Blog
October 30th, 2011
Who is this, I wonder?
You should see the piles of things, er, occupying (hint!) my drafting table this month. You see, Art at Work month is almost here, and I’m scrambling to get ready for all the events coming down the pike.
First up is Studio Tour, that crazy-amazing weekend where it seems like half of Tacoma (the entirely wonderful half, as it turns out) stops by for a visit. This is my third time on the circuit, but our fair city is celebrating its tenth fabulous year of shop crawls and arts extravaganzas. So stop on by next weekend—you can print your own letterpress keepsake (trust me, they’re über cool this year!), pick up free Tacoma swag (better get here early, because it’ll disappear fast), shop for a whole bunch of brand new art and handmade items, and be the first to catch our brand new Dead Feminist, a mystery maiden indeed.
10th Annual Tacoma Studio Tour
Saturday and Sunday, November 5 and 6
10 am to 4 pm, Free!
For more info, full artist list, maps and directions, see here
Look! New stuff!
If you can’t make it to Studio Tour, you can catch a whole bunch of Tacoma artists at the annual Tacoma is for Lovers Craft Fair, put together by the lovely folks at Indie Tacoma and Tacoma is for Lovers. Jessica and I will be sharing a table both days, and it’ll stuffed to the brim with bunly goodness illustrated and letterpress goodies.
Tacoma is for Lovers Craft Fair
Saturday and Sunday, November 19 and 20
11 am to 4 pm, Free!
King’s Books
218 St. Helens Ave., Tacoma
Last but not least, a gigantic virtual heart-shaped thank you to everyone who made a pledge to fund the Apocalypse Calendar! The project is officially a “go,” and we’ll be on press in November. We’re expecting to ship calendars and Kickstarter rewards in early December, and you’ll find calendars in various retail shops this holiday season. If you missed the Kickstarter project, you’ll be able to place online orders here, starting later this week.
Happy Halloween, and see you in November!
October 17th, 2011
You already know that I have a thing for hidden, quiet spaces tucked away within large cities. So imagine my delight when Jessica turned me onto this place.
Bell’occhio has quickly become my favorite (and most regularly visited) haunt in San Francisco. It’s easy to miss—it’s just a few steps off of the main drag of Market Street, but the little lane upon which it’s situated is so quiet that it seems transplanted from a different era.
The feeling doubles as soon as you step foot inside the shop. The place is a living, breathing Kunstkammer, with all manner of beautiful odds and ends you never knew you so desperately needed.
My favorite part, though, is the overall presentation. All her inventory is kept in baskets, drawers and wooden cabinets, like a Victorian general store. Each price tag is hand-calligraphed in flowing script. And whenever you purchase something (and I just dare you to visit and not buy something!), your items are packed in vellum envelopes and muslin drawstring bags. Which just about makes me swoon.
The owner, Claudia Schwartz, was very kind to let me take a few photos and spread the word about the place. She opened Bell’occhio in 1988, but now that this sort of aesthetic is all the rage again, I’m sure she runs a huge risk of having her ideas lifted by copycats. Ever walk into an Anthropologie? I’m pretty sure they stole their whole schtick from her. So Claudia, thank you for allowing me to share your world.
Now, whenever I return to San Francisco, I have a separate Bell’occhio budget—as crazy as that sounds. It’s the one recommendation I can offer if you’re going to come here. Otherwise, this place will have you impulse-buying before you can say, “I’ll take three of those!”
October 14th, 2011
Since I’ve had parrots on the brain for so long, I thought it would make a fitting end to my San Francisco trip to go in search of them. You see, according to legend documented fact, San Francisco has a wild population of feral parrots—if that isn’t nautically themed, I don’t know what is. Yarr!
I’d been told, however, that while popular culture has named them “the parrots of Telegraph Hill,” they didn’t actually spend much time there—so we had no idea where to look for them.
