Blog

Share it!

Cover girls

Cover of the "Dead Feminists" book by Chandler O'Leary and Jessica Spring

Jessica and I are on pins and needles this week, as advance reader copies of our book will be arriving any day now. So while we wait to get our hands on the real thing, we figured now was a good time to share the cover of the book with you! I got to do the illustration and lettering on this puppy, and I can’t tell you how excited I am to see it in person. Getting to this point was a long, long process (and a story that’s worth sharing, so we’ll get to that another day), and it feels good to hear that people are already responding favorably to the design.

We’re pleased to announce that the book is now available for preorder (it’ll be hitting stores on Tuesday, October 11). You can find more info and preorder links to lots of retailers on our book page. And if you’re a shop owner interested in carrying our book in your store, you can find all the info on bulk ordering direct from the publisher inside my wholesale catalog.

More details soon!

Share it!

Age Before Beauty

"Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

When it came time for us to find our next Dead Feminist, our thoughts turned to our own mirrors. Like every woman in our pop-culture-driven world, Jessica and I are bombarded with imagery and messages that urge us to scrutinize and criticize our own appearance. Unsurprisingly, we are taught to find ourselves lacking in one way or many, and to compare ourselves with an impossible ideal.

We were a little surprised to find courage and consolation in Ancient Greece, where they were all about the impossible ideal. Yet if you sift through the lofty architectural theory, stylized scenes and tales of the immortals, you’ll find a honey-tongued poet who speaks the plain truth: Sappho.

To be human is to grow old.

Detail of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Our 23rd broadside, Age Before Beauty, reaches further back in time than we ever have before—to the 6th century BCE. As you can clearly see, the illustration is styled after the designs and motifs of ancient Greek pottery, right down to the amphora handles.

Detail of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Yet even though she lived and worked thousands of years ago, Sappho’s words ring true as if they were written yesterday. We especially loved her self-reflection in the poem we chose, and the way she managed to view her aging body with kindness. It brought to mind, for me, an image of dual goddesses who are really two faces of the same woman—like the Maiden and Crone archetypes so common in other pre-Christian cultures.

Like the art of ancient Greece, the illustration is chock full of allegorical imagery. For instance, young Sappho carries Aphrodite’s mirror, while Athena’s wise owl looks over her aged self. Both figures play a seven-stringed lyre: Sappho was a lyrical poet, which means her poetry was designed to be performed to music. (Incidentally, some scholars also credit Sappho with the invention of the plectrum, a tool similar to a guitar pick that was used to pluck the lyre’s strings.) Finally, the band of dancing deer at the base references Josephine Balmer’s recent translation of Sappho’s Old Age Poem.

Process photo of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Compared to our previous broadsides, the composition and color scheme of this piece are fairly simple. The printing, on the other hand, was not. All those curves made it hard to line up the plates, and we had huge floods of color paired with delicate lines and text. To help her with the ink coverage and add just a tiny bit more pop to the color, Jessica ran the vase shape in a run of subtle cream first.

Process photo of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

The cream pass helped with the super-tricky registration of the black and terracotta, as well.

All that fiddly and difficult technical stuff made the finished product that much sweeter. We’re pleased as punch about the results—we hope you will be, too.

Detail of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

To help all women and girls see themselves in a more positive light, we are donating a portion of our proceeds to About Face. Founded in 1995, About Face works to improve girls’ and women’s self-esteem and body image by helping them understand and resist harmful media messages.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Age Before Beauty: No. 23 in the Dead Feminists series
Edition size: 158 prints
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

Colophon reads:
Sappho (c. 630 – 570 BCE) is the only woman counted among the Nine Lyric Poets revered in ancient Greek culture. Plato called her “the tenth muse,” but all that remains of her work is a handful of fragments. This quote is an excerpt from Fragment 58, a mysterious Old Age Poem that can be read either as a lament or a celebration of mortality. Illustrated by Chandler O’Leary and printed by Jessica Spring, in hopes that all women might see themselves both with Aphrodite’s gaze and Athena’s wisdom.

Now available in our Dead Feminists web shop!

