All In The Printing Family With Two Tone Press

Thirteen years ago, printer and illustrator Michelle Dreher began the roots of Two Tone Press in Kansas City, Missouri. Joining forces with her sister, Angie, who helms the business side, brought exciting changes. It catapulted the growing letterpress print shop into a well-run machine full of creativity, fun & eye-catching prints and cards. They branched out with their blossoming printmaking community workshop. Michelle recounts the adventures of buying a building, expanding her studio for her sky-high printing visions, and what’s just around the bend.

EAST OR WEST, LETTERPRESS IS BEST

I grew up in a military family, so we moved around a lot. We lived in Germany and South Korea for several years before ending up back in the US. I later came to Kansas City to attend the Kansas City Art Institute and loved the city so much I never left.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

FALLING FOR THE PRECISION OF LETTERPRESS

At the Kansas City Art Institute, my degree was in illustration, but I spent a couple semesters in printmaking. While there, an interim instructor introduced me to the Vandercook. I immediately fell in love with its hairline precision and registration which made multi-color relief printing so easy.

ALL IN THE FAMILY

I started Two Tone Press in 2005 in a super-drafty warehouse loft on the top floor of an industrial brick building. I was later joined by my sister Angie in 2011 after buying a building in a soon-to-be up & coming neighborhood. She has a business background paired with a love for art and helped whip this place into shape. Together we built our own studio with a modest storefront and lots of open space and high ceilings. It’s been a long eight-year renovation journey but the studio is finally taking the shape of our initial vision.

KANSAS CITY COOL

When I purchased our building, there really wasn’t much going on around us. It has since started to flourish with other creative-minded folks who have banded together to build our own unique neighborhood.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

We even named our new area TowerEast District based on the very orange and prominent tv tower right next to us. It’s been interesting being a part of something new.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

PRINTING MENTORS

My passion lies in creating colorful relief block prints so I draw inspiration from my peers in the field. Our favorite shops are The Firecracker Press in St. Louis, MO and Tugboat Printshop in Pittsburgh, PA.

FULL TIME FUN

Two Tone Press is where I spend most of my time, but I do love to teach. I have been a part-time studio art instructor at the Nelson-Atkins Museum of Art for over 10 years. And just last year in 2017, my sister and I along with another colleague, Ani Volkan, started our own community printshop called Print League KC. It shares the same studio space as Two Tone Press. In addition to letterpress, Print League KC offers workshops of other print processes such as etching, lithography, and silkscreen.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

THE CREATIVE FLOW

At our studio, we create everything from custom wedding invitations to business cards. When there’s “free” time, we create our own line of colorful poster prints and cards. Due to my illustration background, I tend to incorporate hand-carved block images where I can.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

PRINTING FEATS

With the immense support of my family, buying my own building to create our unique studio was a huge accomplishment. And later, being able to give back by starting a community printshop felt really good. I enjoy sharing my passion for printmaking with others.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

PRESS HISTORY

I gained a lot of experience working at another local print shop, Hammerpress, for several years after I graduated college. Then in 2004, Brady Vest, the owner of Hammerpress, offered to sell me a Vandercook No. 3 for $400. I jumped at the opportunity.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

It was a clunky machine that had no motor and a funny little hand crank to distribute the ink. Once I started my own studio, I later traded it for an SP15 from Indianapolis which is still my favorite press to this day.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

BOXCAR PRESS’ ROLE

We started by using metal-backed polymer plates that we spray-mounted to MDF boards. This made precision printing challenging because the boards were never perfectly flat. Then in 2013, my sister recommended we finally invest in a Boxcar Base so we bought the biggest one that would fit on our Vandercook, a 19×13.

Michelle Dreher of Two Tone Press (Kansas City, Missouri) creates beautifully printed letterpress cards, invitation suites, and more.

I can’t even express how much it changed our whole world by making setup so much faster and easier. The grid marks were totally worth it. I’ve never regretted the purchase for even a second and can’t believe I didn’t invest in one sooner.

PRINTING TIPS

Here is one of our useful letterpress printing techniques. We like using a sheet of mylar on top of the tympan sheets around the cylinder to keep a clean surface and then we also like to use removable sticker paper on it to bump up certain areas of the print.

WHAT’S NEXT

We look forward to expanding our store to offer print work from all over the world. We also recently bought the building next door which now has a gallery space on the second floor. We’re excited to put together interesting exhibits that will include letterpress and other print work.

Let’s See That Printed: Isle of Dogs by AJ Masthay

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? Who … 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 Wes Anderson AJ Masthay letterpress print

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. 

Isle of Dogs Wes Anderson AJ Masthay letterpress print

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.

Isle of Dogs Wes Anderson AJ Masthay letterpress print

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.

The Isle of Dogs Art Show group art exhibit is running from November 9th, 2018 – November 11th, 2018. For more details, check out their Facebook page here.

