We were pleased to lend support to Carmela Heinztelman when she was approached with a special print request. After seeing the results, we think more professional design projects like this should come to life in letterpress.
When architect Edward Deegan contacted me about making some letterpress prints of his architectural drawings, I jumped at the chance. I admire Ed’s work and have seen many of his designs realized in our Illinois community and his work is absolutely impeccable. Below is one of the beautiful houses he designed, and one of the prints I made from his sketch of this house.
I love printing personalized artwork, and this was no different. To take a talented architect’s sketches and translate it into letterpress printed art that could be framed and hung was such an honor.
Edward had five sketches that he wanted printed. The challenge was to take these sketches and adjust them in a way that worked best for letterpress and kept the details.
We needed to apply a screen, which I had never done before. Enter Prepress from Boxcar Press! I called Cathy and explained this project, and she was excited to help. She looked at each of the pieces and told me the best way to prep the artwork. I converted the scans to grayscale, adjusted the contrast, brightness and threshold, then saved it as a TIFF. It came out perfect – the client was extremely happy!
In addition to the house renderings, I also printed for Edward a tall ships scene and two historical facades. He framed and hung them all in his office.
Thanks Carmela for sharing the printing of these drawings. In addition to being a learning experience for you on the file preparation side, it was a nice treat to see something a little out of the norm come to life in letterpress. This is a very limited edition art that will be viewed and enjoyed.
I opened my Etsy shop, Nine Day Weekend, a few years ago. My initial focus was on custom illustrations of family photographs. Early projects were all laser cut into wood, as either hangable portraits or magnets. One thing led to another and soon my love of the outdoors inspired me to create illustrations of National Parks.
I know it sounds trite, but I woke up early one morning with the random idea that I could draw the Grand Canyon simply by splitting the words in half and spreading them to the far corners of the frame. As I lay in the dark brainstorming how I could rearrange the letters of my favorite parks into similar designs. I brought my sketchbook and laptop to bed and worked until well after noon, but I had laid the foundation for my new project.
I realized early on that I wanted all of the designs to share a uniform visual language, so it was important to keep the line weights equal, no matter how big or small the letters became. Then, I quickly shifted gears and the parks became the focus of my Etsy shop (conveniently, I had already named my shop Nine Day Weekend, after the length of vacation that you create by taking Monday through Friday off work – I think this name lines up well with my new celebration of America’s natural lands and the joys of visiting them).
Over the course of the following days and weeks (and months), I kept working on the remaining parks, trying to turn each name into a distinct feature of the landscape or wildlife of each park. I allowed myself to rotate, flip, stretch, chop, and generally manipulate each letter, but my one rule was that every letter needed to be recognizably present.
Some of the images came to me very easily (like Arches, Hawaii Volcanoes, and Redwood), and I think their simplicity helps to balance out the more complicated illustrations (like Gates of the Arctic, Guadalupe Mountains, and Petrified Forest), where the letters are truly jumbled and it’s more difficult to “read” the name of the park. It’s fun to present my work at craft fairs and watch customers hover at my table while they try to “solve” all of these puzzles.
I first sold these parks as individual laser cut coaster and magnets, so people could create their own combinations of parks to resemble their favorite adventures. But I always imagined the full roster being presented together, so when I finally finished the 59th park (it took over a week to rearrange Theodore Roosevelt into a representation of his North Dakota log cabin and a bison), I needed to find the right medium for the poster.
I had met some letterpress printers on the craft fair circuit, and it seemed like my crisp lines would be a good fit for letterpress. One of them was kind enough to point me to Ted Ollier, who advised me on how to translate my digital artwork into letterpress. He also recommended I contact Boxcar Press for the plate. Having many questions, I was very happy with the patience displayed by Boxcar as I was educated on the process of platemaking. Both times that I have ordered plates (I recently created a second edition that includes the 2 new entries to the National Park roster) I was in a self-imposed rush. Why does it seem like all art projects end at the last minute?
The quick turnaround by Boxcar allowed me to get my posters printed as soon as possible. And even when their quality control found errors on my end (like using RGB instead of CMYK), I was able to correct the problem immediately without delaying production. I’ll let Ted speak to the printing qualities of these photopolymer plates, but I certainly have no complaints. As a letterpress newbie, Boxcar has been a pleasure to work with.
In addition to the plate I ordered for my new 18″ x 24″ print of all 61 National Parks, I also created a smaller plate that features the 5 National Parks of Utah (with the designs themselves arranged into the shape of Utah).
