Angels, Zombies, & Letterpress: An Interview with Todd Thyberg of Angel Bomb

Posted on September 15, 2026 by Andrew Anderson

Headshot taken by Dan Marshall. All other photographs in this article were taken and provided by Todd Thyberg.

TODD THYBERG of Angel Bomb comes to us from Minneapolis, Minnesota. As a regular customer of Boxcar Press for the past 20 years, Todd’s focus has shifted to his impressive handmade books, pressed with our photopolymer plates. They are featured in over 100 private collections, libraries, and universities. Utilizing the world around him, Todd draws inspiration from all over, from the the town in which he prints to his voyages all the way down to Antarctica. We invited Todd to share his story with us.

SMALL BEGINNINGS, BIG CITY — I come from a small town in North Dakota and moved to Minneapolis in my 20s to attend the University of Minnesota, where I majored in graphic design along with taking creative writing classes. I’ve made Minneapolis my home because it has such a supportive arts community. I love living in a city that’s big enough to offer a wide array of diverse cultural activities without being too large and chaotic.

I founded Angel Bomb in 1997 as a graphic design studio. I added letterpress capabilities in 2006, and have evolved my business from producing client work to creating fine arts books full-time. My work spans social justice topics, science fiction, experiential reads, and horror, etc.

Whenever I start a new book project, I fully immerse myself in the subject matter. For example, in order to gain first-hand experience and knowledge about climate change’s devastating effects on the polar ice caps, I took on the persona of a polar explorer from days of yore. I’ve sailed on board tall ships in both polar regions, with my most recent adventure sailing from Argentina to Antarctica – crossing the treacherous Drake Passage en route – for book research. When I seek out challenges like these, it’s how a lot of my book ideas flow.

SMALL PRESS, BIG IMPACT — As a graphic designer, I’ve always loved letterpress and was drawn to the handcrafted, tactile nature of it. Luckily, there was a lot of it happening in Minneapolis. Little did I know you could buy a press, learn how to use it, and put it to work.

I received a tiny Kelsey tabletop press as a gift and it was too small to be anything more than a novelty, so I found a larger Chandler and Price on Ebay and drove to Indianapolis to pick it up. Then I hired some local letterpress printers to educate me. (Shout out to Allison Price and Monica Edwards Larson for my initial tutelage!)

I printed for myself until I felt confident enough to offer it to my clients at Angel Bomb. Within a few years I was printing more than I was designing and thoroughly enjoyed the physicality of it, especially being able to bring my designs to fruition from concept to printed piece.

Seeing one of my designs – or one that a client had brought to me – come to life on press through color and impression is deeply satisfying. At the end of a print run, here you have a stack of beautiful work that will go out into the world and get passed from person to person, hopefully with a little awe or delight on the recipient’s part. That’s a wonderful thing to think about.

What was your very first press? The silly Kelsey 3×5″. Just a toy, really. I used it once to print my name and then bought the 8×10″ Chandler and Price.

For years I was always looking for presses that would print larger, faster, better, etc. so I’ve had nine presses over the years: C&Ps, Miehles, Vandercooks, and Heidelbergs. Once I became proficient on my first Windmill, I was sold on Heidelbergs and the ease of registration and consistency with them. I love being able to print and diecut, and now I have a Windmill dedicated to each purpose.

COMFORT & COMMUNITY — Angel Bomb has changed a lot over the years but my studio remains a creative and inspiring place. I like to keep it comfortable and cozy, and I change the layout periodically to reinvigorate the space. Could be a fresh coat of paint on the walls, a reading nook bordered by bookshelves, or rearranging what’s on display.

I’m located in a large building full of artists, which is great because I mostly work by myself so it’s nice to have people around. We’re a pretty good community when it comes to helping each other out. I love helping other artists by cutting their paper down or lending them a tool, and if I need some woodwork or metalwork done I know someone who can help.

What’s nearby? My studio is in the Northrup King Building, a 109 year-old former seed processing plant in the center of Minneapolis’ Arts District. I’ve been here for 20 years and it’s a cool historic building with lots of weird, hidden spots that people aren’t supposed to wander around in. I’ve actually filmed a couple of spooky introduction videos for some of my books here – with permission, of course – and the setting was perfect.

The local restaurant and craft beer scene in Northeast Minneapolis, where the Arts District is located, is fantastic and well known throughout the metro. Lots of great options can be found in the smaller neighborhoods throughout “Nordeast,” which makes it easy to entertain guests from out of town. There are several restaurants that’ve made the New York Times’ best in the country lists in recent years such as Oro by Nixta, Vinai, and Diane’s Place. My all-time favorite and somewhere I eat regularly is a local Mexican restaurant called Maya. Highly recommend.

And of course, being in a city with a Book Arts Center is tremendous. I’m so glad that the Minnesota Center for Book Arts (MCBA) and the community they promote is here. Without it, I don’t think I could have successfully traversed this path that I’m on.

MENTORS & SHOUT-OUTS — I’m big fans of Allison and Monica and another local, Kent Aldrich, who runs Nomadic Press. Most letterpress people in the Twin Cities have been willing to help out and be a good neighbor, which is great if you’re in a jam. I’ve enjoyed doing the same for others.

FULL-TIME BOOK-BIND — Once I added letterpress to Angel Bomb, I loved it and had a great run up until COVID. I would make plates and print most days of the week. I’d print a book every other year and worked with hundreds of clients printing business cards, wedding and event invitations, coasters, and brand packaging. The tactile nature of letterpress and the use of quality paper is important to me.

When the pandemic slowed everything down, I decided to focus on my book arts. I still take care of existing clients and welcome new ones who share the same values, but I’m much less of a job shop now and instead put my energy into my book projects. Books take quite some time to design and produce, so I’m not on press as much as I’d like.

