From a series of two broadsides i printed for Kevin Lo to be part of the Artivistic Show going up at Gallerie Skol in the Belgo building. Hand-printed letterpress in gold ink on black feltweave cardstock, kiss impression, from photopolymer plates. Vernissage: 9th of March at 5:00.
…oh the shiny richness of the inkness of goldness…
Line-up looking awesome again this year…starting to get excited…These ads hand-printed letterpress from hand-carved lino block and vintage wood and metal type…check it out here: www.suoniperilpopolo.org
http://coolpeopleprinting.tumblr.com/post/17778066484/via-kiva-stimac-club-owner-poster-printer
Fun new works…silkscreen prints on wood by Mathieu Dubois and Benjamin Deshaies…bright and lively to cure the february blues and very affordable, everything between $100-$350…come on by and check it out if you are in the neighborhood…
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Two new spring cards are in the shop!
Hand-printed letterpress from hand-carved lino blocks and vintage wood type.
Robin card hand coloured with watercolours.
Can’t wait for crocuses and robins.
Also check out the new spring themed market at poppytalk handmade….i am in it again this month.
http://market.poppytalkhandmade.com/
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above from his “cities” series
Originally from Saskatchewan and residing in Montreal for nearly twenty years, Todd Stewart is an illustrator and a self-taught screenprinter. Since 2004 he has run Bree,ree, a small scale print studio. Photography, illustration, collage, stencil and letterpress have all found their way into his screenprinted works. His prints and posters have been seen on city streets and galleries in Canada, the United States and France and as one of the Suoni Per il Popolo’s top poster printers. I had the oppurtunity to go by his studio the other day (which he shares with fellow printmakers, the awesome CINQUNQUATRE), to discuss printmaking, parenting and process…here’s a quick overview. You can check out more of his great prints here: http://52screenprints.blogspot.com/ and here: http://www.breeree.com/.
K: When did you start printing?
T: I found a silkscreen frame in the garbage, a long time ago. It was one of those impulsive moments of my youth, let’s just try this. I got some used squeegees and bought a starter kit at British Blueprint. I printed a poster for a friend’s band. Twelve or however many years later I am still printing and love it.
Why do you like it?
I like the physical work, the standing and working. I like the whole process, especially the preparation and the details and steps that go into making a print. And I like that I don’t exactly know what I’m going to see when I raise up the screen after pulling a print.
What’s your favorite part of having a studio space?
I should say that I printed at home, in my apartment, for 2 years before switching to a studio. It’s doable at home, but it’s been much better to have a space away from home to go to and work in. It’s a sanctuary, I can focus and become immersed in my work on a regular basis – it’s important for me, it keeps me sane. It’s my yoga, or meditation, or what have you.
poco press and type hidden in there
What is your next big project?
I have a solo exhibition in Edmonton in March at the Society of Northern Alberta Printmakers (SNAP). Abstract, large scale landscapes, different than most of my other work. I’ve got to finish the last pieces and then send the work out by the end of February. It’s on my mind.
large nolan press, drying racks, printing table
t-shirt printing station, drying oven, inks
lots o’ screens
litho!
awesome work in progress…serigraphie sur bois…by fellow studio-mates…CINQUNQUATRE (Alice Jarry and Jason Cantoro)…who own most of the large equipment and started the studio to begin with…
When i look at these my mind plays tricks on me and i start seeing….ram heads…..
…eyeballs….
…old ladies…
….phalluses…elephants….
….dwellings…
…children…
…you name it…i miss you already…
a picture of an actual L’oie de cravan and a lovely lady.
Part of being a printer is doing jobs for other people. It is always a pleasure to work with someone like Benoît Chaput from L’Oie de Cravan books. I had the pleasure of typesetting and letterpress printing the covers for a special edition of one of their latest books, “The Words to the Songs of Michael Hurley”, one of Americas great folk singer-songwriters. I went by the L’Oie headquarters for a little tour and chat about the state of the printed word…and here’s a quick overview…You can check out more of their fantastic books at: http://www.oiedecravan.com/ .
K: What is L’oie de Cravan?
B: L’Oie de Cravan is a small publishing house specializing in poetry triggers of all sorts : poetry books but also image books, books of lyrics by musicians such as Mike Watt or Michael Hurley or even an XIX century alcohol recipie book. We work to publish books with an edge and we try to make them so that they feel and look nice, using interresting papers and making each book a different project.
The name “L’Oie de Cravan” comes from a quote by Belgian Surrealist Louis Scutenaire, who was a great friend of René Magritte and my favorite poet. The quote goes ” The Oie de Cravan are born from the rotten masts of ships lost in the gulf of Mexico”. In fact Scutenaire simply took this text from a Medieval bestiary that was describing the “Oie de Cravant” (with a “t” at the end), what is know today as the Brent goose. He transformed the text so that it would look like a reference to boxer and poet Arthur Cravan, a crazy man who was a major inspiration for the dadaist and surrealists. Cravan is believed to have died aboard a ship lost during a storm in the Gulf of Mexico in 1918. The poetry that I publish can be seen as attempt to continue the quest of dadaists and surrealists as well as Cravan’s. Plus, I simply like the name!