I’m excited to see how outdoor enthusiasts respond to this print. These parks are all very well regarded and highly visited – I’ll actually be visiting them with my family later this month to coincide with National Park Week. I’m incredibly proud of these posters – I love running my fingers along the deboss and I love seeing all of my illustrations lined up in a perfect grid. I looked up the specific Pantone shades of green and brown used by the National Park Service, in order to get as close as possible to the real thing. My hope is that these prints inspire folks to visit, treasure, and protect these amazing lands.
So Dan found me when I was still in a now-defunct letterpress co-op. I ran the original posters on the SP-20 there, but for this run I needed to borrow the SP-20 at the letterpress at Harvard where I teach, the Bow & Arrow Press. I started Reflex Letterpress about this time last year to salvage something out of the demise of the co-op.
The smaller pieces I ran at Reflex on the Vandercook No 4. The presses were feeling good that day, there were no oddities in either run.
The smaller pieces I ran at Reflex on the Vandercook No 4. The presses were feeling good that day, there were no oddities in either run.
Want to snag a print of this beautiful poster? Shop here!
Chris Paul, of North Carolina-based Old North State Press, shares with us how an evening introductory printing class flourished into a love for printing machines and letterpress. From there, with the help of numerous, generous mentors and his wife/partner, Danielle, he has immersed himself happily in the craft. Read on to discover how Chris passes on the knowledge he’s learned with the letterpress community.
CRAFT AND TRADITION
At Old North State Press, we are dedicated to preserving the tradition and craft of fine letterpress printing. We started our journey with the acquisition of a simple cylinder press in 1998. The studio now boasts an impressive array of heavy, outdated machines and equally obsolete related equipment, all meticulously maintained and loved.
In addition to supporting custom client work where the unique characteristics of letterpress printing is desired, the press produces original designs for stationery, note cards, wedding invitations, birth announcements, broadsides, and other printed matter.
I am a classically-trained designer and typographer and completed my MFA in Design at Yale School of Art in 1995 where I was first introduced to traditional printing methods. I enjoy fretting over the details and coaxing beauty from these iron beasts. My wife and partner, Danielle, is a fearless editor and etiquette expert. She has a Masters in Communication. This background comes in quite handy with our clients and the work they bring us. Danielle has a keen eye for fine presswork and ensures every piece we produce measures up to our exacting standards.
GETTING THE PRINTING BUG
Back in the early 90s, while in grad school, a few of us signed up for introductory printing classes, taught once a week on Thursday evenings, at the university printing facilities. The start of the digital era in design was in high gear and while many of us had been working in print for some time, our understanding of the tradition and craft of printing was limited. I had only seen pictures of metal type in books. Greer Allen, the former University Printer at Yale and one of the instructors, would regularly shake his head at how little we knew! He was, however, a truly patient and enthusiastic teacher.
In the class, Greer and a local book designer, Howard Gralla, taught us how to set type by hand and print our simple creations on a Vandercook proof press. I was hooked immediately. The exquisite mechanics. The rich history. The endless possibilities. I vowed then and there I would learn as much as I could about letterpress and, one day, find a press of my own.
I got a job doing design at IBM in 1995. In 1998, Danielle and I moved into our first house. It had a garage and thus, room for a press. We acquired our first press, a Vandercook No. 3, soon after moving in.
THE SHOP: A CREATIVE HAVEN
Because I work in software design, I tend to think of everything as versions. We’re currently on version 3.0 of our shop which we built in 2014 after moving to the Charlotte, NC area. Our shop is about 400 sq ft and houses all of our equipment. We still have the original Vandercook No. 3 but have since added two late model 10×15 Heidelbergs. The first Heidelberg was re-built from the ground up by Graeme Smith while he was with Whittenburg in TN. It is a beauty and our most prized piece of equipment. The second Heidelberg was acquired this past summer and is in need of a good cleaning and some serious TLC. Our intent is to dedicate this second machine to foil and die-cutting.
Because of my desire to learn everything I could about traditional letterpress, I also got into hot metal typecasting in the early 2000s. With the help of some amazing mentors, I was able to acquire an English and American Thompson Sorts Casters and a small library of matrices. I first learned to cast type under the thoughtful tutelage of Pat Taylor, former proprietor of Out of Sorts Type Foundry, and Rick Newell formerly of Heritage Printers in Charlotte. We also have many cases of metal and wood type, an antique John Jacques & Son paper cutter,and all the various accoutrements you’d expect in a working shop.