Jessica’s uncle David (pictured here with our print!), who’s lived in SF for decades, came to the rescue. He told me that actually, Telegraph Hill was a good place to look on Sunday mornings in September, and even if I didn’t find any birds, it made for a nice wooded walk.
He even scribbled a little map to show me a likely spot. Somehow, that little gesture made the whole thing a hundred times more exciting—I tend to explore cities without atlases or guides (or Googles) anyway, so this little scrap of paper turned a morning hike into a treasure hunt.
Now, I’m not sure exactly what I was expecting, but I’m a northern gal, so when somebody suggests walking through the woods, this is what pops into my head.
This, on the other hand, was a surprise.
Compared to the mossy pines and cedars in my frame of reference, Telegraph Hill felt like a tropical jungle.
My friends and I had the place almost entirely to ourselves—it was a dark, dreary day, which discouraged all the sun-lovers. So as we wound our way up the steps, it felt like we’d stumbled upon our own private garden, or maybe a path to some other world.
It was easy to forget that we were in the heart of a densely packed city (in California, no less)—this felt more like a secret, slightly English enclave through which we’d been granted safe passage.
Around every bend was a door, or a courtyard, or another track. Each felt like a gateway to something else, to maybe more and more and more worlds beyond our little slice of perception. It was a hint that what we could see was just the beginning—that what we couldn’t see was out of reach, and all the more tempting for it.
That sort of feeling is just my cup of tea, you know?
Every time that pleasant disorientation threatened to overwhelm me, though, out popped little hints of where I really was.
And whenever the trees gave way to open sky, guide posts appeared, showing us the way back—
and reminding us that reality was a stone’s throw away.
I almost forgot that we were even looking for parrots.
At the top of the hill, we heard a telltale squawking. I glanced up to catch a quick glimpse of two green birds with long tailfeathers speeding away to the west—unfortunately, my shutter finger wasn’t fast enough on the draw.
It’s like a ‘Where’s Waldo’ of SF—can you spot Lombard Street? The Golden Gate?
Oh, well. The view alone was the perfect end to the walk.
The vista of pastel stucco seemed like a gift, a reward at the end of an uncertain journey. It reminded me of what I love most about the place: that the city itself is like a garden of color—an urban forest in bloom.
* * *
Thank you so much for the amazing response you’ve had to the Apocalypse Calendar! Literally overnight you’ve helped us raise over $1000. We have until the clock strikes midnight on Halloween to reach our goal—thank you for helping us get there!
October 7th, 2011
To hear the ancient Mayans tell it, I’d best hurry up with my unfinished projects—because time is running out.
Putting the veracity of such tales aside, this prophecy stuff sounds like a fun illustration topic. So my good friend and old-tyme RISD buddy Thomas Quinn had the ingenious idea to count down our remaining days in style by designing and curating a 2012 Apocalypse Calendar, featuring a different artist for each month. The result of all his hard work (read: herding cats) is a fabulous collection of artwork, a beautifully designed finished product (great job, T.Q.!)—and possibly a niggling sense of dread as the days count down.
Oh, and here’s a sneak peek of the December page in the calendar—look closely and you’ll see the End Times already conveniently marked for you. Thanks for the heads-up, Mayans!
Besides the added bonus of working alongside both old friends and rock-star artists I’ve admired for years, I loved the fact that Tommy let me interpret the theme however I pleased. Rather than going down the illustrated path of mass carnage or Biblical archetypes (I figured those topics would be well covered by the other folks), I decided to time-travel back to my favorite mass-hysterical era, the 1950s.
I did a little research, and dug up a whole bunch of vintage advice on how to survive the end of the world—including a handbook on how to build a fallout shelter, and how to keep yourself amused once you’re in there.
This thing just cracked me up. It has all kinds of “expert” wisdom (like how to fend off the roving bands of contaminated neighbors who will inevitably stop by to borrow a cup of sugar) and cheery photos of housewives preparing dinner with a can opener while dear ol’ Dad bonds with the kids.
