2018 Denker Fellows Symposium

2018 Denker Fellows Symposium

>>George Barnum:
Today’s lecture, today’s presentations are part
of our Mike Denker Fellowship. Mike Denker was a beloved and cherished early
member of this chapter. He– it was really– he was really the gas on
which this chapter ran for a number of years. He and Chris Manson
and a few other people. We lost Mike a few years ago
to cancer, and the way that we in the chapter decided that we
could honor him, was to think about what a terrific natural,
instinctive teacher he was, and how many people he brought
into the chapter for us. Just by his very nature, just
by the way that he would get into conversations with people and start teaching
them about printing. And so, we have been
sponsoring young people, students as members of
AFA, and of the chapter, and encouraging them to
participate in stuff with us. And then we ask this
tiny, little payback that they give us a presentation
at the end of the year. I’m going to be talking
with our three this year; two of whom are here
to talk to us today, about ways that we
can sort of strengthen that bond, in going forward. Ways that we can reach
out a little bit better and make it a little
bit easier for them to actually do stuff with us. So without too much further ado, I do want to thank Mr. Jimmy
Nation who walks in on cue, [laughter]; well done. And Stephanie Stillo and
the rest of the staff of the Rare Books and
Special Collections Division of the Library of
Congress, for hosting us. We always appreciate the fact that we can treat this
room as our living room. And thank you very, very much. And I will, without any
further ado, introduce our two– two of our three
Denker Fellows for 2018, Casey Vanatta and Layla Saad. And Casey’s leading off. So have at it. [ Applause ]>>Cassandra (Casey)
Vanatta: Thank you. So yeah, I’m Casey Vanatta. I’m coming from Kutztown
University. I am in the CD department,
graphic design, senior year, so it’s
wrapping up. I’m kind of going
to start the talk about like how I
got into this world. It’s literally just a world
that wraps me up in it. I started my first
print, 10th grade. So I don’t know if I
was late to the party, early to the party,
but it was exciting. This print, the red and black
white was the first print I ever did. I did a series of the
colors and I got into– displayed at the Harrisburg
state capitol building, which is like, “Wow, that’s
really cool that I had that great success with the
first print I ever did.” So I kind of got hooked, and it’s a later
edition with the colors. And then I also got
introduced to wood cut printing, which was an experience
in itself. I don’t know how
I felt about that; I’ve done it a few times since. It was a lot of patience;
you learn a lot of patience in this whole art form. And then, so yeah. I come to college, I’m hooked
on letter press printmaking and I have a class
with Ann Levin; have to give a little shout out
and I did a lot of products– or projects that I can grab into graphic design
and use my projects. So you see I have a little
ampersand letter press I used for packaging. I was really just trying to
always touch art for like, fine art art forms in my
projects as much as possible. So there’s the one design I did. And then I also did an
entire children’s book, all of lino cuts. I thought I was crazy; I think
Ann thought I was a little crazy for doing it. But it led to me getting this
text over the summer saying, “Would you like to be the
letter press monitor?” And I’m like, “Sure.” She said next year; that gives
me a great time to learn it, because I’ve only done
it once since that. [laughter] I didn’t– it
almost didn’t even happen; because of a family emergency
I missed my training day. It was like so popular,
I was like, “Oh my gosh. I’m never going to
get a chance to do like letter press printmaking”
because this filled up. But I got another
slot; I was so excited. I did “Happy birthday
day, Dad” on a card. I wish I had a photo; I
forgot to take a photo, but it’s very treasured. It sits by my parents’ TV and I always see it
every time I go home, my first ever “Happy
birthday day, Dad” print. So I got that text from
her, and I’m like, “Yeah, sure; it’ll be great.” Little did I know she meant
my junior year, last year. First week back to school I had
to help teach graduate students. I had no clue what I was doing. I’m like, “Oh my god.” And then I get thrown
into teaching. So the first project I did
by myself, with no help, was this five lines of text;
and I was so proud of myself. It only took me like two
and a half hours, maybe. Only to print it and realize
I did it all backwards. [laughter] Oh man! It was a great learning
experience. But which is also from
“Hedwig and the Angry Inch.” I don’t if I have any
fans of that musical here. Yeah? So it’s from the song. But I gave it to my tattoo
artist and he was very excited because he got me into it. So I just have some
