Blog
December 25th, 2015
Shooting grainy on-the-fly night photos doesn’t always yield the best results, but it’s done a great job of documenting this year’s Season of Light. I hope yours is as warm and bright as ours has been, and that you are surrounded by joy while the sun makes its way back to us.
Good Yule, and Merry Christmas.
May 25th, 2015
Hope yours was glorious!
May 16th, 2015
I took this photo of one of our apple trees a couple of weeks ago, when the blossoms were at their peak.
Now the tree just has a couple of blooms still hanging on—
—but if you look closely, it has other surprises in store.
April 6th, 2015
I took a rare day off on Friday, to get out of the studio and gather some inspiration in the…um..field.
My trip turned into a mini-adventure,
full of Washington wonders.
Catching the moonrise on my way home was an extra-special bonus, because it reminded me to set an alarm—
—so that I could catch a nice postscript to the day’s excitement.
March 12th, 2015
I just got back from over a month of traveling—first by way of a road trip to the bottom of California and back, and immediately afterward, a one-way Florida-to-Washington drive with a friend. In 33 days I logged well over 8,000 miles, and crossed several vastly different regions of the country. So even with the help of my trusty sketchbooks, my memories of the trip aren’t terribly linear. They’re more of a jumble of images flashing through my mind—so in that spirit, here is a similar jumble of images.
Now that I’m back in the studio, I’m trying hard to get my momentum back on my ongoing projects—and to suppress (for a little while, at least) the ideas that are coming as thick and fast as the images in my memory. We’ll see how long I last before some new project (or twelve) comes out of this trip…
December 25th, 2014
To me this season is not about a certain day, or even a series of holidays—it’s a collection of moments. It’s those moments that I cherish above anything else—especially when they happen with the people I love best, in this part of the world I call home. I hope your season, however you might celebrate or mark it, is filled with the moments you’ll want to remember always.
Merry Christmas, and happy holidays, from our home to yours.
September 9th, 2014
At this time of year, the rainy season looms just ahead, waiting to drop like the proverbial other shoe. So any extra warm sunny days we’re given feel like a huge, magnanimous gift. And since this little slice of Indian Summer fell on a weekend, it felt like I just had to get out on the water, while I still had the chance.
Clearly, I wasn’t the only one.
In fact, it seemed like everyone and their dog had the same idea I had—but that’s fine with me. It seemed appropriate to share Lake Union with half of Seattle—after all, at this time of year, we’re all in the same boat.
July 14th, 2014
Saturday was a scorcher—I wouldn’t normally pick a day with the temperature in the mid-nineties to hang out in a concrete jungle, but it was a special occasion.
You see, it’s a rare treat to get to have a tasty meal and a good conversation with a roomful of talented illustrators.
Photo by Sophie Dufresne—thanks, Sophie!
We all got together in downtown Portland with the lovely Lilla Rogers to talk shop, ask advice and compare notes. I think all of us came away with our heads full of ideas and our hearts full of confidence. (Not bad for a lunch date, I’d say.)
After that, though, I had a lot to think about, and 95 degrees wasn’t doing my brain any favors. So I bolted for the coast—where it was 30 degrees cooler and a thousand times more peaceful than the city. So I soaked in the sun and stared out to sea, while my ideas took shape.
March 18th, 2014
If you earn your living by drawing pictures, you have to spend a lot of time with your head down and your eyes on your paper. Yet at this time of year, with spring coming along fast (at least in the Northwest…), life hurries by at a frantic pace. I hate the idea of missing any of it—so I’m always happy for any reminder to stop and really look around me. So for our newest Dead Feminist broadside, we’re heeding the words of one of America’s greatest photographers:
The seeing eye is the important thing. — Imogen Cunningham
This piece is a major departure from what we’ve done in the past—as you can plainly see. For the first time ever we’ve printed the broadside on black paper—which helped us “pull the focus” (if you will) onto the quote. It also provided a beautiful backdrop for a tribute to someone who spent her life creating black-and-white images.
Surrounding the quote is an intricate metallic silver filigree of spring botanicals and portraiture, creating a pastiche of the subjects of some of Imogen Cunningham’s most iconic photographs—while the color choice references the traditional silver-gelatin photographic process. In the eye of the storm of imagery is the all-seeing camera lens, looking out onto the world.
Jessica has her own secret-sauce recipe for gold ink, and while we’ve used it before in our series (like in Gun Shy), nothing makes it look so fabulous as a dark background. The gold ink looked amazing on press—we kind of wished we could just leave the ink on there permanently, because that’s some serious bling. (It almost made the Vandercook feel like some sort of super-cool Bond gadget.)
As always, we donate a portion of the proceeds of the series to a nonprofit that aligns with the message of each piece. To help sharpen the seeing eyes of the artists of tomorrow, this time we’ve chosen Youth in Focus — a nonprofit that puts cameras in the hands of at-risk youth to “teach them how to develop negatives into positives.”
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Focal Point: No. 19 in the Dead Feminists series
Edition size: 164
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:
Imogen Cunningham (1883 – 1976) graduated from the University of Washington in 1907, earning a degree in chemistry with her thesis on chemical processes in photography. Shortly afterward she was hired by photographer Edward Curtis, who taught her platinum printing and portraiture. She opened her own successful studio in Seattle, and published an article entitled “Photography as a Profession for Women.” In 1917, Cunningham and her husband and son relocated to California, where she gave birth to twin boys. Her children and the plants in her garden then became key subjects of her work. Her experiments with double exposure throughout the 1920s and 30s contributed to a growing appreciation of photography as art. She was a founding member of Group f/64, a collective of influential west coast photographers including Ansel Adams and Edward Weston. The group mounted a 1932 exhibition at the de Young Museum in San Francisco, united by a manifesto declaring “photography as an art form by simple and direct presentation.” Cunningham’s vision came through in both her personal and commercial work: unvarnished celebrity portraits for Vanity Fair; documentary street photography; nudes and botanical images — a lifetime of work that continues to challenge and intrigue viewers.
Illustrated by Chandler O’Leary and printed by Jessica Spring, grateful for artists who remind us to focus.
Available now in the Dead Feminists shop!
December 18th, 2013
The Tailor and I are off on a winter road trip to spend the holidays with family and friends. I chose this picture out of pure wishful thinking, in hopes that the mountains in our path will be bare of snow…
…though I have a feeling they’re going to look a lot more like this.
Wherever you’re spending your holidays this year, may the short days be filled with bright winter sunshine—
—and may the nights glow with warm, festive light.
Happy holidays!