Which, of course, reminded me of my other favorite relic from the 50s: illustrated cookbooks. Talk about a goldmine! Everybody from uncredited production interns to the late, great Charley Harper did a cookbook back in the day. The fact that these illustrators were often limited to cheap, two-color printing actually made for surprisingly innovative and beautiful results.
And of course, as you already know, I am completely fascinated by the sheer number of terrifying Jell-o recipes and ill-advised casseroles that crop up in old cookbooks. And since that got me thinking all sorts of wonderfully twisted things about housewives at the End Times, and how Jell-o can probably survive a nuclear holocaust, I decided to combine the two.
So here’s my contribution to the calendar: how to bury your head in the sand, in style. I asked Tommy for October, since it’s my birthday month, and he was kind enough to oblige. So I went nuts with the pumpkin orange and threw a Halloween party.
Complete with absurd salad recipe (that you could actually make, but I wouldn’t advise it), shelter decorating hints—
—and just a little untold destruction, for garnish.
Illustration by Jay Ryan
We decided that spiffy, large-format, high-quality offset printing is the best way to show off the artwork, so we’ve set up a Kickstarter project to fund the thing. (We even put together a nifty and hilarious video!) Kickstarter is a fairly new phenomenon, and it’s proven to be a wonderful resource for artists, especially—and since the Kickstarter logo uses the same font as the Dunkin Donuts logo, it makes my designer’s lizard brain happy.
Kickstarter works the way an NPR pledge drive does—you get various gifts in return for your support amount. Twenty bucks will buy you a calendar, and there are a bunch of goodies available at other pledge levels, like signed calendars, original art, and even the ability to make the artist of your choice do your bidding and draw your apocalyptic portrait. (Yes, you read that right.) If we meet our goal, we’ll be shipping calendars in December.
Now, the tricky thing about Kickstarter is that it’s an all-or-nothing kind of thing. If we don’t make our set funding goal by the time the clock runs out, the apocalypse will come early we don’t get any of the moolah pledged so far. So pretty please, do us a huge favor by doing your annual calendar shopping a wee bit early—you can make your pledge here.
After all, if the Mayans have their facts straight, this is the last calendar you’ll ever need to buy, right?
September 17th, 2011
Many of my favorite towns (Boulder, Missoula, Portland, the other Portland, Duluth, Tacoma, Providence, etc.) seem to be kindred spirits to one another. There’s something about the coming-together of historic architecture, blue-collar grittiness, a population full of creative types and surrounding natural beauty that … well, for which I’m a total sucker. So based on all the reports over the years I’ve had about Asheville, I knew it was going to be my kinda place.
When Jessica and I were there last month for the Ladies of Letterpress Conference, we made sure to give ourselves plenty of extra time to go exploring.
Asheville is nestled in the thick of the Blue Ridge Mountains, which turned nearly every direction we looked into a beautiful panorama.
The lush, southern climate gave us the feeling that we were walking through an urban greenhouse. Everything was in full bloom and living color.
The city’s history is visible around every well-preserved corner.
Unfortunately, that preservation is often an accidental outcome in towns that are slowly withering—but that was far from the case here. Despite an economically troubled past, Asheville is a vibrant, active city, complete with a fierce sense of local pride. We saw some variation of these signs in every shop and restaurant window, over and over again. (Hint, hint, Tacoma!)
But above all, there was a comfortable sense of down-home warmth in every quarter. Everyone we met was sweet as pecan pie, and the whole place seemed to invite us to settle in and relax. And the rocking chairs! I swear, we saw them everywhere—even at the airport! That’s a tradition I can get behind—I mean, sit down upon.
I could go on and on all day about Asheville’s charms as a city, but what I really want to talk about is the food. Oh, the food. And I know that saying so doesn’t exactly make me your typical Yankee, but I have a real thing for Southern cuisine. And after trying a new restaurant at every interval for five days, I’m convinced that it’s nigh impossible to have a bad meal in Asheville.