other small projects that I tackled throughout
the time, during the same time I’m
teaching other students how to do the printmaking process. I’m getting involved training
them so they can then do it. Which, I have two trainees
here that we’ve got hooked. Makes me so excited,
which is the type that it was locked up,
is the printing here. I did some thank you cards. Christmas tags were one of
my favorite things I printed. I actually want to
get some soon. They were so fun; such
a nice little addition to add to Christmas gifts. During this oppor– I’ve loved
how many doors have been opened to me through the like
printmaking world. I get to meet so many people. We did this event last year
through our AIGA chapter and we did Christmas cards
for a local nursing home. I did two sets of
type that I locked up, which I think I have a photo. I do not have a photo,
that we did. I let the students come in
and print them and it was open to anybody; the [inaudible] in the beginning was
a community member of Kutztown I’ve
met several times. He came in, made
a couple prints. His wife was like very heavily
involved in the art department. So it was great to talk to him and I had students
decorate with stamps. That was a freshman last year
and this is more decorated ones. And it was great; we
donated over 50 cards. So just be able– great to
like express the art form and then also donate and to
like help out local communities and just make someone’s
day brighter. So this first big project I
ever did was the Led Zepplin “Stairway to Heaven” lyrics. It was a gift to my dad, to make up for the last gift
that I did to him. There’s still a typo in it, but I don’t think
he ever realized it. I also got to use the
process of my lino cut skills and letter press
printmaking skills, combining them to
make this piece. I did 52 prints overall. This is with the proofing press, the lino cut process
of how I did that. All the prints. The type lock up. And the end result. I did two on blue paper. But because I have
the typo on it, I’m like, “I can’t sell these.” That was my goal, so I just
have a stack of 50, 49 prints; I gave a couple out; of
prints to give to people. But my dad was just as loving
and appreciative of this piece as he was the first little
“Happy birthday day, Dad”. I’ve done a lot of exploration. My– I tell students
when I teach them, “Once you know the rules,
please break the rules. I want you to explore
with how you print make. I want you to like
just try something. I don’t want you to
just do lines of text. That’s been done; do
something different.” So I was working– this was
a piece I’d done myself, but I’ve worked with students to
do more printmaking like this. Combining woodblock, lead type. Seeing what you can make. I mean, that’s not that out
there, but I love to explore. That was a lock up for
part of how that was done. And then this was– you can make
out what it’s supposed to say, but this was an experimentation of using a proofing press
for a big woodblock. I should have grabbed a couple
of these; I have so many of these, for the “F” but
then also lining up the text to make it print correctly. But also ombre printing
which is a process in itself. Not the correct way to
print, but I do it anyway. This is a good show
of how I did the– like you can really
see the ombre on letter– on the type here. Still, such a fun process. I encourage everyone to
try, because it was so fun. And you only get limited
prints before all the colors like mash together. And you can kind of see how
it print– it’s so pretty. It makes for great
Instagram photos. [laughter] But like I think
when I did it this way, because you don’t want
to waste a lot of ink, I only got maybe 25 prints
before all the colors started to blend together. So, it makes it really
limited, but it’s so fun. And then you can see just
all the prints in itself. I have so many of these,
but everyone loves them and gets a laugh out of them. I did another type
of ombre printing, not to think I was
printing on white coasters. So I had to redo it. And you can see the blue with
our Landis press ornament. And I have a bunch
of those coasters. And then my boyfriend
decided to help me one day, didn’t reach the press out
of the clam shell press, but we got this really
beautiful back coaster of the ombre coloring. I’ve also explored a lot with
printmaking and the cards. And I did these in both
cards and coasters. So you can see the
pink ink, black ink, and then I was asked this
year, and I also volunteered to do the APHA calendar piece. I did April, I mean
Venus; it’s Venus but Aphrodite works together,
but the rain coming down; she was the goddess of water. And she– there was a
relation to her in April too. So it was a really
fun piece to make. I did it over the summer; I
don’t have a printing studio; I was not close to Kutztown. So 150, 130 prints