OPEN MIND AND FINE DESIGN — Oh yes, that’s what I trained for! I’ve always been a fan of working with words, so my design processes usually start with free association. What does this project want to be, how should it be received, what should it look and feel like? I always strive to create something that people want to hold onto, to pin up on their bulletin board because it’s cool or unique. This all starts with language and from that, I start to sketch and determine how best to visually represent the ideas I’ve jotted down to turn words into effective visual designs.

I like to look at historical references for inspiration. My design has always been bold and graphic, so early 20th-century propaganda and art from the Works Progress Administration (WPA) are right up my alley. This was a time when artists were hired for commercial work, and it really shows in advertisements that burst with beauty and dynamism that still hold up even today.

ASTOUNDING ACCOMPLISHMENTS — Back in 2012 I received my first grant, a Jerome Book Arts grant through the MN Center for Book Arts. I was thoroughly excited! Here was an organization that felt the idea I had for my first book was worth supporting with an exhibition and financial backing. It was an amazing experience and so affirming. The result of this grant was The Airship.

My second book was also supported through a grant from the State Arts Board two years later and that showed me that I was on to something. I didn’t get a lot of support when pursuing my artistic potential growing up so getting grants from organizations and recognition for my work really validated that I was heading in the right direction.

I continued making books and in 2023 won a McKnight Book Arts Fellowship, which literally brought tears to my eyes. I’ve long sought recognition and affirmation of my book art and am extremely proud of achieving this milestone. McKnight made it possible for me to travel to Antarctica and further my education at book arts institutions.

Lastly, my work appears in over 100 private, library, and university special collections and museums across the U.S. and Canada. I’ve been fortunate to foster meaningful connections with people I’ve met at places like the annual Manhattan Book Fair and biannual Necronomicon in Providence, RI, which has led to multiple purchases from my book art catalogue.

HISTORY WITH BOXCAR — I’ve been working with Boxcar since I started printing, so for 20 years! I did have my own platemaker when I was printing a lot, but Boxcar still helped with troubleshooting and negatives. Since I sold the platemaker, I now order my photopolymer plates from Boxcar and know that they’ll be properly exposed and shipped straight to me in a timely manner.

A TIP FROM AN ANGEL — One trick I learned from a pressman I’d used years ago – an old guy with only one good eye – was to push the job towards the top of the page to allow the crop marks to run slightly off the top of the page. This is useful to be able to see any shifting in the print from subtle differences in feeding. It’s a great help with registering the opposite side too, allowing you to see both impressions and adjust the guide to pull them together.

WHAT THE FUTURE HOLDS — I just finished a difficult book, Plague, and am now trying to work on something a little lighter and less stressful. Plague is a story I started last year when the current administration weaponized their assault against immigrant and LGBTQ+ communities. I was profoundly offended and angered that I needed to manifest something from these feelings.

Plague is a timely zombie-apocalypse story using political allegory to examine the rise of extremism in contemporary America. The narrator and his small band of survivors, including a gay couple targeted for who they are, hide from the violent “infected” horde who have succumbed to a plague of fear-mongering, propaganda, and rage.

It’s the most personal work I’ve created, and I feel the voice of the narrator is my own. The “hunted” in the story are characters based on my close friends.

When ICE came to Minneapolis and murdered Renee Good and Alex Pretti, real life outpaced my fiction, and I felt a strong need to record what was going on in my art and put it out there.

WHAT NEXT – Sooooo… right now I’m illustrating an edition of The Raven by Edgar Allen Poe, which will have a unique twist to it, and I’m also working on books based on my voyage to Antarctica.

A big thank you to Todd for sharing his book and print passion. We look forward to seeing what cool new opportunities come his way.

Letterpress Treats: Sweet Bippy Press

Posted on December 20, 2023 by Rebecca Miller

When Michael first met Patricia, she saw his printing press and said, “I’ve always wanted to have a greeting card company.” That’s all it took. Three years later, the duo has over 200 card designs via Sweet Bippy Press; a 1,000-square-foot shop, and is having more fun than adults should be allowed to have.

As co-owners, Michael and Patricia love coming up with ideas for new cards. For the last 30 years, the pair has been honing their skills—Michael in national consumer advertising and Patricia in sales and customer success. It’s a perfect match (the title of one of their card designs, coincidentally). Michael sat down with us to talk shop, vintage guitars, and a beloved press called “Vanderhalen”.

INK IN THE BLOOD “In 2002, I went on a press check at Full Circle Press in Nevada City. The owner, Judith Berliner, convinced me to buy my first press, a Chandler and Price. From the time I pulled my first print, I was hooked. Over the next couple of years, Judith went on to train me on her Windmills. She’s truly an angel”, said Michael.

PRINTING PARADISE We have an industrial space in an amazing warehouse in Petaluma, California. It’s called Watershed, and it’s a wonderfully creative building filled with fine artists, photographers, and woodworkers. We feel lucky and blessed to be here. The shop has a pretty minimalist decor. We painted the back wall PMS 137 to give it some energy. We are right on the Petaluma River. You’ll likely spot some competitive rowers, along with the resident egrets and Great blue herons.

ALL IN THE NEIGHBORHOOD Just down the block is an amazing artist, Marco Cochrane, who makes three-story-tall sculptures out of metal. We also face Petaluma River Park with a sculpture by Mark Di Suvero.

PRINTING MENTORS Judith Berliner of Full Circle Press. She’s taught me everything. Sometimes her methods are not “by the book,” but they often work better. We have fun trading printing tips.

THE CREATIVE SPIRIT “Beginning in 2023”, Michael says, “I’ve been printing full time and loving every minute of it. I approach design from my advertising experience. Then, I start with a pencil and paper (Blackwings are my weapon of choice). I find it helpful to get ideas from my brain to the page quickly. The winning sketch gets redrawn (often in Illustrator) and finally, good old polymer plates. I sometimes dream about having cabinets full of type, but I just don’t have the room.”