I’ll never understand the point of chain restaurants. When I travel, I’m not interested in the generic food you can get anywhere in America—I want local flavor. When in Rome, you know? So whenever I’m in a new place, I usually order whatever the restaurant is particularly known for, which is often some sort of local specialty. It’s never steered me wrong yet.
So at the Early Girl Eatery, I had the shrimp n’ grits. What’s more Southern than that? And more importantly, what could possibly be more tasty? As if that weren’t enough, the garnish on the grits was the fact that everything on the menu was locally source, and whenever possible, organic. Plus, they served the real, no-kidding, hard-core stone-ground coarse grits—the ones the Tailor and I love so much that we actually order them from a North Carolina mill and have them shipped out west as one of our staple grains. (Yes, I know we’re weird.)
The Southern boasted both local and seasonal fare (and terrible lighting for photographs, sorry), and their peach, pecan, goat cheese and honey salad was like summer on a plate.
When a large group of letterpress folks joined us at Salsa’s, Southern cookin’ wasn’t exactly on the menue, but I stuck with my rule-of-thumb about the house specialty, and as usual, it was the right choice. This time I ordered their famous molcajete, a traditional Mexican mortar-and-pestle carved out of basalt, heated to something like earth-core temperatures, and filled with a molten and unbelievably delicious stew. The secret ingredient was goat cheese again, which is always a-okay with me. Besides, for someone who loves nerdy scientific things like specific heat, this dinner took the cake—even though it was nearly an hour before I could eat it without my face melting.
(Jessica was a fan of the molcajete, too.)
Now, I like lemonade, sweet tea and unsweet tea as much as the next gal, but I’ve always been a coffee drinker. And after three years as a transplanted Northwesterner, I’m a total convert to the coffee culture; a late-morning walk just doesn’t feel right without a cuppa. It was 95 muggy degrees outside, so an iced Americano hit the spot—and at the Battery Park Book Exchange, they’ll serve it to you in snazy wine glasses and let you while away the whole caffeinated day paging through the impressive North Carolina section.
One of the people we befriended at the conference is an Asheville native who let us in on the secret about where to get the best dessert in town. Handmade chocolates. ‘Nuff said.
Still, it was the Southern classics I was the most hungry for—like this gigantic sweet potato pancake at the Tupelo Honey Cafe. It came garnished with spicy pecans and escorted by a side of grits with—you guessed it—goat cheese. Like nearly every other meal I had in Asheville, it was light and deftly made (though impossible to finish!), and completely unlike the heavy, greasy stereotype people have in their heads. With each bite I was more and more baffled by the idea that anyone could dislike Southern food.
Of course, no sojourn below the Mason-Dixon Line would be complete (for omnivores, at least) without a taste of authentic, heart-attack-inducing Southern barbeque. To get our fix, Jessica and I headed for Luella’s.
Neither of us could decide, so we ended up eating family-style and sharing everything. I picked the giant stuffed baked potato with everything plus the kitchen sink and a coronary on top (shown here with a bit of Jessica’s spare ribs). Which was fantastic, truly, but it was the hush puppies that stole the show. Best. Freaking. Hush puppies. Ever. I think the secret is in the shape—greater crispy-to-fluffy ratio. Yum.
But my favorite meal of the trip was one that will probably live in my all-time top ten forever: fried-green-tomato eggs Benedict (with a side of grits, natch!) at the Over Easy Cafe. I still dream about that one.
I’m also still dreaming of that blue haze. Whether it’s for the local flavor or the letterpress gals, the hush puppies or the hills, you can bet I’ll be back.
August 25th, 2011
We had some guests visiting from Kansas last week, and when our friend Jeff heard about it, he invited us all onto his boat to give our visitors a taste of the ocean before they headed home.
As a landlubber myself, I think it might have been an even bigger treat for me.
The best part, though, was seeing my town from a whole new perspective.
If that’s not the perfect way to spend a summer day, I don’t know what is.