takes up a lot of space. You can see the first process. This was, in again, lino
cut, for the first step. I don’t know if the
video’s going to play. No, but I had all over
my parents’ house. They woke up the next morning and they’re like,
“What is going on?” Like all over the kitchen table,
all over the kitchen counters, on top of the micro– or the
toaster, all over the couches, TV counter, coffee tables. They’re like, “What
is going on?” I’m like, “Art. Art, Mom. Art, Dad. You support this, don’t you?” So, to kind of wrap it up, I went really fast
and I apologize. Thought I had more on here. I’m actually, right now,
it’s really exciting, because it is my senior
year; I’m thinking about what I’m going
to do after college. And what kind– like
what I want to do when I leave, exit
a job interview. So I came up with
the idea to do, I’m going to do 2020 calendars, because I really
enjoy the process of making the calendars;
the APHA ones. I am doing, I think as right
now, I have 10 sets I’m doing, and they’re going to be
all different colors. I have selected between
three colors. This is the first month. They’re on coasters and then the
back piece will then by my logo. I’m going to do a polymer print
on the back to show my logo, to be a leaveaway when
I leave a job interview. This is a type lockup
of what February was. And as of right now,
this is February, March. I just started this project. I mean, it’s been
in the head works, but actually physically
started it maybe four weeks ago. So it’s really kind of– I’m
staying between blueish, which– a blue, a green and a
pink is my color palette. And I’m just really
excited to see what this is. This is like my first
big project. I actually have one in my purse
if someone wants to see it. But I’m just really
excited and I love– I have to do a little thank you
because I’ve– this opportunity, has been such a great
door opener. I’ve met so many amazing people and I really appreciate
what you guys are doing. I’ve loved like the letter press
print here is just so amazing, just to go meet other
printmakers. I’m not afraid to go
talk to people now, when we have a shared
passion because it’s such a small niche of a world. And I really, I really
do appreciate it. I think it’s great;
I hope this continues on for many, many years. So thank you. [applause] Sorry it was short. [ Applause ]>>How many months did
you do in the calendar?>>Cassandra (Casey)
Vanatta: Thirteen.>>Thirteen months?>>Cassandra (Casey) Vanatta: You know how many [inaudible]
we have that have 12 two’s? None. [laughter] So,
there’s mostly one is– oh gosh, I can’t even
remember my typeface. But I have two of the Chettleman
[assumed spelling] typeface and I can’t– bad designer
moment; don’t hate me on that. I’m very tired; I haven’t
slept in three days. [laughter] But yeah
it’s very [inaudible]. Thank you.>>Layla Saad: Okay. Hi everybody. My name is Layla. I’m from George–
Washington University, from the Corcoran School
of Arts and Design. I actually was not into art,
as a child or a young adult. So I actually only switched
over about six years ago. Before that, I was in biomechanical
engineering and ER surgery. [laughter] Um, yeah. So, I actually switched over
because a requirement of being in the surgery program
is that you have to take a painting class
or a ceramics class, to hone your fine motor
skills for surgery. And I took a ceramics class
and I was like, “Well, I guess this is where
I’m going with this.” [laughter] So at that point,
I switched over to art. My parents are extremely
supportive so I’ve been like really appreciative
of that. But, part of that kind
of informs how I look at art and how I explore it. And so I’m really interested
in chemistry and kind of the material exploration
of things and how they work. So like, what is the foundation? Why is it doing this? Which is kind of one of the
reasons I’m really interested in printmaking because
there is quite a bit of chemistry involved
if you actually think about the processes of it. And then I’m also like, I’m always questioning
the history of intention. And so, this plays into
kind of one of my interests in printmaking which is type. And I feel like the history of
printmaking is that it was used in many ways, to duplicate
and replicate images, but also specifically type. And so there have been
discussions between me and certain professors and
stuff, about, you know, maybe I include too
much text in my work. And for me, you know, that’s part of what printmaking
is, to me, personally. So, and this is not
Kerry; Kerry is awesome. She always encourages my
projects, so it’s not her. [laughter] So I’m also
working at the Renwick Gallery, at the Smithsonian
American Art Museum. I’m an exhibit specialist and I
think that’s really interesting because we don’t
often get printmaking. And I know that it’s like a
“fine art” and not a craft. And part of me has like