K: What was your first book? Why? How?
B: The first book I published was my own “Loin de nos bêtes” (Far from our beasts) in 1992 (20 years ago!) . I was coming back from a trip in Belgium where I actualy had met Irène Hamoir, the widow of Louis Scutenaire.
I had a great time with her and she advised me to publish my stuff myself, to create my own books. I had fun asking artist friends to do illustrations, chosing the paper and so on… but I thought it would be a one shot thing. There a very positive review in Le Devoir paper and people started to send me manuscripts, so I decided to go on.
Mr. Chaput, Himself
K: What kinds of books do you look for now to publish?
B: Well, really, I would publish any book that seems to carry some sort of poetry with it, any book that touches me in a different way. Sadly, that is really not that many books.
K: How many books do you put out per year?
B: I limit the publishing to 6 new books a year. More than that and I would not know what i am publishing anymore.
K: Why do you use different printing methods, some books have hand-printed covers? Is this important to your aesthetic?
B: Yes, I think it is important to consider each project independently and try to give it the best form possible for its content. Some books will be better with a very short run done in a handcrafted way (with silkscreen, letterpress or other fine printing), some others require a more “classic” look and a larger print run.
K: How do you fund the production of a book?
B: For many years the money from the sales was simply reinvested into the new books. Without any loss or profit. I prefered not to ask for grants as I had a feeling that grants might come with too many obligations. But, after about 8 years of doing so, I asked for a first grant from the Art Council of Canada. I felt that I already had a course settled that would not be altered by their demands. Ever since, I’ve been receiving grants from them. Every year, about 2/3 of the books I publish are elligible for grants, the rest are books from other countries or in formats that are not recognized by the Art Council. This is a way of keeping a certain freedom from the imposed constraints.
K: Do you see a place for small press publishers in today’s climate? Is it easier? Harder?
B: There is definitively a need for small press. Small press publishers are often where the most interesting things happens. Risks are taken and exploration is part of it. Exploration in form and content that give birth to something that is often more than mere commodity. I don’t know if it is easier, in a technical sense, yes. Computers, printers, everything is easily accessible. But it is hard to find a way to get your publishing known, to get the necessary attention. I think this is possible if you have a community, a group of people with similar interests that will support you.
The ebooks, the blogs, the screen culture, all this might be the good luck of the small publisher still working with inks and papers. Everyone is so focused on their screens that sudenlty the ink world seems like a great alternative, a real alternative.
K: What would be your advice for someone wanting to set up a small publishing house today?
B: Do it! Everything is always possible. The tools are there. It can be quite cheap if you make the right choices. To make a living out of it is almost impossible. In this I have been incredibly lucky. But to simply publish, you just need to feel how vital it is for you , for your world, and you’ll find the means.
Fresh new linoleum awaiting carving…ohhh…the simple pleasures…sweet joy….
Beautiful aqua typewriter and kingsley foil stamper…
Type saw….perfect cuts, every time….
Challenge quoins, just looking tough in their box…
Riso screenfax…instant screens, any size, any time…button maker….and quebec maple syrup…i put that shit on everyting!
Packaging…handmade stamps and stickers…lovin’ the little details….
The Petit Musée de l’impression is a cultural space where the craft and history of letterpress printing in Quebec is alive and well. They offer workshops, guided tours, lectures and classes for student groups of all ages. They also have one on one workshops and you can rent time on one of their two Vandercook presses for personal projects. You can even rent out the space for parties! Located in historic old Montreal, it is an amazing resource and space for someone wanting to wet their feet in the process and learn from some true Master Printers, Michel Desjardins and Nelson Tousignant.
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Le Petit Musée de l’impression est un lieu de diffusion culturelle axé sur les métiers de l’imprimerie et de la communication. Il vise à faire connaître au grand public l’histoire de l’imprimerie au Québec par la création d’un musée «vivant» de l’imprimerie et des imprimés. S’inscrivant dans la mouvance de l’économie sociale et solidaire du Québec, il a aussi pour mission d’offrir des activités créatrices aux jeunes et, plus spécifiquement, à ceux vivant sous le seuil de la pauvreté, leur permettant ainsi de prendre librement la parole et de contribuer au mouvement de la liberté d’expression.
Vous pouvez avoir accès à nos ateliers pour vos projets personnels ou de groupe et utiliser nos polices de caractères, fournitures d’imprimerie ainsi que nos presses (papier en sus). Deux presses Vandercook sont à votre disposition (12,5 po x 18 po et 20 po x 28 po). Sur rendez-vous seulement.
Tarif : 50 $ par jour
Les services de Michel Desjardins ou de Nelson Tousignant pour des cours, du soutien technique ou du travail de production sont aussi disponibles au tarif horaire de 50 $.
For more info, check out their website here: http://www.museeimpression.org and their email here: info@museeimpression.org
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