Keeping the Printing Rhythm With Tom Virgin

From Midwest to Miami and to teaching art by-day and printing-by-night, Tom Virgin of Extra Virgin Press weaves a letterpress journey of printmaking.  We caught up with Tom after hours on what makes his printing clock tick, the tales of teaching art in the high-school classroom, and the excellent food fare that is a must for a late night printing session in Miami.

Tom Virgin of Extra Virgin Press prints on a Vandercook.

PRINTING, SLUGS & ROCK’N’ROLL I was born and raised in the Midwest, just outside of Detroit. Fueled by blues, jazz, Motown, and rock & roll, I made my first print in 1972. I am now in my sixth childhood, having spent twice as much time in South Florida than in my native Great Lakes State.

IN TYPE-TOP SHAPE In 2004, I took a letterpress class with Kerry McAleer at Pyramid Atlantic Center in Silver Springs, Maryland. We made cards with a short quotation of our choice. Mine was:

“The course of true love nevər did run smooth.”– William Shakespeare, A Midsummer Night’s Dream | Act 1, Scene 1

I quickly realized my mistake, reset the type, and reprinted. I decided the typo was more in the spirit of the original quote, and returned the position of the second “e” to the first version. This is my first love of letterpress story.

THE PRINTING TRANSITION I am a bookworm (and a storyteller). Printmaking eventually led me to book arts. The ability to create archival editions from press printed text and images was what made me finally get into letterpress.

Tom Virgin of Extra Virgin Press prints beautiful broadsides.

I have always worked in communal studios as a printmaker, so the transition to letterpress was a natural step. The first presses I printed on solo, were at the Jaffe Center for Book Arts in Boca Raton, Florida. Arthur Jaffe bought my very first book for the Jaffe Collection, and mentored me for the rest of his life.

SPLENDID IN THE SUNSHINE STATE Nestled in the middle of Little Haiti just north of Downtown Miami, I am a five minute drive from Korean fusion BBQ, Haitian cuisine, Thai food, awesome burgers and, right next door, Clive’s Jamaican Jerk Shop. Four blocks away is the Little Haiti Cultural Center. I am a white guy in Miami, living the cushiest minority experience on the planet. Extra Virgin Press has a Vandercook 4 Proof Press (formerly owned by Gaylord Schanilec, and lovingly donated to EVP by Regula Russelle of Cedar Fence Press- both from the Twin Cities in Minnesota). Our second press is a Challenge 15KP. Both presses are bringing back letterpress printing to the Miami community. The presses keep me from eating all of that amazing food, every waking hour.

The printing abode of Extra Virgin Press in Miami, Florida.

PRINTING MENTORS I am fortunate to have had many teachers and mentors, all of whom have contributed mightily to my printing practice. I am especially indebted to Arthur Jaffe, who welcomed me to the Jaffe Center for Book Arts, and John Cutrone (Convivio Books/Jaffe Center) in South Florida. Stephanie Shieldhouse at Highway Press, in Jacksonville, Florida gave critical support when Extra Virgin Press became a reality in 2016.

In Red Wing, Minnesota, in my home-away-from-home, the Anderson Center at Tower View, I have been well schooled by the proprietor of Red Dragonfly Press, Scott King. Scott and Robert Hedin, the retired Director of the Anderson Center also introduced me to Regula Russelle (Cedar Fence Press), Chip Schilling (Indulgence Press), Monica Edwards Larson (Sister Black Press), Amanda Degener (Cave Paper), CB Sherlock (Seymour Press), Gaylord Schanilec (Midnight Paper Sales), and Richard Stephens, all from Minnesota Center for Book Arts, one way or the other. Moe Snyder and Maria Cardenas set me straight in Portland, Oregon. Many others have lent me assistance and support.

Tom Virgin of Extra Virgin Press prints beautiful broadsides.

GETTING INSPIRED My Instagram feed is a constant inspiration. I follow all I can find. Regula’s Russelle’s books offer me a sublime view of the world of color that helps me escape from black and white woodcut prints. (Mary) Bruno Press, another Minnesota great, keeps me smiling, Amos Kennedy in Detroit offers a powerful moral compass, and damn fine work to back it up. Another Motown great is Signal-Return. When I grow up, I hope to create a community of dedicated printers like Lynne Avadenka has, in Downtown Detroit. Can I just say, “Hatch Show Print in Nashville?” Writers have enriched my life immeasurably.

THE CREATIVE PROCESS My visual arts practice included printing, painting, drawing, book arts, and public art, prior to my entry into letterpress printing.

Teaching high schoolers letterpress printing with Tom Virgin.

Teaching a full spectrum of arts classes in Title I Public High Schools in the fourth largest school district in the United States helped me with design. I suspect the students teach me more than I teach them. My colleagues in grad school, as well as fellow Professors, Adjunct Professors, and working artists have helped me to bring some skills to the letterpress world.

Tom Virgin and helper set-up Vandercook printing press.

