember that making beautiful things isn’t always a beautiful process.

WHAT’S NEXT We’ll be teaching letterpress at the San Francisco Art Institute again in the fall, and we’re also working on expanding our in-studio workshops. We’d love to acquire a second press, and we’ve got a crazy idea to build a mobile Vandercook vehicle (though that’s maybe more of a 2014 project!). We’re also working on a literary poster series and a newspaper project, and we hope to launch both of those this summer.

Big rounds of applause for Laureen and John for letting us get the full story on Volta Press!

The Crisp Impressions of Freshly Squeezed

Posted on April 22, 2013 by Cathy

Gracie Fenech of Freshly Squeezed opened the door to her Grand Rapids, Michigan-based letterpress haven and toured us through her cozy shop, which overflows with laughter, the clacking of her beloved C&P, and of course, fond memories of ink meeting paper.

Gracie Fenech of Freshly Squeezed gave Boxcar Press a tour inside her Grand Rapids, Michigan letterpress shop

Photography courtesy of James and Katie Photography.

THE PRESSES Currently, my only press is a century old Chandler and Price 10×15 new style platen press.

SIZE OF PRINT SHOP My section of the shop is about a tenth of the total work space with about 250 square feet.

TYPE OF SHOP I share a work space with a screen printer, which has been a great relationship.

THE LOCATION My shop is located in an old factory building that has been repurposed and now holds a variety of different businesses, both large and small. There are several antique stores just around the corner which I love to visit before I go to work.

FAVORITE THING ABOUT THE SHOP One of my favorite things about the shop is my old wooden work bench. It was given to me by a friend’s father who got it from his father. It had been in his woodworking shop for ages and is covered with years of paint, scratches and spills. There is a metal plaque on the side that says “The United States of America Flying Boat Division”. I can only imagine what sort of history is there!

NUMBER OF PRINTERS IN SPACE I share work space with a screenprinting shop (Hillhouse Screenprinters) which has been a really great relationship so far. Screenprinting and letterpress printing have a lot in common so we are able to learn from each other.

MOST VALUABLE SHOP TOOL My most valuable tool in my print shop is oddly enough my little rubber thimble. I use it all the time for various tasks and it keeps my finger clean from ink which saves me a lot of time washing my hands!

INK OF CHOICE I generally use VanSon’s rubber based ink, but for specialty ink colors (metallic and fluorescent) I use Ink in Tubes oil based ink. Both are great, but they have their differences. My current favorite color of choice is a soft mint like Pantone 621. I think this color looks great on the Crane Lettra in Pearl. It creates a beautiful vintage feeling.

SOLVENT OF CHOICE My method for cleaning has been to keep the rollers on the press and use a shop rag dipped in California Wash. I just roll the press slowly back and forth until the rollers are clean. Then I clean the ink plate and go over everything once more with a clean rag.

PLATE AND BASE OF CHOICE I have been using a 9×12″ Boxcar Deep Relief base since last year.

OIL OF CHOICE I use a white motor oil for my press and it works like a charm!

WHAT TYPE OF RAGS DO YOU CLEAN UP YOUR PRESSES WITH I use blue shop towels for clean up. I like them because they are durable enough to use multiple times.

FLOORING MATERIAL I don’t even know what our floor is made out of to be honest! I’m sure it’s some sort of industrial linoleum.

FLOOR PLAN TIPS The best floor plan is one that creates a work triangle. I have my paper cutter, work bench and press all within reach of each other. This way, I’m not wasting as much time running across the room.

PIED TYPE Honestly, I don’t recognize this term. I feel like I still have a lot of letterpress lingo to learn. I have a large type cabinet with various fonts…century gothic is my favorite.

ORGANIZATION ADVICE I don’t think this would be considered a secret, but I have found that keeping a clean shop is by far the biggest way I boost my productivity. I’m distracted by too much unnecessary clutter.

PRINTING ADVICE When I first started printing, I couldn’t figure out why my printing wasn’t crisp. Everything seemed to have a blur around the edges and bleed into the paper. After countless hours of trial and error, I realized that I was using way too much ink. I backed way off and my next print was nearly perfect. What a relief! I realized that learning to listen to your press to find the right tuning is such a huge part of what makes a great printer.

The Big Impressions of Cartoules Press

Posted on April 17, 2013 by Rebecca Miller

There’s nothing small about Cartoules Press (Greek for “little cards”) or the printing powerhouse, Julie Karatzis, the fiery printer who masterfully prints, throws epic parties, and discusses the future of letterpress. A jewel of the Californian printing community, Julie has been creating beautiful works of art and has been given nods of appreciation (most recently being recognized by the Greek American Foundation as a member of their “Forty Under 40”). We sat down to find out just what’s next for the Californian printer.

Julie Karatzis of Cartoules Press chatted with Boxcar Press about her letterpress print shop and how she got started

Far Left photograph courtesy of Vangie Ogg Photography. All other photography courtesy of Cartoules Press.

DESIGNER/PRINTER/DANCER I’ve been a long time paper fanatic ever since I could pick up a pair of scissors and make things with my hands. I always appreciated the art of quality made stationery and the craft of letterpress. I’m also a Kefalonitisa. Chronic wanderlust. Design junkie. Bon vivant. Amateur photographer. Graphic designer. Runner. Master instagrammer. Typophile. Flea market frequenter. Beach bum. Epic party thrower. Greek dancer. Crafter. A sane OCD.

INSPIRED BY INVITATIONS When my husband and I got engaged I knew immediately that I wanted letterpress invitations. For fun, I decided to take a few classes at the International Printing Museum in Carson, and when I discussed letterpress wedding invitations with my instructor, she suggested that I print my own with her help.

My husband and I rented press time in her studio, and together, we printed them – I was hooked. Shortly after, I purchased a small table top Kelsey, and started creating cards for myself and for friends. And thus – Cartoules Press was born.

CREATIVE IN CALI My shop is in my home studio detached garage in Long Beach, California. We’re actually planning a major home remodel in the next few months so things will drastically change — for the better. But currently my situation suits me and my printing needs.

THE CREATIVE PROCESS When I’m working on a custom invitation or piece, I love to get inside my client’s head and sort out their thoughts. For example with my brides, I love to get a sense of their wedding, but also about their personality — what kind of clothes they like to wear, where they shop — just to get a sense of their likes and dislikes. Sometimes I print submitted work, but I prefer to print my own designs. Right now I’m printing part time, and it’s been this way since the inception of Cartoules Press. While I’m printing I’m almost always drinking a homemade latte and blasting music. I work best listening to Spanish or Greek rock music with a little dance music thrown in.

PRINTING FEATS Last year I was recognized by the Greek American Foundation as a member of their “Forty Under 40” for my work with Cartoules Press and the unique offering I provide to not only Greeks in the US and abroad, but to the design community as a whole. I’ve also received some great press placements in Marie Claire Greece, for example, and have had some super clients like Mercedes-Benz.

BOXCAR’S ROLE You guys are fantastic! Last minute? Under the minimum? No problem. You guys always take care of me and my plate making needs, and with a smile on your face (at least it sounds that way over the phone).

SHOP TIPS Don’t be afraid to experiment with techniques or styles of printing. There’s definitely a few different ways to accomplish the end result with letterpress, it’s just important to find out which methods, techniques, and tools work best for you.

WHAT’S NEXT Remodeling the studio space is top priority right now, and something that I’m very excited about. The presses have moved with us twice now, so I’m really looking forward to giving them a beautiful permanent home full of light and plenty of new storage.

Big heaping thanks out to Julie Karatzis of Cartoules Press for sharing her story!

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