started questioning that with some of the curators. Like, “Why is this not
included as a craft?” Because I believe it like
still is a craft, you know. And obviously, the
delineation between “fine art” and “craft” is like
so arbitrary anyway. And I’m also primarily
interested in installation art, wood sculpture, ceramics
and printmaking. Printmaking is my
primary, 2D medium. And then I also do a
lot of graphic design. So as I mentioned before,
type and printmaking to me, is like part of the
essence of printmaking. And so, for me, it’s like
hard to disassociate them, and I think probably about 70%
of my print work and probably about 45 or 50% of
my work overall, contains some sort
of lettering in it. And I’m always kind of thinking
about how I can integrate type into design; but also, how I can
incorporate design into type. And both of them, are you know,
they’re both valid kind of, like it’s not just
black and white; it’s also white and black. Like, that kind of theory. And so, discovering William
Blake’s printmaking has been like super interesting. And it’s actually a really funny
story because I had just begun, I think this was like after
I did my first printmaking class ever. And my mom sent me
a Wikipedia article on William Blake’s pieces,
“All Religions are One”; I believe that’s like
a two-part edition. And so, she was like,
“Have you seen this?” And I was like, “Oh,
what is it?” And she was like, “This is
really interesting the way he does it. He doesn’t use, you know, he
doesn’t use a letter press.” And I was like, “Oh,
well, I mean, he just wrote it
backwards, duh.” Right? And I was like,
“It’s so obvious,” because I was telling
Kerry, but like, I don’t have an issue
writing backwards or reading backwards
or upside down. Like, this is not
something that ever kind of– it was only like a year and a
half later that my mom was like, “No, you do realize that like
most people can’t just write backwards, right?” And at that point, I
was like, “Oh no; what?” [laughter] Because like I’d
been doing it all my life. And so, I went back and
I looked at the article. Well, it’s super interesting. But in July of 2013,
that Wikipedia article, somebody had removed the
line, from down at the bottom that gave the two theories
of how he wrote backwards or how he got his type on there. So, I was like, “Wow, this is like a mystery of
the 21st Century.” And so I was like, “I’m
going to do all this research and find out how he did this.” Well, so I– like,
so two years later, I had this renewed interest
in what he was doing. And I did a whole bunch
of research on it. And I could not find anything, because while there is
amazing research on it, which I discovered
later, it’s very hard to search on the internet. And so the only thing that
I ever found, on jstore, was “William Blake’s
Printmaking Process in Jerusalem” by Steven Carr. And this is more about like
his iconography and how he got to that point, but he doesn’t
really talk about process. He like touches on it,
just enough to make me like hunger for it more. But not actually
give me anything. So I was like, “Ah, this
is really frustrating.” So this is an example
of the etching that I did that was backwards. So like, it was just like
something that I did. So I didn’t realize it
was like not intuitive. So, Kerry was super awesome, and
I was actually talking to her about like a week ago. And she was like, “Oh yeah. I think they have like this
thing at the Library of Congress in the rare book
collection, Michael Phillips, that he did like
all this research.” And I was like, “Oh really? I should go look at that.” And so, Stephanie was super
awesome and she pulled out all of their stuff for
me to look at. And I was like, “Wow, there
is no mystery to this. They’re already figured
the whole thing out.” [laughter] So it was like
both an amazing moment, that all like these three years of me wondering how he did
it were finally revealed. And then I was like, “Wow, I have like no research
topic anymore because it’s already
been researched”. [laughter] So I was like, “Wow.” So anyway, I looked
at his stuff, and Michael Phillips
did an amazing job, like going into,
detailing everything. Collecting like, things that
were published at the time that were kind of explorium
in Blake’s process and also he like went the full mile and
did like the replica and he, you know, got all of the
historic paper like duplicated and all of these things. And so, according to
him, the process is that William Blake
wrote backwards using a “stop-out varnish”
onto the copper plates. And then he did two acid dips. So he put it in the acid until it was .05
millimeters, eaten away. And he would pull
it out and check if anything was getting an
underbite on it, on the words. And then he would use
the stop-out varnish to like stop-out any delicate
areas and then he’d put it back in the acid, so that
it would go, like for an end result