PART TIME PRINTER, FULL TIME FUN At this point, I am printing after school and on weekends. That is the bulk of my waking hours. My retirement from the public schools will make it possible for me to print full time.

PRINTING FEATS —In 2006 I received the Florida Artist Book Prize for Right There, an artist’s book about Sleeping Bear Dunes National Lakeshore, and a semi accurate account of my childhood in Michigan.

–I have taught five or six thousand teenagers about art.

–Extra Virgin Press has received support from the Knight Foundation, Cannonball Miami’s Wavemaker/Long Haul Grant, Miami Dade County Cultural Affairs, and the Miami Foundation, in its quest to bring letterpress back to Miami.

PRESS HISTORY [My very first press was] a Vandercook 4 Proof Press, Serial #13622.

Vandercook presses inside Extra Virgin Press in Miami, Florida.

BOXCAR’S ROLE Cathy and Rebecca make it possible for me to function in a letterpress world, answering far more questions than can be reasonably expected. The words on the website about setting up a letterpress shop are revelatory. Thank you Harold and Company.

SHOP (AND LIFE) TIPS I am still learning, but you will be the first to know.

WHAT’S NEXT I look forward to more printing, more books, more kids, more grant applications, and teaching new printers, so that I can run both presses every day.

A triple round of applause & thanks out to Tom Virgin of Extra Virgin Press for letting us take a sneak peek at his wonderful + tropical printing world!

Vintage Cool: WE ARE 1976

The creative trio behind WE ARE 1976 effortlessly combines fun, eclectic, and world-wide inspirations to create hand-made letterpress paper goods in the heart of Dallas, Texas. From punches of color to fun & funky illustrations & prints, the shop is a happy culmination of the team’s love of learning, community printmaking workshops, and the ambition to keep the creative juices flowing. The crew caught us up on eight (and counting!) joyous years honing their craft, incorporating letterpress in their day-to-day lives, and enjoying the rich printing community that surrounds them.

FUNKY + FUN Hello! We’re Vynsie, Jully, and Derek and we own a small shop and letterpress design studio in Dallas, Texas called WE ARE 1976.  We opened our shop 8 years ago and we carry handmade and beautifully designed objects (ceramics, jewelry, and home goods) and paper goods (stationery, cards, and prints) from independent makers from all over the world. 

About four years ago, we started making our own line of stationery and art prints and have added custom branding, design, and letterpress printing to what we offer. We also teach printmaking workshops and host guest instructors that teach workshops such as calligraphy, water coloring, and jewelry stamping. We all grew up around the Dallas area and love being a part of the creative community here.

FIRST TASTE OF PRINTING Vynsie’s background is in graphic design. She got her first taste of letterpress and antique printmaking techniques at Graham Bignell’s Paper Conservation in London many years ago (cleaning old type cabinets in exchange for press time).

She also worked at Peter Harrington’s Rare Books (at their sister antiquarian print shop, formerly known as Old Church Galleries) which deals in rare books and antique prints made from wood, copper and steel engravings.

We carried the same vision and love of printmaking when we started our business. We have a diverse collection of art prints from illustrators, designers, printers (letterpress and screenprint) from the United States, Europe, Japan and Australia. Dallas also has a really tight letterpress community and we’ve been fortunate enough to get to work with them in various ways – the amazing people at Inky Lips PressMissing Q PressColor Box Studio, and Studio 204 were very generous with their time, expertise, and the work they shared in our shop. Five years ago we decided to make letterpress a permanent part of our shop. We started taking more letterpress workshops from places like Punch Press in Austin and San Francisco Center of the Book and with a bit of patience, we were able to locate two presses. We started printing immediately, teaching ourselves and each other.

BIG PRINTS IN TEXAS We moved to our current location because we needed a bigger space to fit our letterpress studio, which takes about half of our shop space. We’re in a charming historic district called The Bishop Arts District in Oak Cliff, Dallas. We’re across the street from a wonderful pie shop, Emporium Pies, and cute shops like Green PetNeighborhood, and Wild Detective. Most of the businesses are independently owned and we feel incredibly lucky to be here. There’s also amazing food and drinks on every corner in Oak Cliff –  Small Brewpub, Hattie’sEl Si Hay and Spiral Diner. Also, The Texas Theatre is a revitalized theatre with independent programming, fun events, and they host new art exhibitions monthly at their Safe Room gallery.