Detail of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

 

 

Share it!

Through the looking glass

Process photo of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

It’s that time again—we’re inking and printing up a storm right now, because we’re just about ready to introduce you to our newest Dead Feminist!

Process photo of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

We hope you’ll like her as much as we do—after getting to know her history, we feel like she’s become something of a deer friend.

(Sorry, I can never resist a terrible pun.)

Process photo of "Age Before Beauty" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

She’s already made her first (and second, and third) impression with us, and oh so soon she’ll do the same for you. Stay tuned!

Share it!

I think his spaceship knows which way to go

David Bowie records photo by Chandler O'Leary

It’s a tradition in my family that when a beloved musician dies, we play their entire back catalog of records in chronological order. I grew up on David Bowie as a kid, and then started feverishly collecting albums almost 20 years ago. By the time I’d amassed pretty much everything he’d ever done, I started joking that when his day came, it’d take me a month to play it all. I’m sorry that that day is already here.

I don’t usually write or post these days about the music I love, because taste is so personal and so subjective. But music is a huge part of my life, and I’ve loved Bowie’s music better and longer than anything else.

RISD Mixed Media newspaper featuring David Bowie comic by Chandler O'Leary

And more than that, Bowie has had an enormous influence on me as a visual artist—and I’m not talking about the fan-girl comic-book concert reviews I used to draw for the RISD newspaper, circa 2002 (and I think they only let me do that because my friends were the editors).

What I mean is that Bowie was a huge cultural force, a tastemaker—and I delved into his work at the time when I was forming my own tastes and just beginning to make my own responses to my culture.

Tribute posters by Chandler O'Leary

I hesitate to show you these, because most of my student work makes me cringe, but these were part of a series of fake concert posters (of real, historical concerts) I did when I was just starting to do formal lettering work. The lettering is neither her nor there, but it was Bowie’s ever-changing alter egos that inspired me to use different historical periods as the inspiration for each poster. Bowie himself was heavily influenced by history and different cultural traditions—much of it of the non-musical variety—from Kabuki theatre to current events to French mimes to dystopian novelists to Picasso paintings to couture apparel designers, and everything in between. I remember this fact blowing my mind at the time, and it encouraged me to seek inspiration for my work away from my own field and contemporaries. That’s still the primary way I work, and I owe that to him.

The other thing Bowie taught me was not to be afraid to reinvent myself, to change direction and explore something new or totally different. He taught me that it’s possible to create many different types of things, in a wide range of styles that might bear little resemblance to one another, and still come away with a cohesive body of work. As a cultural omnivore who learned from the best of them, that makes perfect sense to me. Yet we still live in a world that largely expects artists to pick one medium, one genre, one style, one “signature” thing and stick with it forever and ever, amen. To reject that notion and follow one’s own path, wherever it might lead, takes a lot of bravery and faith in oneself (and one’s audience!). Bowie’s instincts were unparalleled. He knew how to be broad and deep all at once—he could change a thousand times and never come across as a flake. Instead, he added a new and exotic ingredient to every concoction, until he became one hell of a master chef. If even the smallest fraction of that bravery and instinct might rub off on me, I’ll count myself luckier than I can say.

Tribute poster by Chandler O'Leary

The things we love are a part of who we are and what we contribute to the world ourselves. And sometimes, if we’re lucky, our influences come full circle and bring the things we make in contact with that which inspires us. I got to have a short conversation with David Bowie once, over a decade ago, because of one of those fake posters I designed. I brought this one, printed at a huge size, to a show where I had a front-row seat. During a lull I held it up, and he said nice things to me and asked if I had a request. I told him, and he launched into a 20-minute rendition of “Station to Station.” When it was over, he asked if the rendition was to my liking—I responded with a curtsy, and he laughed and said, “Good curtsy! Nobody curtsies anymore!”