PRINTING FEATS I’m proud of our “Famous Guitar” series of greeting cards. Each features a different guitar from some of my favorite musicians. There’s Willie’s old Martin “Trigger,” George Harrison’s “Rocky” Stratocaster, and a bunch more. They are unique in that they are scored on the short side so that you can open them up and see the entire instrument. They also come with a custom Sweet Bippy pick.

PRESS HISTORY Our first press was a 1905 Chandler & Price platen press.

In addition to the C&P, we own three Heidelberg Windmills, two for ink printing and one—named “Metallica”—which is dedicated to foiling and die-cutting. Our latest purchase is a Vandercook No. 4, which we call “Vanderhalen”, says Michael.

BOXCAR’S ROLE Michael recalls, “When I started out, I didn’t have much of a printing network, and I was craving information. Boxcar’s site is chock full of great tips and information. I was an early adopter of Flurry paper—I think you offered it as a Kickstarter at the beginning. I love that paper. And the Swing Away Lay Gauge is amazing. All three Windmills have one. (Currently, one of them is hiding in the dark cavity below, but I will rescue it one of these days.)”

PRINTING TIPS 90% of printing issues are ink-related, so start light and add slowly!

WHAT’S COMING NEXT We keep adding to our Northern California collection of cards, and this year we plan to expand to SoCal and perhaps other states.

The Many Printing Dimensions of M.C. Pressure

Posted on September 23, 2022 by Rebecca Miller

Bright pops of color, clean designs, and a hearty dose of whimsical humor can be seen in the letterpress works of Ryan Tempro (and team!) at M.C. Pressure. The Florida-based printer sat down with us to talk shop about Kelsey tabletop beginnings and expanding out with new presses & custom-printed works in tow. Read on to hear about the satisfying pride that goes into seeing the printed pieces being transformed into one-of-kind crafted pieces.

PRINTING IN THE SUNSHINE STATE M.C. Pressure is a print shop in St. Augustine, Florida specializing in letterpress, foil stamping, die-cutting and embossing. I started the company in 2014 after printing a couple years at a small stationery shop while I was in college. We have a lot of capabilities for a small shop. It’s been exciting to see the clients we’ve been able to work with and the creative things they come up with! We also design and create our own line of products that range from greeting cards to coasters to notepads and more.

INK IN THE BLOOD I first learned about letterpress and what it was while going through the graphic design department at Flagler College, here in St. Augustine, Florida. I was able to get a job at a local stationery shop operating their 8×12 Chandler and Price. I fell in love with the tactility of letterpress and being able to create something with my hands and away from the computer.

After I graduated from college I spent a summer in New York for an internship with an artist and was exposed to a lot of different print and production methods. When I returned I started a job at a screen printing shop that had an old Kluge for die-cutting decals. My boss saw my interest in the machine and introduced me to a friend of his who was an old timer in town who ran letterpresses for years.

He had a few small tabletop Kelsey presses that needed some work, but had all the parts! I bought them and cleaned them up and started a little shop on the side when I had time and clients. Over the next few years, I grew from a little tabletop press to several larger presses and a full time shop for myself and a couple of employees!

PRINTSHOP PARADISE Our shop is a modest 1300-ish sq/ft warehouse. We have a 30″ Challenge Paper cutter, an Orbital 8 Poly Plate Maker, 2 Heidelberg Windmills 10×15, 1 Heidelberg GTP 13×18, and 1 Heidelberg KSBA Cylinder Press. I love the capabilities we can accomplish with these machines. They are incredible workhorses. Some days they can be very temperamental, but overall they are wonderful and I’m very fortunate to have the machines I do. My favorite is probably the KSBA, it’s such an accurate press in all aspects of register and inking. I’d be lying to say as a printer that I didn’t love to print large, and that press allows us to really work on a larger format.

Our shop is located in St. Augustine, Florida which is the nation’s oldest city. It’s also a pretty small area so the community as a whole has been very accepting and welcoming of us and our small business. St. Augustine has a lot of rich history and a lot of great local makers and restaurants… a lot of which we’ve become friends with over the years. It’s truly a great community to be in support of and help others follow their passions.

CHILL NEIGHBORHOOD We have a city guide online for sale with a lot of our favorite places. The downtown area is where a lot of people visit when they come into town, though it’s also filled with the most touristy things in town. We are off of the West King Neighborhood and we love it! I’d say if you’re in town check out the Blue Hen Cafe for breakfast or SunDay. Dos and The Kookaburra for coffee. Juniper Market for a snack. Really there are so many great spots in town!

PRINTING MENTORS The print community as a whole has been very helpful. I’d say our biggest contacts are Dan over at Clove St. Press. He is probably one of the best I’ve seen, and I have to include Matt at Matte Gold in Australia. They also have GTP Foil Windmills and were a huge help in learning more about that machine specifically. I always love seeing the content and machines running from Studio on Fire and their capabilities are truly incredible. We have a shoutout to Letterpress Mechanic and Chris at FI Letterpress as well for troubleshooting. Really, there are folks all over we keep in touch with and love to see work from.

FULL TIME FUN I started M.C. Pressure in 2014 and worked on it part-time until the beginning of 2017 when I went full-time with it! I can say that I honestly love my job and love what I do.

THE CREATIVE ENERGIES I went to school for graphic design so some things are still designed by me. At the moment though most of my time is spent on press and business admin tasks. We have an employee, Lauren, who focuses the most on graphics for us. She graduated from Flagler College as well. We use a lot of digital processes in the work-flow. We use the Apple iPad and Pencil for a lot of the illustration work and typically finish up type in the computer through the Adobe suite.