August 11th, 2011
Virginia Woolf said that “a room of one’s own” was essential for women to do creative work—so imagine what 150 women could do with such a room. Jessica and I got to unveil our newest broadside at the first-ever Ladies of Letterpress Conference in Asheville, NC, where we were asked to speak about our series. It was unbelievably inspiring to stand in a room full of heavy equipment—
and even more exciting to help our fellow lady printers turn that room into a powerhouse. The conference was a smashing success, and we were both surprised and heartened to discover just how many of us are out there.
The three days of LofLCon were jam-packed with panel discussions, demos and presentations with the most prominent and skilled members of the letterpress community;
an exhibition to introduce us to a vast array of talent;
and a whole lot of hard-won know-how—like when to salvage an old press, and when to hold a funeral. (Sigh.)
Absorbing letterpress goodness by osmosis was wonderful—
—but the best part was meeting dozens of long-admired artists and brand-new, fresh faces alike.
And then there was the joy of running into old friends—look who it is! It’s the lovely Allison from Igloo Letterpress, one of my favorite partners in crime!
I can’t express enough how excellent the weekend was—Jessica White and Kseniya Thomas (pictured here in white, giving a die-cutting demo on the platen press) deserve a standing ovation for organizing such a fabulous event, and wrangling so many printers to make it happen.
And for those hundred-plus people who shoehorned themselves into that tiny space to attend our Dead Feminists talk, we can’t thank you enough. Your support and enthusiasm for what we do was completely overwhelming—and it was so much fun to be able to get technical with y’all! (Sorry, the accent rubbed off a bit.)
One more thing: I know it somehow didn’t come across in my photos, but we were blown away by the sheer number of feminist fellas who came out of the woodwork and outed themselves as fans of the series. We love you guys—you make us feel like we must be doin’ something right. And thanks to the conference, we’re fired up and ready to get back to work.
August 10th, 2011
Jessica and I are back from Asheville, with fresh memories of hazy heat and sweltering summer on our minds. Back home in Washington, however, we’re having the kind of chilly summer that demands a cozy sweater, a cup of tea and time spent curled up with a good book (and thanks to our sojourn in the South, we want to do that curling up in a rocking chair!). The news of bankrupt corporate bookstores and dire warnings of an electronic apocalypse swirl around us as we read. Yet the world contained between a pair of unassuming cloth covers begs to differ. The e-readers and tech gadgets of the world are carving out their niche—but we breathe a contented sigh at the simple truth that books are here to stay. In honor of the tactile power of fresh ink and crisp pages, we’ve shared our composing stick with a fellow letterpress printer, the celebrated English author Virginia Woolf:
Books are the mirrors of the soul.
Paper Chase is teeming with letterpress references and the tools of Virginia’s trade. A type case helps sort the problem of minding one’s Ps and Qs, while an inked-up chase (an inside joke for our fellow printers) is locked and loaded and ready to print. Above that is a staple of any writer: a messy bookshelf overflowing with stacked volumes.
Reflected in the mirror of Virginia’s work is the beauty—and sadness—that veils her prose. Ghostly silver ink floats like a lingering afterimage, and an ethereal garden blooms from spectral soil. Lilacs and lilies, thistles and honeysuckles take root—each planting a seed of meaning from the Victorian tome The Language of Flowers. Do a little digging and discover layers of rich symbolism that reveal the woman behind the words.
And for those of you who are into historical printers like we are, there’s an extra little goody hidden in the hand mirrors: a nod to another great Victorian printer and Renaissance-person, William Morris. And if you know your floral national emblems (hint: look for the rose!), you’ll discover a link to both Virginia’s and William’s homeland.
We’ll be donating a portion of our proceeds to the Independent Publishing Resource Center in Portland, Oregon, a non-profit organization that provides individual access to the resources and tools required for the creation of self-published media and art. The IPRC offers workshops, digital technology for writing and design, a research library, and even a letterpress print shop and bindery to aid in the publication of original work.