All my friends and family know I’m a huge Bowie fan, and have been emailing and texting me all day about him. My brother sent me the setlist of a mix tape of favorite Bowie songs I made him as a teenager. The sequence of songs still holds up well today, I think, and suddenly it seems like the perfect sendoff. Here they are, with just one small change:

1. Sorrow
2. Fantastic Voyage
3. Rock n’ Roll with Me
4. Panic in Detroit
5. It’s No Game
6. Time
7. The Man Who Sold the World
8. DJ
9. Queen Bitch
10. All the Madmen
11. Beauty & The Beast
12. Sound & Vision
13. Andy Warhol
14. Moonage Daydream
15. Boys Keep Swinging
16. Ashes to Ashes
17. After All
18. Drive-in Saturday

Raising a glass to Major Tom, to Ziggy, to Aladdin Sane, to Halloween Jack, to the Thin White Duke, to the Blackstar, wherever you are now. You were, are, and will forever be my favorite—and my first influence. Cheers.

Share it!

A blank page

Holiday cards by Chandler O'Leary

A lot of things had to fall by the wayside in the past few months (including this blog!), while some major projects ruled my life. The big deadlines still hold sway for now, but I’ve started to catch up in other ways. The holidays are done and dusted, the end-of-year to-do-lists are crossed off (mostly), and this huge stack of greetings is in the mail. Here’s to turning the page, and writing (and drawing!) the next chapter.

Happy New Year!

Share it!

The door’s open

Studio Tour photo and New York state illustration by Chandler O'Leary

It’s hard to believe this much time has gone by already, but Tacoma Arts Month is here again, and that means that Studio Tour is this weekend! I’m all settled into my new space (don’t go to the old house by mistake!)—won’t you help me christen it? I’m planning on doing a big blog reveal of the new studio soon, but I thought I’d let local folks be the first to see it (and the first to meet my ORANGE CHAIR, about which I am ridiculously excited).

As usual, I’ll be open both days. You’ll be able to make your own die-cut greeting card, stamp your Studio Tour Passport (that’s a new feature this year, with prize drawings for folks who visit at least 8 studios!), and of course shop for original artwork and stationery. Our street is under construction at the moment, but don’t let that stop you—there’s plenty of parking just up the hill, and the sidewalk is wide open and pedestrian-friendly. Here’s the info:

14th Annual Tacoma Studio Tours
Saturday and Sunday, October 17 and 18, 2015
11 am to 5 pm, free!
(My studio is #12 on the tour)
More info, locations and maps available here

See you this weekend!

Share it!

Title Nine Iron

"Title Nine Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

If you happen to be in the Pacific Northwest right now, you might find yourself surrounded by plus-fours and golf claps. This weekend marks the final days of the U.S. Open golf championship, which is being hosted in our hometown for the first time ever. The Chambers Bay golf course is one of the most beautiful and challenging in the world, and the U.S. Open attracts talented athletes and a ton of media attention. Yet all the coverage has reminded us of the need for a more level playing field for all athletes. So for our newest Dead Feminist broadside, we’ve unleashed the irrepressible showmanship of a golfer and all-star athlete who was a real contender (regardless of gender):

It’s not enough just to swing at the ball. You’ve got to loosen your girdle and let ‘er fly.  — Babe Didrikson Zaharias

Babe Didrikson Zaharias

Babe is best-known for her prowess as a golfer. On the course she was more than a champion: she was a superstar. By 1950 she had won every golf title available to her, and she is still remembered for her 17 straight amateur women’s victories—a feat still unequaled by anyone. Even though her life and career were cut short by illness, she is still one of the most decorated golfers of all time.

Babe Didrikson Zaharias

But Babe came late to golf—actually, she only switched focus entirely because she couldn’t maintain her amateur status as a golfer unless she gave up her other sports. Many have forgotten that she was also a champion at basketball, track and field, boxing, archery, tennis, diving, bowling, baseball and softball, roller skating and billiards—basically, a master at everything she tried. Babe was an all-star athlete in so many sports it’s hard to believe she was just one person. In fact, she demonstrated this fact by entering a 1932 amateur track and field championship as a one-women team. Babe qualified for three Olympic events (the maximum allowed at the time), but she actually finished first in five events and tied for first in a sixth, single-handedly racking up 30 team points. The second-place team? Well, they scored 22 points—with 22 members competing.