of .12 millimeters. And so then he inked it
up using a leather dauber, because rollers were
not yet available. And his evidence for
this is that it has like this textured effect that
you can get when you’re doing it with the leather dauber,
that is evident in the print. And that he used wet
paper because this was like obviously common
practice back then, but also because when
it shrinks afterwards, it sharpens the image. Which was something that was
really interesting to me, because I noticed that
there were certain areas that were very sharp and certain
areas that are relatively soft, in some of Blake’s prints. And it was– I was wondering
how he got that contrast. And so, that was
really interesting to me that it was specifically
because it dries, it sharpens certain
parts of the image. And then Blake usually had them
colored in after he was done. And it would either be that
he, and sometimes his wife, would be water coloring it or he would use this glue-based
pigment, which I had never heard of that method before. Where he would put a glue-based
pigment after he printed it and then he would register, like
register the print in the paper and he would print it, and
then I guess when the glue like pulls off, it creates his like mottled effect
or something. Yeah, I mean, maybe you
have more information–>>No. I’ve always wondered
what that mottled effect was.>>Layla Saad: Yes! So I’m super interested now. Like, I really want to try this. And I’m really interested in,
like, all his whole process. But I would really love
to, specifically try that. And, so there was
a book written, “A Treatise on Wood
Engraving” by John Jackson, which Phillips references
in many of his lectures and writings. But I also went and
I got this treatise and I read what Jackson
was saying about Blake. And he basically says, he’s
like “a necessarily slow process because he has to like, you
know, use the dauber by hand and like do the whole
thing and be really careful about it and then clean it.” And there was an implication in
both, one of Phillips’ lectures that he thinks that
Jackson was saying that the process wasn’t
innovative, but also like some of the wording in the actual
treatise was kind of touching on this idea that it
wasn’t innovative. And I kind of think that that’s
an interesting interpretation of innovation, because I think
we often get stuck in the idea that something’s more efficient
and then it’s innovative, but I think like, Blake’s
process was very innovative, it just wasn’t necessarily
faster, but that’s fine. And then I just like put a
note here that the support of the reverse writing theory
mainly comes from the fact that if you look at
William Blake’s work, if you look from the beginning
ones to the later ones, like it gets progressively
smoother, the writing. And then also, some of the
examples that were included in like this main portfolios
that I looked at, were talking about how like some of the
early works had the wrong tilt direction, which would kind
of imply that if he wasn’t, you know, trained really a
lot in writing backwards, this would kind of be a result. It is kind of important to know, which I saw like in a
few different places, that it’s not unheard
of to write backwards. Obviously, that’s how they
would sign their work; the engravers would sign their
work by writing backwards. It’s just like writing
a whole paragraph or something backwards
wasn’t really done. And then, also, the
last thing was kind of that there were some
manuscripts that, like, the pre– before he actually
made the design, the manuscripts with the actual songs on them,
some of them had practice in the margins where they
were written backwards. So that was, again,
another thing that was supporting the idea
that he wrote it backwards. So like, the last thing that
I was thinking about was kind of what are possible
alternatives to the process? And I, obviously,
like am nowhere close to Michael Phillips, like in
terms of researching that. But I was like wondering
if there was a possibility that Blake could have
inked a flat surface and then put the
flat surface on. So, they didn’t have a
roller, but theoretically, if you put it on, let’s
say like a piece of paper and then press it
against the plate, would that not transfer
the ink onto the plate? Because he was talking about
how it took him between 45– 45 minutes and an hour
to ink up each one of those tiny little
plates, every time. And so that’s like
a lot of time. And I understand that
obviously, some people will do that time commitment, but
it’s kind of interesting to think about the idea. And maybe that’s not even
related to Blake, but like, going forward, it would
be interesting to think about this way of
inking something up. And then the other thing
that I was wondering is like is there any possibility that he actually coated
the plate with the varnish and then scraped away
whatever he didn’t want. Instead of like,