PRINTING MENTORS One of our presses is from the Art Larson’s Studio Hortan Tank Graphics. When the press was shipped to use, his colleague Joe Riedel came down to help us set up and was invaluable in teaching us the fundamentals of running and operating our presses. And, as mentioned above, we were really encouraged and motivated by many in the Dallas letterpress circle – Casey McGarr of Inky Lips Press, Jason McDaniels of Missing Q Press, Rhona Warren of Color Box Studio and Kim Neiman and Virgil Scott of Studio 204. Also, in our shop, we carry work from other illustrators/printmakers that really inspire us – Daria TesslerNate DuvallNaoshiDeth P Sun and Kelly Puissegur

DESIGNERS + PRINTERS We’re both. We’re a family business and work on most projects together whether it’s just exchanging ideas initially or packaging finished projects. It’s so important for us to create unique and beautifully crafted pieces for us and for our clients so there’s lots of discussion and brainstorming before we even start designing or printing. We usually go through a few rounds of roughs and concepts before we get to a finished piece. We have a nice collection of antique type, so we work on many typeset posters, digitally design work, and use Boxcar plates.

FULL TIME FUN With our custom work, own line of stationery and our workshops we’ve been printing full-time for 4 years now. We’re lucky that we have really good team here so if we’re not printing that day, we’re designing something new, or trying to come up with new ideas. 

PRINTING FEATS As simple as this sounds, just operating these complex machines is something we’re proud of. Whether it’s just servicing the press, troubleshooting to get the perfect impression, or finding a solution for a squeaky part, learning to trust our instinct with the mechanics of these antique presses while producing beautiful high quality print work brings a new kind of confidence that we don’t get from our normal day-to-day life. We’ve been very proud to do more custom work – wedding invitations, branding projects, personal stationery. All of these moments and projects are important to our our clients and we’re so honored to be a part of it.


PRESS HISTORY Vandercook 325 and Challenge Proof Press. We have added a Vandercook 219 and tabletop Pilot.

BOXCAR’S ROLE Boxcar has made it so much easier for us to create custom work for our clients and for our own line of paper goods. Super helpful with file prep questions and any changes or adjustments. 

WHAT’S NEXT Designing and printing more! 

An amazingly large round of thanks out to Vynsie + team of WE ARE 1976. Keep up the phenomenal & beautiful letterpress work!

Let’s See That Printed: Dana Kadison’s Exotic Flamingo Letterpress Prints

When the intricately-detailed illustrated flamingo graphic passed through our platemaking service, we were eager to learn more about what was to become of this plate and the resulting final pulled print. The printer behind the design, Dana Kadison, let us in on how the illustration project came to be and how she turned a long-mused-over concept into reality.

An illustration by Dana Kadison being made into a letterpress plate by Boxcar Press
An illustration by Dana Kadison being made into a letterpress plate by Boxcar Press

Dana filled us in on beautiful (and long-term) project details: “As a photographer and collector, I have built a library of images and ephemera that is the foundation for an ongoing series based on the Mexican bingo game Loteria. Currently there are eight Loteria images. Each one exists in more than one “state”: my CMYK proofs, which will eventually have reverses and be printed as cards in a boxed set; monoprints, which I produce whenever I want to work out an idea or a reverse (like the Yeats Mariachis); soon, the editioned prints which include letterpress layers; and finally, Ofrendas, of which the Flamingo is the first. The Ofrendas, or offerings, are simpler statements of the ideas in the Loteria card series.”

Dana Kadison on press with a Vandercook printing press.

“The Flamingo Ofrenda is casual and references Jose Guadalupe Posada’s work. About two years ago, inspired by a set of Players cigarette cards, I was thinking about, and scratching, all kinds of birds, particularly finches, but also hornbills, crossbeaks, frogmouths, macaws, etc., and finally settled on a flamingo for card #2. The flamingo, for Americans at least, is undeniably iconic and the males and females look alike.”

“Now there is a suite of 8 images ready for editioning on 18×24 sheets of paper. Each one synthesized from a myriad of “stuff”: you know, the words, texts, images, objects, conversations that make up a life. And the first thing I wanted to add to each image is the text that will be on the reverse each of card when they become actual cards. For the viewer the text would be a clue to what I was thinking. Of course I wanted it in my own handwriting. And this is where letterpress comes into play. It all started with the idea of plates of text in my own handwriting.”

“So I took a class at Robert Blackburn on a Vandy 4. The flamingo, my first plate from Boxcar, was for that class. Using that Vandercook 4, I printed the flamingo two ways, straight and then over monotypes. All the prints have the same degree of impression. I like the straight prints, but am still deciding about paper. The monotype backgrounds please me the most, perhaps because I did not try to register them with the plate. Knowing that, once set, the Vandy would take care of itself, part of this exercise was to let go of the urge to register. While all of this is happening, I did press my first image with Pilar Nadal at Pickwick Independent Press in Portland ME.”

Dana Kaddison prints beautiful letterpress flamingo monoprints with Pilar Nadil.

“Letterpress is an aesthetically and physically freeing experience. We all know that paper is not really 2D, that it has depth. Letterpress layers add visible texture that can be seen with or without ink. And a letterpress registers. It is a little unsettling to use a press, completely unlike pulling the screens myself. Atmospheric conditions in the NYC studio are so variable and water-based inks misbehave in such interesting and frustrating ways that achieving consistency in CMYK prints takes great physical and mental stamina.