Detail of "Title Nine Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

All of this is to illustrate how exceptional Babe was. People love to celebrate multi-event athletes like Michael Jordan or Deion Sanders for excelling at two sports, but how many of those guys were champions at half a dozen or more? Quite simply, Babe Didrikson Zaharias may just have been the greatest American athlete who ever lived. Period.

And this is where things get political. Just take a look at this list of the “Top 10 Greatest Multi-Sport Athletes“—Babe’s numbers blow every name on that list out of the water. (And she competed in many men’s events, as in her day there were often no women’s equivalents.) But Babe’s not on there. No women are. And that’s because even forty-plus years after Title IX, women athletes and women’s sports are of lesser value than their male counterparts. In fact, the words women’s and ladies’ are used as qualifiers, to denote an exception to the default. When you hear the name of a sporting event, and no gender is named, the assumption is that it’s a men’s event. (Heck, I’ve been hearing it all week in the golf coverage: it’s the “U.S. Open” and the “U.S. Women’s Open”—no mention of a “U.S. Men’s Open.”) When an athlete is recognized for her achievements, she is mentioned only on all-women lists. Some sports, like baseball and American football, have no “official” women’s equivalent—while others have different rules for the women’s version, like the arbitrary ban on body checking in women’s ice hockey. Women’s sports make a fraction of what men’s sports make in ticket sales and merchandising revenue. Men’s events still dominate the mainstream coverage air time on television, radio and news. And “you throw like a girl” is still an insult heard every day in America. We’re not advocating for co-ed sports here; we fully understand the practical rationale behind sex-segregation in athletics. But the differing value and respect our culture places on each is another matter entirely. Even the money male and female athletes win and earn is vastly disparate; take the U.S. Open, for example. The winner’s purse in the men’s tournament: $10 million. In the women’s tournament? Less than half, at $4 million. Apparently golf is played on a grass course with a glass ceiling.

In Babe’s lifetime, she was not only hampered by a host of restrictions on women competitors, she was also plagued by a media that ignored her accomplishments and focused instead on her tomboyish looks, brash demeanor and (lack of) relationship status. The pressure was relentless: the New York World-Telegram wrote, “It would be much better if she and her ilk stayed at home, got themselves prettied up and waited for the phone to ring.” Even Babe, known for her arrogant show-boating and fiercely competitive nature, started wearing lipstick and more feminine clothing, stating, “I know I’m not pretty, but I try to be graceful.” Many have even argued that she switched to golf and married George Zaharias simply to conform to societal pressures to look and act more ladylike. She certainly treated these changes as a media makeover—perhaps to get the press off her back and shift the focus back to her abilities. So Jessica and I can’t help but wonder how her career might have been different if “pretty” weren’t a factor—if she could have been recognized and remembered for who she was, rather than what she wasn’t.

Detail of "Title Nine Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Since Babe was a marvel whose skill transcended all gender divisions, we wanted to make our broadside design as gender-neutral as possible. Instead, we focused on the game itself. Our 22nd broadside, Title Nine Iron, is a tribute to Babe’s best sport (with a nod to her beginnings as a track star), decked out in golf plaids and bright fairways. Follow the flags around the course with Babe’s quote, and let her words lift you over the rough and onto the green. And to keep our visual puns on par with our message of athletic equality, Babe’s bright red pennant is bedecked with a symbolic “Title IX” club: a nine iron.

Detail of "Title Nine Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Babe struggled throughout her career for recognition in the face of gender discrimination. Unfortunately, women athletes still face this sort of battle today—which makes legislation like Title IX incredibly important, even all these years later. So to help give girls everywhere equal access to sports and athletic training, we are donating a portion of our proceeds to the Women’s Sports Foundation. Founded in 1974 by tennis legend Billie Jean King, the Women’s Sports Foundation works to advance the lives of girls and women through physical activity.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Title Nine Iron: No. 22 in the Dead Feminists series
Edition size: 143 prints
Poster size: 10 x 18 inches

Printed on an antique Vandercook Universal One press, on archival, 100% rag (cotton) paper. Each piece is numbered and signed by both artists.