What we love most about our shop is having a dedicated, climate controlled space to design, make and learn. Letterpress has a deep heritage, and these machines teach us something new every time we use them.
NORTH CAROLINA COOL
Our shop is located on our property in an older, heavily wooded and secluded neighborhood south of Charlotte, NC surrounded by horse farms. We are 10 minutes from historic downtown Waxhaw and 30 minutes from Uptown Charlotte.
I am deeply indebted to many for the generosity of their time, patience and wisdom. I first learned to print from Howard Gralla and Greer Allen while a grad student at the Yale School of Art. Rick Newell helped me acquire my first press and type, and he taught me what it means to run a shop. Pat Taylor, Rich Hopkins, Mike Anderson, and Jim Walczak inspired me to give typecasting a go and encouraged me to keep at it.
Fritz Klinke of NA Graphics took me under his wing early on and instilled within me a love of the process, hot metal type, and the journey of “figuring it out.” Elias Roustom of EM Letterpress taught me more than a few tricks of the trade along the way and his work continues to inspire me. Further, where would any modern day letterpress printer be with a reliable rigger? Pete McFee has moved every press I’ve ever owned and introduced me to electricians and repair techs who know and appreciate these old machines. Priceless!
I’m also indebted to and inspired by the many designers, printers, and clients I’ve met along the way who have shared hints, tips and techniques and pushed me to learn and make.
Last but not least, sincere thanks to my partner, Danielle, who has taken this journey with me, providing support and encouragement at every step.
PART TIME PRINTER, FULL TIME FUN
I am not yet a full-time printer, however, I spend as much time as I can in the shop and am fortunate to have clients who keep coming back and pushing me to learn new things. I suspect one day I’ll be doing more printing than not, but we’re still a few years off from that goal.
THE CREATIVE PROCESS
By day, I work in technology, designing digital experiences and products. Thus, my design process for letterpress can seem to be a bit fragmented. Sometimes, an idea occurs to me and I have to get it out as quickly as possible. Other times, a fragment of an idea may sit in my head, stewing, for a few weeks/months before I act on it. Occasionally, I will start with a technique I want to learn…like die-cutting or foil stamping and create from there.
While I end up sketching quite a bit in the late process, my early iterations are almost always via writing. My sketchbooks have more words than drawings. I have an old t-shirt from Emigre with the slogan “Design Is A Good Idea” and this embodies how I approach what I do. Once I think I have something, I’ll sketch around the idea and poke at it multiple times before attempting to start something digitally.
There is so much great work out there, you never have to go too far for inspiration…old and new.
I’ve been a member of the American Typecasting Fellowship for over 15 years and am a graduate of Monotype University, both run by the amazing Rich Hopkins. Our shop was one of 15 that Rich choose to feature in the book, The Private Typecasters, hand-printed and bound by Henry Morris at Bird & Bull Press. We’re also featured in the book, Vandercook 100.
Most of all, we are proud of our ability to continue to learn, make beautiful things and share what we know with others.
Our first press was Vandercook No. 3 Proof Press, acquired from the Charlotte Composition Company with help from friend and mentor, Rick Newell. I won’t tell you how little I paid for it, but I will say they almost paid me to haul it away. I love that press because it is so simple.
One of our first real print jobs on the Vandy was the birth announcement for our son, Aidan. We did the same when Erin came along in 2003. In 2017, we printed Aidan’s high school graduation announcement on our Heidelberg.
Boxcar has been an inspiration from the beginning: I distinctly remember my first encounter with Boxcar and how elated I felt that someone was actually running a successful business doing letterpress! I then invested in the Boxcar Base and haven’t looked back. I use Boxcar Bases on each press I own and Boxcar processes all my photopolymer plates.
What I love most about Boxcar are two things: One, Harold Kyle and the team have continued to innovate from the very beginning…helping to modernize letterpress and make it relevant for today. The Boxcar Base and Swing-Away Lay Gauge are two prime examples. Second, the team at Boxcar shares everything they know and have helped me be a better printer. I’ve not found anyone more dedicated to the current community of designers and printers.
Perhaps a useful letterpress printing technique? If you’re just starting out with a press like a Heidelberg, focus first on mastering the paper feed. There are so many nuances to feeding and once you master it, your life with be less frustrating and your printing faster and more satisfying.
An old technique I found out about recently, the Flying Dutchman, can help you get tighter registration on a Heidelberg by taming paper bounce:
Read everything you can get your hands on about technique and setup and don’t be afraid to fail. Successfully printing on these old machines can be challenging. The most important piece is to keep at it. It takes time and experience to encounter the various challenges that will present themselves. When they do, step back and think. Frustration, failure and disappointment are how we learn.