With letterpress I can imagine more and physically achieve more. For the editions of the first 8 images, I chose to set the 6.5×10.25 card faces on 18×24 sheets of paper and handwrite the text from each reverse below the screenprint of its card face. The handwritten texts are becoming letterpress plates. And there was more beautiful white space available. So parts of the reverse images are now finding their places as letterpress in that white space. For example, #2 will be embedded in the enlarged body of my scratchwork flamingo.”

A large heaping round of thanks out to Dana for letting us get a sneak peek at the brilliant flamingo designs!

Banshee Press: Best Friends in Letterpress

When best friends Britt Madden and Ava Goldberg of Banshee Press set-up shop in the creative & booming city of Denver, Colorado, they sought to foster the true tradition of letterpress by raising the bar for elegance, quality and beautiful craftsmanship. Fast forward a few years later and the magnificent duo still prints perfection, adds to printing ephemera collection, and heckles one one another in good fun. The brilliantly cheery pair sat down with us to catch us up on the next moves for the shop, properly cut paper (the foundation for success!) and why you shouldn’t print & mix colors alone at night.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in ColoradoBritt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

BUILDING FROM THE GROUND UP We are a duo (Ava & Britt) born and bred in Colorado. We met in high school and have been best friends ever since. After college, many travels and odd jobs we decided to unite our creative talents and work a job we loved and built from the ground up. We both majored in print, and decided letterpress was a perfect channel for our perfectionism and design dreams, so creating Banshee was an obvious move. Out of the studio we take advantage of all the adventure Colorado has to offer and spend our free time outside with our friends and family.

THE FIRST TASTE OF LETTERPRESS Britt didn’t have letterpresses in her school, and once she graduated decided that she needed to learn. She bought a C&P 10×15 New Style on Briar Press and taught herself in her garage. Ava’s school did have letterpresses and she learned to use them while in college. We maintained our practice the best we could until we began Banshee with the purchase of our second press, the Vandercook Uni I.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

CREATIVITY IN THE CENTENNIAL STATE Our shop is located in the RiNo (River North Arts District) of Denver. It’s a concentration of creative businesses, including architects, art galleries, designers, furniture makers, illustrators, wineries, breweries, sculptors, photographers, and an array of studio spaces. The buildings are covered in murals and color and the streets bustle with evening nightlife. Our space is full of natural light, plants, and presses, and we enjoy having people come and go as they walk by. Our favorite thing about it is that we can use the space for all of our creative endeavors, not just letterpress, and encourage our friends to visit us to do so as well.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

MEET THE PRESS FAMILY Our first press was a Chandler and Price 10×15 New Style. We now additionally have a Vandercook Universal I and a Heidelberg Windmill 10×13.

DESIGNED FOR PRINT We are both designers and printers and we print designs provided by our clients as well. We have a quirky aesthetic, and enjoy designs that utilize the unique capabilities that letterpress offers.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

THE CREATIVE FLOW Normally we begin any design job with close conversations with our clients. The more information we can gather, the faster and more efficiently we can design to their needs. It saves us energy and them money. We then move into our brainstorming sketch phase where we put whatever our brains come up with down on paper.

After a “would you want that to be your logo?” elimination, we come back to clients with a variety of ideas that we narrow from there.  Sometimes we know that either Ava or Britt will be more of a fit for a particular job and will work solo in those situations, but never without feedback from the other.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

PART-TIME PARADISE We do not print full time. Britt has two young kiddos that capture much of her attention and Ava owns and runs her own business as well. Printing full time is something we wouldn’t mind, but at this point in our lives is not something we can make the time for.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

PRINTING FEATS Making it onto Boxcar’s blog!  For the past two years we have published an artist series of letterpress editions that we are very proud of and enjoy doing immensely. We recently purchased a Windmill and have taught ourselves how to use it. And finally, we are best friends in business and we still love each other with all our hearts.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

BOXCAR’S ROLE Boxcar is our patient, kind, and understanding babysitter. We know the rules, and yet, we sometimes break them. They always call us with a smile to remind us of our errors before we make them. They have kept us from adding additional stress to our jobs, and consistently make this huge piece of our process easy. Thank You!

SHOP TIPS Bow down to King Reggie and make him your friend. Properly cut paper is the foundation to success. And don’t mix and print color alone at night.

Britt Madden & Ava Goldberg of Banshee Press are the best friend duo behind the beautiful letterpress pieces that are hand printed in Colorado

WHAT’S NEXT In 2017 we are going to focus more on our own designs and begin creating a line of products all our own. It’s easy to lose yourself in printing other people’s jobs, and we want to keep our aesthetic a priority. It makes everything more fun.

Immensely huge round of thanks out to Britt & Ave of Banshee Press for letting us take a peek at their printing paradise!