applying it backwards. And the only reason that I’m
curious about this is just because some of those, and
you can see them over there, some of them had such tiny text. You know, and obviously,
you can write that way, especially with a
calligrapher’s pen. Like, I do calligraphy all the
time and you can get very small. But also, the stop-out
varnish, and obviously that would depend highly
on what the actual formula that he was using was. But I’ve tried it with like
asphaltum and I’ve tried it with like a few different
things, and tried to get that kind of level of detail,
even though I write like that with ink, is pretty hard. So I’m curious if there was
another way that he did it, without handwriting it. And then also the– so
when I mentioned the fact that the Wikipedia page had the
two lines taken off the bottom, the second line was that there
is a theory that he wrote on like, some sort of a
parchment and then he put– so he wrote normally on the
parchment and then he flipped it over and put it on the
plate and then that’s like how he transferred
the resist onto it. Which is funny, because
I was just telling Kerry that I was like, “I wonder if that’s how he did
it,” the other day. And then I went and I found
the Wikipedia page again and I was like, “What?” And apparently, somebody
had added the lines back. And I went back, on the Wayback
Machine, and like I managed to find the one month that somebody had taken off
the really important parts. And I was like, “I don’t
understand how this is possible.” But that was kind
of interesting. And that’s been an
interesting experiment. So, that’s kind of all I have. Stephanie was super awesome
and she pulled out some of the examples of the
replicas over there. And then, I just
brought a couple examples of the work that I was doing. And part of that, like when
I’m thinking about innovation, is the calligraph; I took
calligraph class with Kerry. And so, I’m really interested in
all the alternative processes, like silk organza, paper
plates, things like that. Yes. If anybody has any
questions, let me know. [ Applause ]>>I have a question. Are these to scale?>>So for the William
Blake, yes.>>Yeah, absolutely. The “Songs of Innocence
you Experience” which is what we have
here, was a smaller work. Now, he did– his
illustrated epics get bigger, but he was working with better
commissions at that point. So, this is still sort of the earlier works,
which a bit smaller. “There is no Natural Religion” which she mentioned
earlier, is quite small. Because it was his first
work using this process.>>– uses photographs to
transfer the image to his work. So–>>Oh yeah.>>It’s a direct
copy off of Blake. But [inaudible] Blake
is– [inaudible comment].>>I was just going
to add a comment, because you were talking
about, Layla, alternative ideas for transferring in
terms of etching. You can take a photocopy,
drench it in lacquer thinner, run it through the etching
press and then that will act as a resist when
you drop it in acid. So that’s kind of the
modern day version of that.>>So kind of like
letrocet in a way. Is that what’s happening?>>Yeah.>>Stay that sticks
on the plate?>>Yeah. And so you’re
stripping the toner off, and the toner then
acts like the resist.>>Wow.>>That’s interesting.>>It takes– it’s persnickety. It takes a lot of like, playing around with the pressure
and all of that. But it can be done, yeah.>>We’ve had people that–
you can also just use that for like jewelry making, if you
want to like transfer text or an image onto
the copper and–>>Oh, okay.>>Yep, that makes sense.>>Especially we
have trouble here because our mail gets
irradiated with– when it comes into the building. But now that I’m thinking
about it, that’s a very part of that substance, that
causes the catalogues to stick together is what
you’re talking about. It’s very strong, actually.>>Yeah.>>So, I can see if it dilutes
it and causes it to adhere, that it’s not going
to go anywhere.>>Haven’t done it in a long
time, but if you want to try it that [inaudible] welcome to
go down that avenue with you. [laughter] [ Overlapping comments ]>>Create folds in text; I mean, you could do some
cool stuff with that.>>Yeah. You could do a lot with
text, it speeds it up, yeah.>>Not to mention forgery. [laughter] Just saying. [laughter]>>So Layla, do you see
Blake and his process, sort of in forming your
own process moving forward? Or did he inspire you to try–
you sort of suggested this, but to maybe flip
your [inaudible]?>>Layla Saad: Absolutely. Yeah. I’m very interested
in his entire process, but I’m also kind of mostly
interested in the way he thought about things and the
way he just like– and there’s varying
theories on why he did it. Was it because of cost that
he didn’t want to have to go through all this process? Was it because he
didn’t like the fact that everything was segmented,
like the artist and then the, you know, the engraver and