I founded the Facebook Letterpress Group in 2007, and we are currently 4500+ members strong. Included in the group are both active and many retired printers with great experience and know-how. I turn to the group regularly when I encounter something I haven’t yet figured out. The team at Boxcar, the Letterpress Commons, and Briar Press sites are also a tremendous resource. Don’t be afraid to ask questions and keep asking until you understand.
WHAT’S COMING NEXT
This might actually be the year we get more of our custom stationery line up and running. This is a goal we’ve had for some time…but…life is what happens when you’re busy making other plans! Now that our children are older, we have more time to dedicate to our various printing projects.
We also held our first letterpress workshop recently, partnering with the Charlotte Chapter of AIGA. It was a big success so we expect to do more of the same and help spread the love for letterpress and type in the Charlotte region.
Crafted with care, hypnotically delicate, and dizzyingly detailed are what instantly come to mind when viewing Ali Norman’s body of printed work. A traditional printmaker by nature, Ali enjoys expressing her vivid concepts through silkscreen, etchings, and now letterpress. The Florida-based printer shares with us the joys of learning new techniques, infusing nature motifs into her work, and pushing the limits of her art.
ALL AROUND LOVE FOR PRINTING
I’m a printmaker with a huge passion for etching, but I also love to dabble in other processes (such as letterpress!). I first learned about it from the amazing Eileen Wallace during my MFA. She helped spark my interest and encouraged me to push the limits of my polymer ideas. Learning from her was an incredible privilege!
HOME IS WHERE THE PRESS IS
Currently, I have access to etching presses at home and at work (the University of Tampa), but no real letterpress access. I’ve been lucky enough to make friends with Sarah and Phil Holt, who have the cutest little letterpress shop at home!
They were very kind to let me use their beautiful orange Vandercook to print my most recent polymer creation. I’m hoping to work with them more in the new year! You can check out Sarah’s letterpress work on instagram at @monpetitpaperco.
I am really inspired by and thankful for the amazing printmaking community that has popped up on Instagram. I have “met” so many amazing artists and learned some cool techniques just from the internet. On a more personal note, I pay close attention to my dreams and am strongly attracted to old engravings, magical texts, and tattoo linework.
PART TIME PRINTER, FULL TIME FUN
I am not currently printing full time. Having just finished my MFA in the spring of 2018, I’ve been teaching part time at the University of Tampa. This gives me a good amount of free time to work on making and selling art on the side! So far I am finding it to be a really healthy and rewarding balance. Although I grew up here [in Florida], I haven’t been back for quite a while! I’m still currently exploring the area.
THE CREATIVE PROCESS
I absolutely LOVE designing for photopolymer!! I’ve found that drawing the key layer first on tracing paper allows me to then flip-flop my ideas, scan them, and easily draw color layers. I’ve tried working more digitally, but always go back to the tracing paper!
ALL IN THE DETAILS
Works take me anywhere from a week to two months to complete before printing, but I’m always working on a few things at once. I try to keep it slow and steady, drawing at least a little every day until I am satisfied. I also often work back in to images, so that can end up dragging things out… as goes printmaking!
FAVORITE PRINTING TECHNIQUE
Intaglio will always be my go-to process, but it’s not always very practical! I like to change things up, especially with quicker processes like letterpress or lithography. It is so satisfying to see a trapped layer lock perfectly in to place each time, and to feel like one with a machine. I also really enjoy how the design process for each technique is so different – it keeps me on my toes!
At this point in my career, I am just very proud and grateful to have made it this far! I’ve been working hard to make my passions a reality and am really seeing that come back to me lately.
I currently have a little tabletop Conrad E12 etching press that was found by a friend of mine at a thrift store! After some heavy cleaning, I now use it almost constantly. I’m hoping to also have a letterpress to call my own some day. Floridian printers – hook me up please!
BOXCAR PRESS’ ROLE
I had my polymer plates for my most recent print made by Boxcar Press! I was a little nervous about someone else making my matrices, and they turned out perfectly. I’m really grateful for this service.
I’m still quite the beginner at letterpress, but I manage to learn something new every time I print. I even managed to smash my fingers in the Vandercook once (oops!).
Right down the highway from Syracuse, New York, is Rochester’s very own Type High Letterpress. At the helm of this cozy, treasure-packed print shop is Tony Zanni. From wood & metal type goodies to presses that shine, Tony gives us a tour of this hidden gem tucked away in upstate New York.