Greenboathouse Press Navigates a Smooth Course In Fine Press Printing

Jason Dewinitz of Greenboathouse Press, is a fine press printer who hails from Western Canada. He is also an award winning book designer who has thrown open his studio doors to give us this friendly and laid back tour. His current studio isn’t on a waterway anymore, so for the interesting background story on the name, read more here.

Take a virtual tour of Greenboathouse Press, the laid-back Canadian letterpress printing workspace and abode of Jason Dewinitz.

THE LOCATION Greenboathouse Press is located in Vernon, British Columbia, a year round tourist destination in the lower southern region of BC. The workshop is attached to the house and is 20 by 24 feet (480 square feet), otherwise known as not big enough. While I certainly appreciate the community that a shared space offers, I prefer to work alone (or with an apprentice), so I cherish my private space.

EFFICIENTLY PRODUCED SHOP I was going to say my space is simply a glorified two-car garage, but “glorified” is a bit of an overstatement. The upside of a garage is, of course, the garage doors, but in my case it’s also helpful that both the electrical panel and furnace room are off the garage, as I needed to run a 220V line and running water to my Monotype Super Caster. The ground-level entry and concrete floor are also great, considering that the casting machine likes to spill molten metal all over the place. As for a floor plan, as can be seen in the photos, I’ve set up a number of workstations, for cutting paper, setting type, printing, casting, and working on machine bits & pieces. Although every square inch of space is taken up, it’s an efficient and reasonably comfortable area conducive to getting things done.

FAVORITE THING ABOUT THE SHOP I’m pretty fond of every single thing in the shop, likely due to the fact that only about 30% of my equipment is currently set up there. The bulk of my stuff is at the print shop I’ve set up for my students at Okanagan College, so what’s in my shop at home is the best of it. Aside from the machines and tools, likely the two features I appreciate the most are the long work bench at the back of the shop (for setting type) and the shelving unit behind the press, which holds all of the stuff one needs while printing (ink, reglets, leads/slugs, furniture, tools, etc.) at arm’s reach while printing.

PRESSES I work almost exclusively on a Vandercook 15-21, the adjustable bed of which is crucial in my shop given that I have quite a bit of European type that’s not .918”. At the college shop I also have an SP-25 Power and a giant 14.5” x 22” C&P. I’ve had a couple of SP-15s pass through as well, which I sold to get the SP-25, although I’m currently looking to sell the 25 in order to get my hands on a 219 or Uni III (I need another press with an adjustable bed, and the 25 is simply more than I need in terms of size).

MOST VALUABLE SHOP TOOL Where to start…value, of course, being relative, I have a handful of tools that are worth a fair penny, and a few of those are also extremely valuable to me in terms of utility. At the top of the list would probably be my point-micrometer, which is one of only a handful in existence that measure in (North American) typographer’s points, with increments of 1/16th of a point. This is extremely handy for casting type, but also great for simply measuring type & spacing while setting & finalizing forms. Next to this would be a good alignment gauge and lining gauge, both used for casting. In terms of printing I’d have to say my favourite tool would be a pair of stamp-collecting tweezers that are ideal for pulling out sorts & spacing when correcting forms. And, by the way, I can’t seem to find these things anywhere, so if anyone has a source please let me know!

FAVORITE INK & COLOR When I inherited my first press & etc. from Caryl Peters (of Frog Hollow Press in Victoria, BC) with whom I very informally apprenticed, she also passed along two partial cans of a black ink that has, in my experience, no equal. It was a formula developed by Stephen Heaver and produced by Hostmann-Steinberg. The stock is long gone, but even after 14 years in the can, the stuff prints like nothing else I’ve worked with: perfect viscosity, deep, rich but matte black, and holds up for hours on the rollers. My two cans are almost gone now, so I contacted Hostmann-Steinberg in Canada who pulled the formula up from their US division and they were kind enough to make a big tub of the stuff for me, but I have to say it’s just not the same. I’m pretty sure they scrimped and used synthetics, and the new formulation is far too thin and soft. I’ve found, though, that if I work some out on the glass and (gulp) leave it exposed for about 3 days, then skim off the top skin, it works pretty well. Wish that I could find a stash of the old stuff though!

CLEAN-UP ROUTINE I have a very simple wooden cradle that holds both my oscillating and rider roller carriage, as well as my two rubber rollers, and this makes clean-up pretty easy. I use California Wash, mixed 50/50 with water, and paper towels to get most of the ink off, and then do the final cleaning with straight Wash and clean rags. I’ve got clean-up down to about 15 minutes. I use a lot of heavyweight Bounty paper towels, and chopped up old cotton sheets for rags.

OIL OF CHOICE I use pretty much any non-detergent oil, I’m not fussy as I use very thin coats on the rails and just a few drops in the oil holes.