We think Virginia—and anyone else who loves making an impression—would be proud.
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Paper Chase: No. 13 in the Dead Feminists series
Edition size: 129
Poster size: 10 x 18 inches
Printed on an antique Vandercook Universal One press, on archival, 100% rag paper. Each piece is numbered and signed by both artists.
Colophon reads:
Virginia Woolf (1882 – 1941), born Adeline Virginia Stephen, grew up with a steady stream of notable authors visiting her London home. While Virginia and her sister Vanessa had unlimited access to their father’s extensive library, their brothers were sent to Cambridge. This inequality and other Victorian double standards figured prominently in Virginia’s writing. In 1915, she married Leonard Woolf and moved to Hogarth House. There they established the Hogarth Press, publishing the work of T.S. Eliot, E.M. Forster, Vita Sackville-West, the first translations of Sigmund Freud as well as Virginia’s own novels. As editor, typesetter and binder, Virginia had the freedom to control not just the content but the physicality of letterforms and space on a page, declaring herself “the only woman in England free to write what I like.” With Leonard as printer and Vanessa a frequent illustrator, the Hogarth Press published more than 500 books, many far too experimental to be considered by mainstream publishers.
Virginia’s life-long struggle with depression began with a breakdown at age 13 following her mother’s death, and ended after multiple attempts at suicide when she walked into a river with pocketfuls of stones.
Illustrated by Chandler O’Leary and printed by Jessica Spring, with roots firmly planted in ink-and-paper soil, and souls bound to bloom.
UPDATE: poster is sold out. Reproduction postcards available in the Dead Feminists shop!
August 3rd, 2011
Whew. I’m home from one adventure, but I’m about to turn right around and go off on another. There was just enough time between trips to do a little scribbling, a little scrambling—and maybe a wee bit of nervous screaming as the seconds counted down.
We made it, though—and now, on this summer that’s had me scattered to the four winds, there’s just one compass point left to explore. So Jessica and I are off to Asheville, NC for the first-ever Ladies of Letterpress Conference, finished goodies in hand. When we come back next week, we’ll have a new broadside for you and a whole lot of tales to tell.
Happy trails!
April 19th, 2011
Holy flying gaggles, but we upped the ante this year!
I don’t know if it was the gorgeous sunshine that graced us after literally months of dreary rain—
—or Sweet Pea’s extra-awesome 2011 poncho—
but this year’s Wayzgoose was larger than life.
(In case you’re curious, that little Sigwalt press is inked up to print “I got goosed in Tacoma!” in an eye-frying safety orange that would make any Ducks Geese Unlimited hunter proud. I mean, come on—we have standards. This is some high-brow entertainment here.)
Anyway, speaking of geese…
Ta-daaaa!
As you can see, we took our little Dead Feminists theme somewhat loosely this time. And in fact, we’ve dubbed our print Lucy Goosey, so there! There is a bit of a story behind this one, though. We’ve been equal parts amused and annoyed by the recent crafty and pop-cultural trends involving moustaches and putting birds on things—and for months I’ve been threatening to put a moustache on a bird on something, just to prove a point. I don’t know what that point is, exactly, but I figured it was time to put my moustache where my mouth is.
Which reminds me:
we weren’t kidding about the ‘stache wax. Hey, if you’re going to go, go all out.
Jessica seemed perfectly at home while operating heavy machinery and sporting a full-on Wilford Brimley look—
I mostly just looked like Ned Flanders. Good God, but that mustache looks real on me. Sheesh!
That’s okay, though—synchronized inking is serious business, and we don’t mess around.
Many, many thanks to all the supporters, enthusiasts and volunteers who turned out in droves;
to Katy Meegan and Mary Holste for snapping ‘stache shots for us;
to King’s for being the host with the most;
and to the Tacoma Arts Commission for sponsoring our steamroller shenanigans.
So … tell me.
Is it too soon to start cookin’ up next year’s ‘goose?