PRESSES AND WOODCUTS AND TYPE, OH MY!
Our shop is located on the second floor of an old candy factory in downtown Rochester, NY called the Hungerford Building. It houses around 40 other artisans of varying crafts. We occupy a 1,200 sq. ft. space that is long and narrow.
At the front of the shop is a small retail area. The rest of the shop is packed to the gills with over 700 cases of wood and metal type, and over 150 galleys of dingbats and cuts. At the back we have our 4 large presses: a Damon & Peets 8×12, Heidelberg Windmill (with factory foil stamping attachment), a Vandercook No. 3 Proof press and a giant Wesel Iron Handpress. We also have a fun collection of small table top presses hiding around the shop as well.
The space in and of itself isn’t really interesting, however, what it’s filled with captures imaginations and inspires creativity. There are all sorts of letterpress goodies to look at. We have originals of Adobe’s Wood Type Ornaments typeface, old wood cuts from various shops around the western NY area, slug cutters, miterers… The Hell Bucket. There’s a lot of stuff to look at if you ever visit.
MOST PRIZED POSSESSIONS
This is going to sound funny but my favorite thing about the shop is that it’s heat included. Our original location was a bit better but boy was it cold in the Upstate winters. The new space… Toasty!
As for fun things / prized possessions, there’s a couple. First would have to be my Vandercook, Izzy. Yeah, I named her Isabelle or Izzy for short. I found her thanks to Shelly at French Press. I asked Shelly to visit this estate sale (because I couldn’t attend) and had her look for Vandy’s. She called and said there was a Vandy in the garage, mostly complete. I said great, put me on the phone with the seller, offered $500 sight unseen. They said yes and I picked it up two days later. I honestly think this was the last $500 Vandercook to be had and this was back in 2009.
This past summer I acquired another nifty item: a Lufkin 6 ft. tape measure with inches and Pica rules on it. Maybe not super practical, but pretty cool.
One more super cool thing I have is an original plate of the very first Photographic image printed in a magazine. It is “A Scene in Shantytown, New York” that appeared in the March 4, 1880 issue of New York Daily Graphic – the first halftone photograph ever printed by a newspaper. Yes, we have a pretty cool collection.
I jokingly refer to my shop as the “train car”. It’s about 15′ wide by 65′ long and has 3 windows in the back and a double door up front. With any luck we’ll be moving down the hall later this year a space that is 1500 square feet. I’m not looking forward to moving all this again.
PRINTING IN THE EMPIRE STATE
We are in the Hungerford Building. surrounded by many other creative artists. On the first Friday and second Saturday of every month we host events. We are the northern border of an area called the Neighborhood of the Arts. About 3 blocks away are the Memorial Art Gallery, Anderson Alley Arts building, plus a host of other galleries & public art pieces.
TYPE OF SHOP
Type High is a commercial letterpress print shop specializing in hand set typography and design for letterpress printing. Obviously, I use Boxcar Press for our plates when the need arises. We teach letterpress workshops in our space, how to set type properly and print an edition. In addition, I also teach a semester long letterpress design class for the Rochester Institute of Technology.
The long list of things currently in the shop from largest to smallest…
Wesel Iron Handpress
Sheet 18×24 printable 16×22
Vandercook No. 3 Proof press
Sheet 14×20 Printable 13.5ish x 18.5ish
Heidelberg Windmill 10 x 13 with Foil
Damon & Peets 8 x12
Nolan Proof press 12 x 18 galley proof press
Showcard Press 14 x 20ish
Old style Pilot Press 7 x10
Sigwalt 2×3 toy press
Challenge 26.5″ cutter
MOST VALUABLE TOOL
The most valuable tool in my shop is my line gauge, Pica Stick, ruler… whatever you want to call it. My favorite one is a Gaebel 612H-12 with inches, Picas, Points and millimeters. Not only is it great for measuring and drawing straight lines, but it’s also great for opening ink cans, cutting open packages, getting things out from under the press. Not to mention, slicing pizza, and cutting cookie cake on those special occasions.
My favorite inks are from the old cans we pull out of shops that we buy out. The older the ink, the better the coverage. Plus it’s usually free and we’re saving it from going to the landfill. When we have to buy new stuff, it’s usually Van Son due to ease of ordering with our local supplier.