BOXCAR BASE + PLATE SYSTEM I use the standard Boxcar base with standard plates. As I’m not doing job work and thus don’t feel the need to pound deep into chipboard, this simple configuration has worked very well for me. My most challenging job with polymer thus far was the Feliciano book, which was an alphabet book with each letter having two fill plates and a stroke plate with VERY fine lines. The registration was near impossible, but the plates did their job and the results were darn solid (see images).

PIED TYPE It all goes in the casting machine. Last summer I melted down over 2,000 lbs of old type and cooked them into fresh ingots for the Super Caster. Now there’s a fun job.

ORGANIZATION ADVICE Mostly I just follow  “A place for everything, and everything (usually) in its place…”

PRINTING TIPS Roller bearers. Sure, the Vandercook allows for careful height adjustment to the rollers, but that does nothing for maintaining inking with uneven or gapped lines of text. Bearers actually control the height of the rollers, and can be taped here and there to address the text arrangement. And, change your packing/tympan with every new form. And, keep your press clean. I’ve seen presses that look as though they haven’t been cleaned in decades, and the result is always crappy printing. And one last secret: keep the ink light on the press, just a kiss of contact between roller & type, and then double-ink every pass.

Take a virtual tour of Greenboathouse Press, the laid-back Canadian letterpress printing workspace and abode of Jason Dewinitz.

Many thanks to Jason for this look inside the Greenboathouse Press! Visit Jason’s Pinterest page to see more of his presswork.

Printing Inclinations With Jennie Putvin of Nane Press

Part-time printing doesn’t have to mean small design. Big-hearted printer Jennie Putvin of Nane Press excels at breaking the mold as a side-business letterpress printer. The tactically inclined and design-centric Jennie has been printing up a storm in her unique studio that gleans its creative current from surrounding artists within the building and from the fact that her studio is part of a refurbished church. We caught up with her between late night print runs to check out how beautiful the perfect balance of makeready can be to the thrill of holding the final finished custom letterpress piece.

Jennie Putvin of Nane Press works expertly on her Vandercook printing press.

photograph courtesy of Eliza Gwendalyn

A LOVE FOR PRINTING At my day job I’m a graphic designer, but at heart I’m a craftsperson. Letterpress printing is a great marriage between the two; making something wonderfully tactile with your own two hands gives you a sense of satisfaction you just can’t get sitting in front of a computer.

Letterpress work samples from Jennie Putvin of Nane Press

HOME IS WHERE THE PRESS IS My studio is in a refurbished church with gorgeous original details and kooky additions. While I’m the only printer in the space, other artists of different disciplines are always working and creating. Feeding off the creative energy in the environment is definitely something that keeps me going.

A peek inside the Nane Press letterpress print shop

NATURAL BORN PRINTER I took printmaking classes in college, and as a designer, I’ve always been interested in type and book design. So it sort of came as a natural progression to take my first letterpress printing class at the Center for Book Arts in New York City. It was also great to be able to rent studio time in their facilities before I bought my first press.

DESIGNED FOR PRINT I design and print my own work, as well as print other people’s designs. Other designers’ work always poses an interesting technical challenge, and I think makes me a better printer.

A peek at the type inside the Nane Press letterpress print shop

THE CREATIVE FLOW I’m always collecting images and writing down ideas. For custom jobs, I always make an inspiration board with a color palette. Some of my projects are hand-illustrated, and some are only type-based. In the past, each of my designs has been tailored towards a specific client, but I’ve got plans to start building cohesive ready-made designs that look more like my personal style.

Letterpress cards from Nane Press Letterpress work samples from Nane Press
(above photographs courtesy of Eliza Gwendalyn)

FULL TIME FUN I don’t print full-time, but I would love to one day!

PRINTING FEATS Paper has the ability to impact people’s daily lives in a very unique way. I’m always excited when my work is shown in galleries or published in a book—but when I hear that someone has received an invite or card I’ve printed and loved it enough to save it, well, that’s the best compliment a girl can get!

Letterpress work samples from Nane Press

BOXCAR’S ROLE The great folks at Boxcar help me troubleshoot along the way. If there’s a part of a design that’s going to be challenging for the plate to print (usually with punctuation in a thin font), I get a call from them with the heads-up. Knowing more about the limitations of the photopolymer has probably saved me dozens of hours of headache on the backend.

Letterpress work samples from Nane Press

PRESS HISTORY A Vandercook Universal I. Her name is Phyllis, and she’s a great press.

The Vandercook press at Nane Press

SHOP TIPS I couldn’t live without my calipers. My shop isn’t humidity-controlled, and I spend a decent amount of time getting packing right. I’m always swapping in and experimenting with different types of paper, and knowing how thick your makeready is before you disassemble what’s under the drawsheet takes out a lot of guesswork.

Letterpress wedding invitation samples from Nane Press

WHAT’S NEXT I’ve got a collaboration in place with a calligrapher that I’m super excited about. I also just got a die-cutting jacket for the press, so I’m really looking forward to experimenting with that!

A huge round of thanks to Jennie of Nane Press for letting us catch up with the delights of her printing abode.