then the printmaker really did the type. But for me, I think it’s like
not necessarily irrelevant, but to me the main
interest is like, well he created something
interesting and different. And he decided to
do it his own way. So, yeah, I mean, I’d
like to, for sure, try that glue-based pigment
thing and I definitely want to do some relief etchings. [inaudible]>>Make sure you
send us pictures.>>Thank you. Yes, I will. [laughter]>>Well, [inaudible]>>Yeah. [laughter]>>I can only encourage
you to make coasters.>>Cassandra (Casey) Vanatta:
I have so many coasters. If you ever need any coasters,
I have too many [laughter]>>Have you seen the Peter
Cox coasters from– Hormone– his side press is called
“Hormone Deranged”.>>Cassandra (Casey) Vanatta: That’s what started
me liking it.>>And he makes beer coasters and he appropriates old
cartuches and ending bats and whatnot from newspapers,
from western newspapers like Buckaroo Cowboys and
lassoos, and they all read, they have bold type that say
things like, “Lead ain’t dead”. [laughter] And they’re really fantastic.>>Cassandra (Casey)
Vanatta: Yeah, like, this is something that sells. Like, I can’t get myself to
like get rid of them yet. Like, they’re my babies. I’m just like hoarding them
in my apartment right now.>>Well you obviously have– you
obviously have an ear for humor. You should definitely do it. That would definitely–>>Cassandra (Casey)
Vanatta: Yeah. Thank you.>>And or Christmas ornaments. I mean, you know?>>Cassandra (Casey)
Vanatta: It goes both ways.>>When your coaster
season is done– [laughter]>>Cassandra (Casey)
Vanatta: Yeah, I’ve got to finish
those calendars first.>>Because you know, when
the 4th of July passes, you start punching
holes and string. [laughter]>>Cassandra (Casey) Vanatta: That’s why I’m doing
2020 right now, because there’s no
way I’m getting all that done [inaudible] 2019. Yeah, there is an uncensored
one, but there is problems with my flash drive, so we
had the censored version. Sorry to disappoint. You figured it out. [laughter]>>George Barnum:
Well thank you both.>>Thank you.>>George Barnum: Very much. [inaudible comments] Absolutely. We appreciate it. These are always one of the
high points of the year. We never know what
we’re going to hear. And you’ve held that
tradition high.>>And bravo to the
fellowship too.>>Yes– [ Applause ]>>George Barnum: There are
copies of the calendar you can–>>It has April [inaudible]>>Cassandra (Casey) Vanatta:
And March with Ann Levin.>>Oh, yeah, March. I have March.>>Oh, very nice.>>George Barnum: Yeah,
we’re– actually, we’re mostly– we have mostly contributors
here. [laughter]>>– June?>>June.>>Do you accept potato prints? [laughter]>>We should.>>I’m saying, they work.>>George Barnum: We
are notoriously unfussy. [laughter] Witness the fact
that I’m going to do the cover. [laughter]>>Next year, George,
I’m expecting–>>Ah–>>A full-on month. You’ve got all these
ones, all those twos.>>George Barnum: We hope so. Actually, we were talking about
that, and one of the reasons that we– here’s Chris’s. [overlapping comments] One
of the reasons that we ended up using the, these beautiful,
weird Dutch initials is that the month in Roman
numbers collection of type, which is vast; this is the
only initial letter set that we could find
that had three J’s. [laughter]>>Oh, yeah.>>Cassandra (Casey)
Vanatta: It’s a struggle. And I think I spent, maybe,
six hours, in two hour shifts, just trying to count through
all our tases, counting letters, making sure to have Monday,
Tuesday, Wednesday, Thursday, Friday, Saturday; all
the– it was a process. So I found I had to settle; I don’t remember the typeface
I used because I had to settle. It was not my first, second,
third or fourth choice.>>This is a great example
when we teach Gutenberg and we list the number of,
the number within the sort. And print people
are always shocked. And even when you
try to explain, well he’s printed
six pages at a time, that means they’re all typeset, that means it’s six times
whatever you expect. People seem to have trouble. But this is very clear. If you’re going to print a
calendar, you need so many ones.>>Right.>>It’s a very straightforward
way of talking about that.>>That’s a good point.>>And they always think,
“Oh well, sure we have– of course there’s enough.”>>Cassandra (Casey)
Vanatta: You think that–>>Until you have the whole
calendar and [inaudible]>>George Barnum: Well and there
are, there seem to be fonts of these initial letters that
they just leave a letter, an infrequently used letter out. So you quite often, with
initials, you don’t get an “X”.>>Or a “Z”.>>George Barnum: Or a Z. Yeah. [overlapping comments]>>Why bother? You get 24 of the letters.>>George Barnum: Yeah. We don’t need those letters. [overlapping comments]. Well, thank you all. [overlapping comments].

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