SOLVENT OF CHOICE
Don’t tell anyone, I order California Type Wash. It’s an older solvent, that’s probably not as good for the environment as some of the newer stuff but it’s by far the best i’ve ever used. It cleans quick, dries fast, and will take 100 years of ink off in only a few wipes. I like to challenge myself when cleaning up the Vandercook to do it only using one or 2 rags at the most.
For most jobs I need plates for, I use the Boxcar Base and polymer plates. My base is beat up, but it still does the trick. To be honest, I hate printing with polymer plates. It’s been my experience that the ink does not carry well, and they can be finicky at times with the amount of ink on the roller and the roller height. Since we go in between hand-set type and plates, it is challenging at times for make-ready.
OIL OF CHOICE
You’re supposed to oil these things? Honestly, I just use the same oil I use for my race car. If it’s good enough to run at 6000 RPM for an hour in a race car it’s good enough for a press.
PREFERRED CLEAN-UP RAG
I’m cheap… I use Scotts Rags in a box… but only the ones from small mom and pops hardware stores, because they are different from the ones at Home Depot.
I just recycled a 91 lb. bucket of pied worn out old metal type. However, there’s still standing forms from shops we cleaned out years ago. Some of the type from those shops may have been sold or dumped at this point but the standing forms are still in our galley storage. There are also 5 drawers of miscellaneous wood type hiding in the shop. I need a few more hours in the day to handle pied type.
I guess the only secret I have is a Sharpie. I have a pretty photographic memory for where my type is, what it is, and to where that random Cap L needs to go. When I take something out to use, I write in Sharpie the cabinet and drawer number on the back of it. Other than that, as long as I put it away I know right where it is. When I don’t, well let’s just say I swear a lot until I find it.
Things I wish I knew from day one: How to price my work for lines of type setting, vs pricing a computer-aided design. And pricing for press time vs make-ready time vs finishing time. That probably needs to evolve for each person. As a one man shop, it’s tough to figure all that out. If anyone has a magic button for that, let me know.
We count down the top 18 gift ideas in our 2018 Holiday Letterpress Gift Guide for that special printer on your list. Featuring calendars, prints, and type-themed goodies that are sure to please! Let us know what’s on your wishlist in the comments section below!
Newly fledged full-time architect-turned printer, Lauren Ralph of Helen Edna letterpress shares with us her printing journey so far. From being inspired by the vivid color palettes of Van Gogh and Kandinsky to taking up printing lessons at the International Printing Museum in Carson, CA, Lauren’s bright and clean designs reflect her dedication to the printing tradition.
I began my career as an architect. Shortly thereafter, I came to the realization I missed working with my hands. The summer of 2018, I embarked on a new journey and opened my letterpress stationery studio, Helen Edna.
I took printing lessons at the International Printing Museum in Carson. My favorite part was learning the printing process and being able to print my hand-drawn designs and turning them into cards. As a result of the printing lessons, I bought a Golding Pearl. Next, I made the leap to start Helen Edna!
LOVE AT FIRST PRINT
Letterpress cards in boutiques are something that I have admired. Being able to design and print my own cards for people to enjoy is something that brings me great joy.
I live a really neat area in California that is close to just about everything. My house is near the Headlands Conservation Area, Dana Point Harbor … and next to Strands Beach in Dana Point.
All the design work and order fulfillment takes place at my home in Dana Point. While all the printing happens at my husband’s grandmother’s home (which is nearby).
One of my printing mentors would be Mark Barbor, the International Printing Museum Director. Not only did he give my husband and I a printing lesson at the museum. Even more, he has been helpful in getting me started. In addition to Mark as a printing mentor, artists such as Van Gogh and Kandinsky are inspirational.
FULL TIME FUN
Over the last several months, I have been printing full-time. It is a true pleasure in seeing my designs come to life!
How does the creative process begin? First, I begin drawing thumbnail sketches in pen and ink. Next, I take a photo of the design is uploaded in Adobe Draw. From here, I use the Apple Pencil to create the illustration. After this, I export the drawing into Adobe Illustrator and adjust the Pantone colors. Finally, I prepare the design file to send to Boxcar Press. The design file includes adding registration for the designs that are full-bleed.
One of my biggest printing feats is opening Helen Edna. Opening this store is something I have dreamed about for years.
A Golding Improved Pearl No. 11, which I bought from the International Printing Museum in Carson, CA.
BOXCAR PRESS’ ROLE
Boxcar Press’ customer service is impressive. They have a really fast turnaround, are always very polite, and willing to help with any questions you may have.
I have three pieces of printing tips. My first, If you are looking to save time … for card designs that are not a full bleed (and have a good margin around the design) I order precut and folded A2 Crane Lettra, from Astro.