We usually think up a funny idea and work on visualizing it. Or we have an image we want to create and work to create a use for it. Sometimes we get feedback from customers on looking for a type of product or more of a certain type of thing and can work to make them. For example, more birthday cards, or something to say I like you, but maybe don’t love you quite yet.

PRINTING FEATS Hmm, I’m always really proud of the packaging projects we work on here. Seeing the printed pieces being cut down and transformed into a three-dimensional object is always so satisfying. Most recently we printed a pretty complex and accurate carton for Hellcats USA for their Devilish Scent. A black outer sleeve with matte red foil and a red tonal letterpress printed on red for the inner carton. It had a cutout that needed to line-up perfectly with the print inside, and assemble to be snug enough to hold itself together. Clark Orr worked on the dieline and he truly nailed it with this project!

PRESS HISTORY Our very first press was a 5×8 Kelsey Table Top. It was a great start, but thank goodness we don’t have to work on such a manual press anymore!

BOXCAR’S ROLE In the early days of us starting out, we used Boxcar Press for all things! We got a set of inks, letterpress base, printing plates, and would use their resources to help figure out how to use the machines we acquired over the years. Though we don’t use Boxcar Press much these days, they were a huge help in getting us started on projects and understanding the things we use.

LETTERPRESS TIPS It isn’t always possible, but I almost always print with crop marks. I know it makes for a larger plate and paper size AND requires trimming. However, It really saves so much time, I think, on press to be able to utilize the grid on the Boxcar Base. It also allows for what I think is easier spotting if things start to bounce or get out of register.

WHAT’S COMING NEXT Over the last couple of years we’ve acquired various pieces of machines. This year we hope to not do that as much and really focus on the things we have to be as streamlined and efficient as possible! We don’t have a dedicated retail space, but we are working on some ideas to change that and hopefully get things out there more in our community!

A double round of applause & thanks out to Ryan Tempro at M.C. Pressure for letting us take a sneak peek at his wonderful plus fun printing realm!

Creativity Blooms At Hazel & Violet Letterpress

Posted on September 22, 2022 by Cathy

Nancy Hill of Hazel & Violet Letterpress, is a fine press printer who calls Phoenix, Arizona home. The colorful and inviting letterpress studio (which matches Nancy’s personality to a T) is also a teaching facility and commercial print shop with roots in the community. She was kind enough to give us a shop tour of her printing paradise.

AROUND THE SHOP Lighting…[we have] a bunch of LED flood high up on a 20′ wooden ceiling. The overall lighting is good, however, specific lighting (like to take photos) sucks. The floor plan changes annually but I think we have it right now. Production presses (Windmill, C&P) are in the back and the proof presses are in the front… type is everywhere. Decorating style: posters and prints on every square inch of wall space in no particular order. Floors are concrete.

PRIZED PRINTING POSSESSIONS Oh hell, I love it all. I love all my presses and most of my type… I also dearly love my big-ass working table… where I can spread out projects, work in progress, and new ideas.

SHOP SIZE The whole space is about 1500 sq. feet, but I sublet about 600 of it to an art collective for their gallery.

AROUND THE NEIGHBORHOOD The building is everything! It used to be Braggs Pie Factory (yes, they made pie exactly where we now print). It now houses a coffee shop, restaurant, beauty salon, head shop, art studio, a puppet shop…. and ME. Our neighborhood (downtown Phoenix-adjacent) is called Historic Grand Avenue…just an incredible neighborhood. The owner of my building is an artist and has completely decorated everything in front of the building and the entire street is amazing.

TYPE OF SHOP We are an open-to-the-public retail space, workshop space, and printing studio. We are open almost every day. We also have events on First and Third Friday nights for an art walk. We have a poster set up on one or two of the proof presses and anyone can come and print a free poster. The last First Friday we had a bit more than 200 people.

PRESS FAMILY

Heidelberg Windmill
C&P 10×15
Repress #1 Proof Press
Potter #2 proof Press
Long-master Showcard Press

MOST VALUABLE TOOL Probably the Windmill. We do wedding invites on this one. But the C&P is what we print all of our cards, stationery, and coasters on.

FAVORITE INK I use a variety of inks. If I need a specific PMS color I sometimes go with Southern Inks (good guys). But these days, my pressman mixes ink colors – which certainly saves money. My stay-open black ink (forms black )that I use ALL THE TIME I get locally at Quality Inks.

CLEANING SOLVENT OF CHOICE Speedy Wash from Kelly Paper. To clean up I use white random rags by the pound from Ace Hardware.

BASE SYSTEM & PLATE OF CHOICE Boxcar. Boxcar. Boxcar. Love you…Never use anyone else. I do occasionally use Owosso when the client wants a cut. I also went to an Industrial supply house to get an 11×17 tool plate aluminum base. (sorry)

FAVORITE OIL LUBRICANT Whatever. all-purpose stuff.

BEST CLEAN-UP RAGS Rags by the pound from Ace Hardware. Best deal.

PIED TYPE? Nope. I have a few old tied-up forms that people have given me over the years. Weird stuff from the 40s and 50s. Eventually, I’ll dump them in the hell box (can) and run them upstate to Sky for credit on some new type.

ORGANIZATION TIPS No secret…constant vigilance for stuff not in the right place. Also, I am the queen of spreadsheets… so, there is always a plan.

PRINTING ADVICE The old rules don’t apply.

Glass of Vino With AJ Masthay

Posted on September 20, 2022 by Rebecca Miller

[Installment 5]

Next up in our Letterpress Friend chat series is AJ Masthay. We are bowled over by the mesmerizing details in his concert poster series and his bright + bold color combinations. AJ is a Connecticut-based printer who always makes us wonder “What is he up to this time?!” We sat down for a quick minute to see what’s on his Vandercook (and beyond!) via Masthay Studios.