In the Printing Vein at Nane Press

One of the best types of letterpress print shops is cozy (but mighty!) — one where you can kick up some beautiful prints, sway to some good tunes, and enjoy a good scone or cookie (or two) from the local bakery just a stone’s throw away. If this sounds like a printing haven to you, Nane Press (rhymes with rain) in Red Hook, Brooklyn is a must-see. Jennie Putvin will be be slinging ink with a cheery smile on her face when you walk in to her printing abode (just be sure to say hi to Bradley the shopcat while you’re there).Jennie Putvin of Nane Press with her beautiful letterpress printed cards and invitation sets. MEET THE PRESSES I have two presses: a Vandercook Universal I (her name is Phyllis) and a C&P Oldstyle 10×15 (his name is Bill). I love them both and feel so lucky to have met them.

SIZE OF PRESS SHOP A small but mighty 300 square feet!

THE LOCATION My studio is an old church in Red Hook, Brooklyn. Red Hook is a great neighborhood full of artists and makers right by the water, a little off the beaten path. On long workdays (and, let’s be honest, shorter ones too) I always make my way over to the local bakery, Baked. They have a breakfast cookie that is to die for. The pier with amazing views of the city is also a 5-minute walk away. In a city full of tiny spaces, being in a church with 3 stories of open air in the middle is amazing. I sublet from an artist who makes robots and kinetic sculptures, so there is always something interesting happening in the space!

FAVORITE THING ABOUT THE SHOP I have my own space, which is great. And I have a full cabinet of adjustable furniture, which I hear is a rarity. I love the idea of a little perfect set of tools making its way through time, finding its way to my printshop.

I’m constantly rolling through Pandora playlists. Usually I listen to mellow folksy music, but the hiphop makes its way out after 9pm. I also have some large prints hanging up and some gorgeous antique schoolhouse lights I installed myself. We also have an ornery shopcat named Bradley.

NUMBER OF PRINTERS IN SPACE I’m the only printer in the space, and my rooms are private. But there’s a full metal shop on site, which comes in quite handy when you need any kind of a tool for a press repair!

I CAN’T WORK WITHOUT My Schaedler rule. I’m obsessed with making sure things are straight, and I’m totally lost without it.

THINK PINK INK I use Van Son Rubber based inks. I was completely obsessed with neon pink 806 for awhile, but I think I’m currently in between favorite colors. I guess you could say I’m playing the field!

KEEPING IT CLEAN I use mainly Crisco, and then Gamsol Odorless Mineral Spirits to finish. Not having an HVAC system, I looked at a lot of different options when I got my first press, looking for the lowest amounts of VOCs in my cleanup as possible. My system works great, and I haven’t really noticed any wear or pitting on the rollers.

DRESSING THE PRESS I have a Boxcar 9×12 base for the Vandercook. I used to use the 94FL plates, which I loved. I’ve just switched to the KF95 and those work great, too. I’ve just got the C&P up and running, so I have to do some experimenting with my current base, because I want whatever system I have going forward to be able to work with both presses.

OIL OF CHOICE I have a bottle of 3-in-1 that works great.

WHAT TYPE OF RAG DO YOU CLEAN UP YOUR PRESSES WITH I’m all about the roll of reused cotton rags from the painting department at Home Depot. They’re amazing — no lint and heavy duty.

FLOORING MATERIAL When Paul Moxon came by a couple years ago, I think he commented that I had the most uneven floor he’d ever seen. Because the floor has been recovered in the past to preserve and replace the original wood, the floor in my rooms is made of about 3 different materials. This is going to sound totally shady (it’s not though, I swear), but there’s actually a raised spot that gives right in the footpath in front of the Vandercook, so I don’t even need a floor pad.

FLOOR PLAN TIPS In such a small space, I’ve just got everything lining the walls as much as possible. I need every square inch to move around in! But having your ink right next to the press is essential.

PIED TYPE I purchased my first press with a type cabinet and galleys. There’s so much set type in the galleys that I have not even TOUCHED. It’s a project that I keep saying I’ll get to one day…

KEEPING IT ORGANIZED Let everything get into complete disarray until I can’t find anything and I start knocking things over, and then do a major overhaul cleanup. I’m joking (but only a little bit)! I don’t keep parent sheets of paper on hand since I don’t have a guillotine, so I really have to keep my paper and envelope stock organized and separate, otherwise the overrun from jobs builds up and there’s towering stacks of paper everywhere.

PRINTING TIPS Push everything a little too far before you pull it back. That goes for inking, impression, and design. I look back on old jobs and on a lot of them there’s always a little nitpicky thing I would have done differently. But I think that’s part of the process of growing as a craftswoman. It’s important to challenge yourself. Sometimes that extra hour (or two, or three!) you spend on makeready makes all the difference in the world.

Jennie Putvin of Nane Press inside her wonderful pressshop on a Vandercook.