My second tip, to achieve the perfect registration try overlaying your design with the printed design on vellum.
The final printing tip, if you are looking for Pantone ink colors to be spot on, and able to apply directly from the tube onto the disk, check out Southern Ink.
I’m hoping to exhibit at the National Stationery Show for the first time! I also plan on doing more craft fairs and continue to play with designs for my line.
Immensely large round of thanks + appreciation out to Lauren of Helen Edna!
As soon as AJ Masthay’s “Isle of Dogs” print passed through our platemaking department, we had to know more. Discover as we catch up with AJ of Masthay Studio, and this sneak peek. Find out what is the inspiration for this ultra-detailed piece… and where can you enjoy this piece.
The piece was created for an upcoming Isle of Dogs group exhibition hosted by SpokeArt NYC at the Parasol Project, 213 Bowery, NYC. From their Facebook event page:
“Spoke Art is pleased to present the Isle of Dogs Art Show. This is an officially licensed art exhibition tribute to Wes Anderson’s most recent film. The dynamic group show features over one hundred artists, painters, sculptors and print makers, debuting one weekend only in New York City’s Lower East Side.
Isle of Dogs
Isle of Dogs, Wes Anderson’s most recent project, is a stop-motion animated film set in a Japanese dystopian future. The story follows a boy’s journey to find his dog after the species is banished to an island following the outbreak of canine flu. Inspired by the adventurous tale that Anderson brought forth, a select group of artists have created character portraits and highly detailed environments and scenes inspired by Isle of Dogs. Featuring a diverse array of painting, sculpture and limited edition prints, each artist offers their own unique perspective and interpretation of the Wes Anderson film. This whimsical and canine filled pop-up exhibition is an absolute must see.”
About the Piece
I personally love the quirky works of Wes Anderson and am a huge dog lover. I have two very spoiled Labrador Retrievers Dexter & Halley. When asked to participate in this exhibition I immediately said YES!
My piece features the main characters from the film, both human and canine. As well as, the scene in which they debate whether to attack. Spoiler alert – they realize he has come searching for his own dog “Spots” and decide to help him in his quest.
The print is a reproduction of a detailed graphite drawing utilizing a Boxcar Press’ photopolymer plate with a 133 LPI halftone screen applied. We’ve found that once dialed in on our Vandercook Universal III, these halftone plates reproduce tonal drawings beautifully. They come very close to the detail typically found in lithographs.
To mimic the graphite work we do the following steps. First, we mix a fairly stiff, dark gray ink with a touch of brown to warm it up a bit. Next, we use a paper that is soft and supple, such as Arches 88. Finally, we finish the piece with a hint of hand-applied color in the pilot’s eyes. As a result, this slight variation adds a personal touch of individuality. The hand coloring piece complements the printing perfectly.
The Final Edition size is 100 signed, numbered and titled, 15”x20” on Arches 88. Prints are available to purchase at the event. Remaining prints will be made available online following the event, through SpokeArt.
We here at Boxcar Press love supporting our local community & recycling and we have found a great way to do both and give back to Central New York. We rolled up our doors this past Tuesday, October 16th to local Central New York art teachers for our annual Art Paper Giveaway.
Excited and energetic teachers from around and beyond the greater Syracuse area were thrilled to load up their cars, vans, and arms with boxes and bags full of brilliantly colored envelopes, papers, offcuts, boxes, and goodies galore.
With tightened budgets for school art programs on the rise, the Paper Giveaway for art teachers is a fantastic way for teachers to add more creative materials for students in their current classes. Many teachers come back year-after-year with smiles and a keen eye on the look-out for the next “something” for their kids to use in an upcoming art project.
Art teachers who are are interested in next year’s Paper Giveaway for Teachers event can contact us at email@example.com. Picking up paper is on a first come, first served basis and questions can be directed to Boxcar Press at 315-473-0930.
Cozied in the north shore of New Zealand is Birkenhead – a suburb of Auckland that offers gorgeous beaches, picturesque vistas, and the hidden gem that is GTO Printers. Graham Judd was able to take a minute to talk shop with us about his trip to the Ladies of Letterpress last year, falling for printing on day one, his cozy (but efficient!) garage-turned-shop, and gearing up to create more workshops to spread the love of letterpress in New Zealand.