Boxcar Press: So good to catch up with you! We’ve all got the printing bug and we’re just curious about when you got “bitten”!

AJ: That happened back in my sophomore year of art school when I was first introduced to old-school stone lithography. Literally drawing on pieces of limestone, using leather rollers and gum arabic to reproduce beautiful full tonal drawings. It felt like the world of magic and alchemy to me, I was hooked.

Boxcar Press: Tell us about a press you remember fondly (or not so fondly) or one you have now that you prefer to use.

AJ: That’s my first Vandercook Universal I for sure. I found it through the help of one of my college professors, Jim Lee, a few years after I graduated. I was hoping to get an etching press as I figured that was the most versatile. Jim mentioned he knew of a Vandercook in a guy’s garage he was looking to sell. The only problem was it was completely disassembled and in pieces.

$500 later…. it was mine and I spent the next couple of months studying the presses at my former art school to figure out how to reassemble the Uni I in my basement. That’s the press that started my entire art career but I wound up trading it for my current “go to” press which is a Universal III. The hand cranking on thousands of print passes became a bit much. The larger format and motorized aspect of the Uni III just made it way more realistic for my shop. I’m also in the process of possibly adding a large Vandercook 32-28 to my shop which is very, very exciting.

Boxcar Press: What is something people might not know about you?

AJ: People that follow me might know this already but I have a deep fascination with bones and osteology and have been collecting skulls since I was a little kid. I now have a pretty extensive collection at the studio with well over 200 skulls of various species.

Boxcar Press: What is your printing superpower? Every printer has one….

AJ: This one is easy, my printing superpower is my coworker Kait Lennon (@longlegslennon on IG) who handles almost all of the printing in my shop these days. There is no way I could crank out the amount of work I do for clients without having someone else working the press and there’s no one I trust more with my work than Kait.

Boxcar Press: Anything you want to give us a sneak peak about or a current project you have in the works? Maybe one project that you are always going to get to but it just never seems to get done? (We all have one!)

AJ: I’m currently working on a series of new art prints that I’m calling my “Pet Projects” that I plan on releasing at my November 12th open studio event. Summers tend to be very very busy for us with client work (summer tours, festivals, etc.) Once we got through all that this year I thought it would be nice to take some time to work on a few pieces that I’ve been meaning to do but always seem to get pushed off.

LOL […] I have many many projects that seem to just never get done. Hopefully, I can check a few off with this upcoming show though.

Boxcar Press: Last quick question & just for fun(!) – Do you like to listen to podcasts or music in your shop while you create?

AJ: Both really, depends on my mood and what’s going on that day. I find music, usually very loud music, helps me get in the creative zone when coming up with overall concepts or working out compositions/layout. Podcasts seem better when I’m diving into detail work and fleshing out/completing drawings. Neither is written in stone though.

That was a delightful time, AJ. We’re grateful for the friendly chat! Visit his website link to delve more into the hue-filled world of masthaystudios.com.

Cerveza With Ben Sargent

Posted on September 16, 2021 by Rebecca Miller

[ Installment 4 ]

Next up in our Letterpress Friend chat is Ben Sargent. A Texas native and avid Chandler & Price printer, Ben is an inspiration for the pursuit of printing knowledge, and offers some good chuckles, and stories. As the conductor of Sargent Brothers Printers & Typographers, he adds a bit of charismatic style that comes only with letterpress.

Boxcar Press: So wonderful to catch up with you and delightful to have you. Speaking of delights… is there one defining moment or point that you just fell hard for printing?

Ben: It was last Christmas. I realized that was the date 60 years prior that my brother and I received our first press and type–a 5×8 Kelsey Excelsior, seven fonts of type, and the whole outfit. While we knew our Dad had been a printer in boyhood and we had grown up around the hot-type composing room of the Amarillo Globe-News, it was the first experience as “real printers” ourselves, and I never looked back.

Boxcar Press: Tell us about a press you remember fondly (or not so fondly) or one you have now that you prefer to use?

Ben: Three years after I began on the Excelsior mentioned above, Dad brought home the C&P 10×15 Old Series he and his brother had bought as teenagers in 1928. That is the press I use to this day. She is a graceful and hardy specimen from the long-ago era of well-built iron-and-steel machinery. “I love her well and she must love me….”

Boxcar Press: What is something people might not know about you that would surprise them?

Ben: Maybe they don’t know that when I’m not printing, I can often be found swinging on and off moving equipment as a fully licensed but volunteer brakeman and conductor on our local excursion railroad. Can’t keep me away from ancient technology.

Boxcar Press: What is your printing superpower? You definitely have one!

Ben: I usually think there are always people who can do better than I in just about every facet of this trade, but if I had to choose a superpower, maybe it would be the delight I have in continuing to learn things about every aspect of the work, even 60 years into it. Sometimes new techniques, skills, and understandings come from my dear colleagues both young and old. Sometimes there are things I just figure out on my own, but it is always a pleasure to learn one more of the apparently infinite things there are to learn about this craft.

Boxcar Press: Anything you want to reveal about a current project you are working on – even a hint or clue?

Ben: Recently, I had one of the most curious and interesting wedding invitations in the course of printing many, many such projects. The invitation itself is a thin 5 x 4 box. It was a challenge finding people who could do the tasks beyond my capacity such as the necessary die-cutting, duplexing, scoring, and laser-cutting of some tiny holes. Really the only part I had left was doing some letterpress on the inside of the box. But the finished box contains a computer chip the recipient plugs in and then touches the laser-cut openings to play various sound recordings from the happy couple. (The wedding involved a graphic designer and a computer engineer, so there you go.)

Boxcar Press: Given these current “strange” times, what is that one project that you are always going to get to but it just never seems to get done?