Colophon reads:
Mildred Ella “Babe” Didrikson Zaharias (1911 – 1956) grew up in Port Arthur, Texas. Babe reportedly earned her nickname playing baseball with neighborhood boys. She mastered every sport she played, including basketball, track and field, golf, tennis, diving, bowling, billiards and archery. When asked if there was anything she didn’t play, Babe said, “Yeah, dolls.”

In 1932, Didrickson entered an Amateur Athletic Union track and field championship as a one-woman team. She won six events, setting world records for the high jump, 80-meter hurdles, javelin and baseball throw. That same year, she won Olympic gold medals for the javelin and 80-meter hurdles and a silver medal in the high jump. Babe began playing golf in 1935, competing in the men’s PGA tournament paired with golfer, pro wrestler and future husband George Zaharias. Over her career, Babe won an unprecedented 17 straight women’s amateur victories and a total of 82 golf tournaments. A founding member of the Ladies Professional Golf Association, she was fiercely competitive and an entertainer on the course, challenging accepted notions of femininity and athleticism despite constant media scrutiny.

Babe was diagnosed with rectal cancer in 1953. A year after a colostomy, she won the U.S. Women’s Open, inspiring cancer survivors with her victory. Golfer Betty Dodd played LPGA tours with Babe, eventually moving in with her and George for the last years of Babe’s life. Their intimate relationship was never publicly acknowledged. Babe’s cancer returned and she died at age 45. In 1999 the Associated Press named her Woman Athlete of the 20th Century.

Illustrated by Chandler O’Leary and printed by Jessica Spring, in honor of those who embrace their unique identities, “ladylike” or not. Printed by hand in Tacoma during the U.S. Men’s Open golf championship.

Now available in our Dead Feminists web shop!

Detail of "Title Nine Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Share it!

We did it!

Constellation pattern illustrated by Chandler O'Leary

Holy cow—we made our Kickstarter goal three days early! I can’t tell you how much it means that you helped us reach our goal, and so quickly. This project has truly been a labor of love, and it feels so good to know that you support local and women-owned businesses like us.

Production is going to begin shortly and the coat will start being shipped in early fall, so I’m sure I will have updates to give you in the near future. In the meantime, there are still three days left of the campaign if you’re looking to get in on the coat and other rewards. And the Tacoma News Tribune did a great article about the women involved in the project in today’s paper—you can read about it here.

Thank you so much again for all your support and help spreading the word. We truly could not have done this without you, and we are so looking forward to the day when we can all wear our coats! Many, many thanks.

Share it!

On the green

Chambers Bay golf course sketch by Chandler O'Leary

There’s a very big sporting event coming to my town next week—and even though I’m not a ticketholder (or even all that interested in the sport itself), the spectacle is already proving to be a big source of inspiration.

Process photo of "Title IX Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

So here’s another piece of what Jessica and I are working on—look for more next week!

Share it!

Teeing up

Process image of "Title IX Iron" Dead Feminist broadside by Chandler O'Leary and Jessica Spring

Amidst all the Kickstarter hubbub, I have another deadline to attend to: Jessica and I are releasing a new Dead Feminist broadside in a week or so. Normally I would have postponed that for a bit, at least until the Kickstarter was behind me, but we’re timing the new broadside to align with a big event. So, yeah. It’s not ideal, but the timing is out of our hands for this one.

Anyway, I thought I’d show you a snippet of what we’re working on. No, the broadside won’t be in black-and-white, but every design goes through a black-and-white phase before it goes on press in living color. It’s actually a good thing to do, even if it weren’t necessary to the production process: viewing a design in shades of grey is a lot like showing it to a pair of fresh eyes. Without color to distract me, I can look at the design objectively and make one last call to make sure it’s working as a whole. And besides, the color separations for the new piece are really, really complicated (as you’ll soon see). I’ve spent two days staring at this greyscale version of the design in Photoshop, checking and rechecking that I did it right and all the layers line up correctly. I don’t want Jessica to be in for any nasty surprises when this thing goes on press tomorrow.

Wish us luck! More soon.