FAMILY AND PRINTING LIFE I grew up in a small country town in New Zealand, had a happy family life, the middle child of five. My dad was the local radio station manager and mum sang a lot in local operatic shows, so we were brought up with music and social activities in our home. We were sent to the local Baptist church and there I made a decision to follow Christ at age 17. This has influenced my journey in life ever since. I moved to Auckland with my wife in 1975, and we are still here. We now have three adult children. They all love what I do, but all have their own careers outside of printing.
FALLING FOR LETTERPRESS I left school with few qualifications and no idea of a career, but a friend who was a compositor in a local printing company suggested I look at an apprenticeship in the printing trade, which I did. And I loved printing from day one. My apprenticeship was as a letterpress machinist, training on Heidelbergs mainly, platens and cylinders. I later retrained on offset as letterpress was phased out.
NEW ZEALAND WONDERS Up until January 2018 I have been leasing a small building in the local area where we live, and I think my ‘apprentice’ Christina kept our local coffee shop in business with her mocha purchases. The situation changed and it was the time to move the business home. So now I have a small (one car garage size) area that houses most of my equipment. I’m allowed a bit of extra space in the real garage for paper stock, and I have my old Albion press at the local library. My print shop is typical, with the Heidelberg 10×15 platen and Polar guillotine taking most space, then a small stone, galley rack, ink stand, work bench, a type cabinet with my wood type, and that leaves enough room to take one step to get to anything! It works well, I can’t buy any more stuff, which is probably good!
MENTORS + INSPIRATION My basic training was done a long time ago, I’m now at the stage of life where I’m passing on my bad habits to others. But people who come to mind that impress me with their work are Jenn at Starshaped Press, the lettering of Jessica Hische, and the work of local printer Tara McLeod who would be New Zealand’s most experimental letterpress printer. In my trips to USA the things that really stand out have been visits to Hamilton Wood Museum, the International Printing Museum in Carson, Edes and Gill Printing Office in Boston, the Crane Printing Plant, and of course our visit to John at Letterpress Things in Chicopee.
DESIGNED FOR PRINT I am really a printer only, very dependent on artwork being supplied by clients. This possibly means I miss out on some jobs that won’t get past the designer/printer shops, but it does mean the job is ready to print when it gets to me, so the decisions that can make a job hard work are all done. It does mean that designers that have pushed the limits of what letterpress can do in their design, give me challenges on the press.
FULL TIME FUN I have run my business full time for nearly 35 years, that included offset and later digital machines. I was fortunate to go through the period between letterpress and digital, when offset ruled, and there was a lot work for a small commercial printer. Now that I am nearing the end of my professional career, I am ok that work is slowing a little, but I still love inking up the press whenever I can.
PRINTING FEATS In 2014 I printed a set of art prints for a client, which won me the supreme award in the Pride in Print Awards in New Zealand, the best of the best printing for that year, beating all the big offset and digital boys in the country. I thought it should get some recognition when I entered it, but was delighted and amazed that the judges put it at the top. That was pretty cool. I have trained up two ladies who have both set up successful letterpress businesses in New Zealand. I am very proud of both of them, and proud to think I had a small hand in their success. I feel the printing trade has been good to me, and am happy to give back as I can.
PRESS HISTORY The first press I purchased was an AM Multi 1250, a small offset press, back in about 1982. By 1987 I had replaced it with other offset presses, and got me a brand new Heidelberg TOK that year. My first letterpress machine was an Adana 8×5, purchased in about 1995 I think. That was about when I got a desire to dabble in letterpress after a 20 year break. I purchased my Heidelberg Platen in 2008, and that’s when I got serious about commercial letterpress again.
BOXCAR’S ROLE Living in New Zealand means I have had little to do with Boxcar Press, only seeing the name pop up regularly on google searches for letterpress stuff. Meeting the boss and Maddie and others at the Ladies of Letterpress convention in 2017 was great. I was most impressed that Maddie was willing to dive into the press to pull out all the rubbish deep inside! Getting the ink into your blood is a prerequisite of a dedicated letterpress printer!
SHOP TIPS My experience is mostly with Heidelbergs, so one thing I reinforce is, for new operators, set up and get the feeder running consistently before inking up the press. If it’s not feeding well it’s just adding to the battle of getting a good job done.
WHAT’S NEXT There are opportunities to run more workshops, both beginner letterpress and Heidelberg platen workshops. I have a plan to set up a mobile printshop, visiting schools, libraries, and events where I can share the letterpress experience. I’m on the lookout for an ex-ambulance or similar. And for a while yet continue to run my little print shop as a profitable and happy place!
A world of thanks to Graham of GTO Printers for letting us take a sneak peek into his New Zealand printing world!