Ben: If I had to pick one, might be the 3rd edition of our handset-type specimen book, last published in 2010, and in need of an update. But the deck seems to stay crowded with job work even in strange times, so it does keep getting put off.

Boxcar Press: One last question before you finish your drink, an IPA from Texas-local Pinthouse Brewing called “Electric Jellyfish”, – Do you listen to podcasts or music in your shop while you create?

Ben: I always have my Pandora channels on, which beggar the word “eclectic.” I’ve seen a young typesetter friend’s eyebrows rise when hearing Brubeck–Mercedes Sosa–Gregorian chant–Booker T and the MGs–Tommy Dorsey–Handel–Brazilian bossa nova etc. all in a row.

That was an immensely fun time, Ben. Heartfelt thanks out to you for the cheery chat! Want to know more? Visit his website: http://sargentbrothersprinters.com/

West Coast Printing: Thom Caraway of Spokane Print & Publishing Center

Posted on September 15, 2021 by Rebecca Miller

Printing on press is as much a personal creative time as it is an experience you just can’t wait to share with others. This is an observation from Thom Caraway of the Spokane Print & Publishing Center. The full-time teacher and Center organizer has enjoyed creating a space where all interested in the craft could roll-up their sleeves and get inky. We spent time with Thom to talk shop, and to see how the printing world in Spokane is being discovered by others at their printing paradise.

GEARING UP FOR PRINTING ADVENTURES I’m a university English professor in Spokane, Washington via Whitworth University. I write poetry and teach classes in editing, book design, and print culture.

In 2015, I inherited a C&P from a printmaking professor who didn’t want it in the school art studio anymore. I was excited about it but had no idea what to do with it (or even how it worked). Shortly after, I met Bethany Taylor, who was getting her shop off the ground, and we decided to make a place where neophytes could come learn. She’d been to the Independent Publishers Resource Center (IPRC) in Portland, and we modeled ourselves off of their space and got going.

PRINTING CENTER COMMUNITY We closed Iteration one in 2018 when our lease ran out, and moved into the new space as Spokane Print & Publishing Center in 2019. With the bigger space, we were able to add more presses and expand from letterpress and screenprint into relief and etching as well. Later, we added book arts and digital design and printing. My favorite thing is when there are members spread out across the shop all working on different awesome things, especially if several presses are going at once.

ALL IN THE NEIGHBORHOOD We’re a 5-minute drive from the Kendall Yards neighborhood and the Spokane River. Downtown is just across the river, so we are close to food and shopping.

PRINTING MENTORS Letterpress Instagram kind of kept me sane during lockdowns, and with no formal art or print shop training, I’m a big fan of the School of Bad Printing. Amos Kennedy, Mizdruk, Fresh Lemon Press, Bright Press, Marcos Mello. Also Rick Griffith, Amy Redmond, Ben Blount, Chris Fritton, Base Press, Stephanie Carpenter…so many great printers out there!

PART-TIME PRINTER, FULL-TIME FUN This is a side hustle from my day job teaching. I would love to get to a point where I could print full time though.

THE CREATIVE PROCESS I’m becoming more of a planner, but mostly I’m a seat-of-my-pants designer. I like seeing what happens with different applications of color, and big messy press beds full of wood type. From there, I might layer in a quote or phrase, or play around with the letterforms of larger wood type to see what happens.

PRINTING FEATS Making a more formal turn from writing to printing in the last four years has been a lot of fun, if a little nerve-wracking at times. But mostly I’m proud of our little shop. We’ve weathered COVID well, and offer classes pretty much every week now. I feel like we’re really developing Spokane’s appetite for the print and book arts, and training up a bunch of new printers!

PRESS HISTORY I have that first press – a C&P Old Style with a broken flywheel axle. Have still never gotten that thing fully functional.

BOXCAR’S ROLE We’ve gotten a bunch of ink from Boxcar, and had some plates made. And we’ve been meaning to order some logo plates, too!

PRINTING TIPS & TECHNIQUES I print mostly now on a Vandercook 14, which is really basic, so no ink rollers. Everything is applied by hand. My advice for letterpress printers is don’t be afraid to mess it up a bit. I love a nice clean print as much as anyone, but I’m also really interested in the accidents and goofs. Those are usually my favorites.

WHAT’S COMING NEXT I’ve got a full slate of letterpress classes spread through the year. I am hoping to grow our membership base once things open back up, and continue developing our Print Town USA events, which get the public into the shop for sales and demos, and are just a lot of (socially-distanced) fun.

A double round of applause & thanks out to Thom of Spokane Print & Publishing Center for letting us take a sneak peak at the wonderful community-driven printing center!

London-based Linocut Artist Kate Guy

Posted on September 13, 2021 by Rebecca Miller

Kate Guy is a London, UK-based linocut and fine printmaking artist. She incorporates bold use of flora, fauna, colors and her cat into her works. From early beginnings at the press in her family’s workshops to enjoying where the creative process takes her, Kate shares how she is carving out her own printing path.

BOLD LINOCUTS, GRACEFUL ART I live and work in London UK, I trained as a graphic designer but now I am doing what I love most. I am a printmaker working with traditional techniques on paper and fabric. My main subject area is illustrated recipe linocuts. My unique system uses individual ingredients prints which I combine to make recipes, which I then turn into quality homewares. My designs are boldly graphic and colorful giving them a modern feel whilst also celebrating a strong tradition of print and quality in British manufacturing. My products are all designed by me and made in the UK, everything is printed on organic cotton using eco-friendly inks to be as kind to the planet as possible.

EARLY BEGINNINGS My father was a graphic designer and he bought a Victorian printing press in the 1960s which fascinated me as I was growing up. I first used it when I was 7 – see comments below.

I have built up a collection of wooden type which I use to create signs and posters and also combine with my linocuts. I guess my first proper project was at Art School in the 1980s where I really began my obsession with typography.

