I’m all set.
Well, I don’t know about you, but I’ve got everything I need here.
Well, I don’t know about you, but I’ve got everything I need here.
In case you might be wondering, I’m still working on my Mt. Rainier book. I don’t post about it often, but this is a near-constant backdrop to everything I do. Every day, I hand-color a few more prints. Every day, I cut a few more pieces. Every day, I cross a thing or two off the massive list. And every day, I get closer to “done.”
Every year for Thanksgiving, I like to whip up place cards for our guests. Often this happens about 5 minutes before they show up at our door… or sometimes after, while I hide away in a back room and the Tailor distracts entertains them.
But let the record show that I’m early this year! For the first time ever, the place cards are done and dusted before the turkey has even finished thawing.
Victory? I think so.
I’m not entirely sure where this is going yet, but I’m trying something new today. Either I’ll end up with a couple of new pieces for the portfolio—or some pretty additions to the recycling bin. We’ll see…….
Every year I tell myself I’ll actually take photos during Studio Tour—and every year we get a bigger crowd, and I get all wrapped up in talking to people, and somehow the camera just sits forgotten in a corner. But at least I managed to take a couple of quick snaps of how it looked before we opened! We had our biggest group yet this year—over 150 people, many of them new faces! So an enormous thank you to everyone stopped by or sent me encouraging social media messages throughout the weekend—I can’t tell you how much it means to me to be a part of this amazing community.
I always look forward to Studio Tour because it’s the time of year when I produce the biggest crop of new pieces—and get to “try out” new work with the folks who know me best. This year has turned out to hold some pretty major shifts in direction for my studio practice, and I’m both excited and extremely nervous to put this stuff out there in the world.
(My internal worry-wort lately: “What if they don’t know it’s me?” “What if people ignore this and just ask, ‘What happened to [X]?'” “What if I can’t make the finished product look like it does in my head?” “Who says you get to do [X]?” Ugh.)
Studio Tour takes a lot of that pressure off, because I get to show this new work, in person, to folks I already know, before I release it into the wild. People who already get me and understand what I do—who don’t need me to launch into any awkward elevator-speech explanations of why. They already know the because. I can’t tell you how grateful I am for that.
And I’m grateful for you, the reader, as well. Whether you live in my town, or you’re part of my online circle—thank you. I can’t wait to show you what I’ve been working on. More soon.
As the school year begins again and the pace of life quickens, the easy pace of summer has made way for a season of bustling, planning, and dreaming of times ahead. Yet worldwide, over and over again, the plans and dreams of so many women and girls are cut short by violence. In light of recent high-profile crimes halfway around the world, Jessica and I though it was high time we spoke up. This time we drew inspiration from the Nightingale of India:
What hope shall we gather, what dreams shall we sow? — Sarojini Naidu
“Nightsong” honors the hopes and dreams of women and girls in every culture—in defiance of the world’s dangers. The illustration depicts a lush dream menagerie printed in bright, exotic hues. Tigers, peacocks, elephants and nightingales stand sentinel around our heroine, surrounded by detailed paisleys and florals drawn in the style of Indian mehndi designs.
To make this print more dreamlike, we decided to throw a tricky technique called split-fountain printing into the mix—or “rainbow roll,” for short.
A split fountain is extremely difficult to control (advanced Eagle Scout printing here, folks), but the results are so lovely that it’s absolutely worth the effort. As an added bonus, we were careful to keep our inks translucent—so when we registered the second color, that mixed the colors even further, giving us an entire rainbow spectrum with just two passes on press.
I should add, though, that while we love printing with a rainbow roll, the process is completely unpredictable, and the finished prints are far from uniform. So rather than an edition of absolutely identical broadsides, we ended up with a beautiful range of yellows, oranges, pinks and even reds, that vary from print to print. So my scans here are representative of the edition in general, but no two prints are exactly alike (so if you order a print, please allow for some slight variations from what you see here).
To help restore hope to victims and in honor of our dreams for the future, a portion of our proceeds will be donated to Take Back the Night. In order to create safe communities, Take Back the Night seeks to end sexual assault, domestic violence, dating violence, sexual abuse and all other forms of sexual violence.
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Nightsong: No. 18 in the Dead Feminists series
Edition size: 147
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:
Sarojini Chattopadhyay Naidu (1879 – 1949) — also known as “The Nightingale of India” — was born in Hyderabad, the eldest of eight children. She was a gifted student, proficient in five languages, and by age 16 left the country to attend King’s College to pursue her interest in poetry. Inspired by the suffragist movement in England, she joined the struggle for Indian independence, traveling the country to lecture on social welfare, women’s rights and nationalism. Naidu played a leading role during the Civil Disobedience Movement and was jailed along with Gandhi. Naidu wrote beautiful lyrical poetry, focused on Indian themes, to inspire the nation. She was the first woman to serve as president of the Indian National Congress, and the first woman to become the Governor of the state of Uttar Pradesh. Though Naidu humbly claimed, “I am only a woman, only a poet,” her birthday is celebrated as Women’s Day throughout India.
Illustrated by Chandler O’Leary and printed by Jessica Spring, calling for an end to violence against women all over the world.
UPDATE: poster is sold out. Reproduction postcards available in the Dead Feminists shop!
Jessica and I are hard at work on the next Dead Feminist poster—I’m inking flowers and separating colors this week, and then we’ll be on press before you know it. Look for more in the coming weeks…
The other day I received the most peculiar thing in the post, from a couple who had recently purchased my Local Conditions artist book.
I opened it up, and inside was their own version of the book, made out of vintage postcards!
I’m pretty sure this is, hands down, the best thing anyone has ever sent me in the mail.
It’s that time of year again: the trees are blooming outside, and inside we’re playing with knives. The ninth (!) annual Tacoma Wayzgoose is one week from today—and if we’re really lucky, Jessica and I might just finish carving our design by then. As usual, we’ll reveal the whole design that day, but until then, this little peek might look familiar…
If you’re new to my tiny u-bend of the Intertubes, you might ask: what the heck is a Wayzgoose? It’s a festival celebrating the art of printing, a tradition that goes back hundreds of years. Here in T-town, our party mobile is a steamroller—yes, ma’am—and we churn out giant-sized linocuts in the street to mark the occasion. If you’re local, come on by and get ink on your jeans:
9th Annual Tacoma Wayzgoose
Sunday, April 28, 2013
11 am to 4 pm, Free!
King’s Books
218 St. Helens Avenue, Tacoma, WA
In the meantime, you can whet your appetite with a stroll down Amnesia Lane—take a look at the ghosts of Wayzgeese past:
• 2009 (Tacoma)
• 2010 (Tacoma)
• 2011 (Tacoma)
• 2011 (San Francisco)
• 2012 (Tacoma)
See you next week, rain or shine!