PRINTING IN THE UK I print in my studio in Camden, my favorite thing has to be the vibrant area and the light. The studio has windows all down one side and looks out over the rooftops of North London. When I’m printing on a larger scale I go to my mother’s studio in Putney, South London. My mother is an artist and has our lovely old cast iron Victorian Albion printing press from 1857 at her studio as well as an etching and a lithography press.

LONDON LIVING My studio is in Camden, North London – famous for its trendy market and boutique shops. Once a mecca for punks and goths – you can still see a few around these days and the market still retains much of its original independent charm having (so far) resisted the chain stores and high street homogenization.

I also have the whole of London on my doorstep to use as inspiration, with its wonderful galleries and museums – most of which are free.

PRINTING MENTORS I love the work of the English linocut artists from the early 20th century – people like Edward Bawden, Eric Ravilious, and Cyril Power from the Grosvenor School. My father, although he died when I was only 9, is still a source of inspiration. It is thanks to him that we have our Albion press and I believe he instilled a love of the traditional techniques in me.

PRINTING FULL-TIME FUN Yes! Well… I do in theory, but I seem to spend most of my time these days doing marketing – I have just ‘finished’ my website. I was an Art teacher in secondary (high) school until 5 years ago when I quit following my dream of being a full-time printmaker and designer.

THE DESIGN PROCESS All my designs start with drawings, usually from life but sometimes I work from a photo. I have made a film about my process – from initial idea to the final edition of prints created during the recent lockdown (seen here: ‘Lockdown Cat with Mexican Cushion’).

PRINTING FEATS Too many to list here! (ha ha, no not really).

I have done lots of different things in my life; I’ve been a graphic designer, animator, illustrator, glass artist, teacher, and mother to name a few. Now I have the time to be the printmaker and designer which I think I was always meant to be.

PRESS HISTORY I grew up in a house with two studios – one for my mother and one for my father and a beautiful old Albion press. On this press, I made my first linocut and letterpress print aged 7, ‘Ereh si a tac‘. Basically, as a know-it-all 7-year-old, I wouldn’t be told how to lay out the letters to go with my little linocut of a Cat…

You can read all about it on my blog.

The first press I bought myself was a Victorian book press which I found in a ‘Marche au Puce’ (Flea market) in the South of France.

BOXCAR’S ROLE I find your work and ethos inspirational and was delighted to be asked to complete an interview for you. Sadly I am a bit far away (London UK) to visit in person at this time. I also share your obsession with heavy antique printing equipment.

PRINTING TIPS Always keep your dirty area and your clean area separate and use folded paper ‘tongs’ to pick up your paper for printing. I always get very messy printing (one of the fun parts) usually with ink on my face and everywhere else, but there is nothing more annoying than a perfect print with a big old thumbprint on it!

WHAT’S COMING NEXT My plans have been very much affected by the pandemic. I had lots of live events planned, I had taken a stall with a demonstration area at shows across the South of England, a couple of these are still holding out but most have been canceled. I am hoping we will be able to be back to normal for this upcoming Christmas season.

I was also planning lots of printmaking teaching and workshops in my studio but…[unusual times have happened].

Bourbon With Paul Moxon

Posted on September 17, 2020 by Cathy

[ Installment 3 ]

Our Letterpress Friend chat today is with Paul Moxon. He is synonymous with Vandercook presses. He is the resource behind the website vandercookpress.info, author of Vandercook Presses: Maintenance, History and Resources, and a printer of letterpress books and broadsides under his press name Fameorshame Press.

There is always much to learn from a conversation with Paul, who lives in Mobile, Alabama.

Boxcar Press: Why Vandercooks and proofing presses? What is the appeal and draw for you?

Paul: A forlorn SP15 in the corner of a printmaking studio was the first press to which I had access. The ratio of its footprint to the printing area was appealing. Experiment and production were satisfying and different than paste-up. In time, I found joy in teaching maintenance and making repairs. Sharing this knowledge with other printers has surprisingly become my life’s work.

Boxcar Press: Is there one defining moment that you can recall or point to that was the start of your printing career or business

Paul: Learning phototypesetting and paste-up as work-study in college.

Boxcar Press: Tell us about mentors or printers that you admire or set you on a particular path?

Paul: There have been so many. During college, Jocelyn Dohm (founder of the Sherwood Press) always welcomed me at her charming little job shop and endured my novice enthusiasm. Librarians Jim Holly and Elspeth Pope introduced me to fine press books. At Alabama, Glenn House, then retired, piqued an interest in maintenance. Fritz Klinke let me explore the Vandercook archives. Ian Leonard Robertson (Slow Loris Press) and I shared similar work experiences. His old school presswork and design was crisp and effortless. Most of his equipment is now in my shop, and I feel his jovial presence every day.

Boxcar Press: If you weren’t a printer or in the printing industry, what else might have been your career path?

Paul : A machinist

Boxcar Press: That is not surprising. You have referred to yourself as an independent educator.

What would you tell a brand new letterpress printer today?

Paul: Visit many shops, libraries, and museums. Attend wayzgooses, talk with everyone. Print on every kind of press you can big and small. Print every kind of form; lead, wood, copper, magnesium, and polymer. Strive for best practice. Read everything, especially old technical manuals and catalogs. Don’t be discouraged by the high prices of presses. Save-up, be patient, you become discerning over time. or grumpy old naysayers. Mistakes will make you an expert.

Boxcar Press: Tell us about a press you remember fondly (or not so fondly) or one you have now that you prefer to use?

Paul: I’ve printed on other makes of proof presses, jobbers, tabletops, hand presses, and even a windmill. Each had something to teach me. (Someday I want to print on a Heidelberg cylinder and a Little Giant.) I love my Vandercook No. 4. It’s great for production and teaching maintenance. I’ve printed on, tuned up, or inspected thirty Vandercook models, including some rare ones—nearly a thousand in all. But there are still a few I haven’t worked with, such as the 30-26 four-color press. Hopefully, post-COVID.

Boxcar Press: You have mentioned that you are fascinated by the vintage equipment and tools. Tell us about one of the best or most used or most admired printing tools you can think of?

Paul: Hard to choose: my loupe, paper thickness measure, and Align-mate are essential. But I love the elk-bone folder/plate lifter I made at Penland twenty years ago when I met Jim Croft.

Boxcar Press: What is something people might not know about you that would surprise them?

Paul: I can’t type, just hunt-and-peck. But I can handset type like a motherfucker.

Boxcar Press: What is your printing superpower?

Paul: Being able to diagnose presswork and mechanical issues.

Boxcar Press: Anything you want to reveal about a current project you are working on – even a hint or clue?

Paul: Right now I’m into printing postcards. My last one is about the USPS and Trump enabler Louis DeJoy.

Boxcar Press: What is that one project that you are always going to get to but it just never seems to get done?

Paul: A book of three poems by a deceased, local author. I commissioned lino-cuts from Lauren Faulkenberry (Firebrand Press) a few years ago, but I fear that they may be drying out.

Boxcar Press: Last question – Do you listen to podcasts or music in your shop while you create?

Paul: Music is essential. Big Joanie, Dinner Party, the Hu, and Idles and are in heavy rotation. The rest of the time I’m streaming KEXP.

That was an enjoyable time, Paul. Thank you for the friendly chat and we’ll plan another. Paul is also involved with the American Printing History Association, that encourages the study of the history of printing and related arts and crafts. Visit his links to vandercookpress and fameorshamepress.

Coffee with Don Black of Don Black Linecasting

Posted on September 15, 2020 by Cathy

[ Installment 2 ]

We are “pulling up a chair” with Don Black, a Northern neighbor from Scarborough, Ontario.

Don is winding down his business after 50 years and the dismay and sadness of that is still a jolt to our letterpress community.

A warehouse of heavy metal and wood is not an exaggeration describing Don’s business. He and his family, particularly his son, Craig, have helped and talked with thousands of printers and artisans over those decades. Sadly, Craig passed away last year and Don is eyeing a quieter life.

Boxcar Press: It’s a delight to hear your stories. Let me first say, thank you for your kindness to me and all the others who were at one time new to letterpress printing. It must be a screwy time right now with the business..

Don: We are super busy with the closing of our business. Our General Manager Albert Kwon is invaluable in this endeavour.

Boxcar Press: Let’s go back to the beginning. Is there one defining moment that you can recall or point to that was the start of your printing career?

Don: The defining moment that I knew I wanted to make Printing a career occurred when I went for a tour of the Globe & Mail (newspaper based in Toronto, Canada) with my uncle who worked there. When I saw all the equipment in the Composing Room I decided this was for me.

I started to work at the Globe & Mail before I was 17 doing all the delivery jobs etc. Then I served a 6 year apprenticeship as a Linotype Machinist.

Boxcar Press: Tell us about mentors or printers that set you on a particular path?

Don: While working there was a machinist, Ed Hull, who helped me immensely by guiding me and tried to keep me on the right track. I think about him often and am super thankful for all he did to help me.

While working as an apprentice at the Globe & Mail, the Credit Union ran a contest for the best designed Printing job. This was open to seven Printer apprentices, but no mention about Machinist apprentices. I questioned them and received permission to submit an entry. Believe it or not, I won the prize of $25.00 I still tease my friend today, who was a printer’s apprentice, that a machinist apprentice beat a Printer apprentice at the Printer’s trade.

Boxcar Press: Where was the next stage in your career?

Don: I left the Globe & Mail in 1964 when the three Toronto newspapers went on strike. I started to do freelance service on letterpress equipment.

Then I received the Canadian dealership for Letterpress Equipment for Canada from Canadian Linotype Company. This was a big help as it opened doors coast to coast and helped me to meet many great people.

After I started my business in the 1980’s I became acquainted with an equipment dealer in Cleveland, Jack Boggs. He bought and sold all kinds of printing equipment. Over the next 30-40 years, we did a super amount of business. He liquidated printing shops that were closing or upgrading equipment. I purchased many truckloads of equipment from him. It was great as it gave me access to things I could not find in Canada. We still do business today and without a doubt, he is a big reason we have been successful.

In the early 1970s, something strange happened when the Globe & Mail decided to update a lot of equipment. I purchased most of the Composing Room which had some great equipment but also included were eleven machines which were now outdated. They had originally cost approximately $25,000.00 each, less than 10 years before. The value in scrap was less than $500.00. We made a large copy of the cheque and mounted it with the eleven nameplates from the machines. It has become quite a conversation piece that we still have at the office today.

Boxcar Press: What does the legacy of Don Black Linecasting mean to you as you slowly wind it down.

Don: I would say it’s the fact that we have been in business more than 50 years, conducted and did business with wonderful people all over the world and helped to keep Letterpress alive.

Boxcar Press: You handled so many of pieces of equipment, they can’t even be counted. Can you tell us about a press you remember fondly?

Don: We have a Baby Reliance Iron Press which we purchased from a customer in Winnipeg. It is a beautiful press and I could have sold it many times, but Craig, my son, always said don’t sell this press. Now that he is gone and we are closing down, I am going to let it go to a collector that had talked to Craig. I know Craig would be happy that it is going to someone who will treasure it.

Boxcar Press: Thank you Don for those great memories. We’ll talk more soon. Can you leave us with your favorite printing saying?

Don: Go with the Best! Go Intertype.

Time is ticking down on getting equipment from Don, give him a call or email to ask what he has and chances are, you’ll get a nice deal. www.donblack.ca

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