Hey kids, I know I’ve been missing in action lately, but my life has been, to say the least, chaotic. I won’t go into all of it, but the highlights (or low-lights as they were) include my press having a major break (fixed now) and the company I worked for ceasing operations (still working on that one — yes, I am accepting freelance work, letterpress or otherwise).
In other news, here are a few pieces I created before the press cracked, and I’ve been working on custom pieces like crazy to catch up, so there will be lots to come! In the mean time, you can always keep up on local happenings on Hold That Thought, an interim publication for a few of us from the old company. (I’ll be posting about Hair Affair in a day or two!)
Hannah Stouffer is the brilliant hand behind Grand Array (which I posted about back here). I asked her to give us all a little insight into how she does what she does.
Hannah Stouffer's digitally rendered illustration for Wiley Publishing's instructional book on Photoshop
How did you get your start as a professional illustrator? What was your first big job?
One day I told myself that I was going to be an illustrator… then I started telling everyone else… and one day when I was riding the bus I got a call from a big pharmecutial company that wanted to pay me to draw. I don’t even know how they heard that I was gonna be an illustrator, but it was really surreal and it all kind of snowballed from that point. If you believe in something enough and want it, it will all work out. I swear.
What are your inspirations and influences?
There are many. I don’t even know where to start. I’m very easily overwhelmed and I’m attracted to so many things… sometimes I feel like I might explode… in a good way. I was reading this Pictorial Encyclopedia last night from 1990, I tend to do that a lot… I only made it from A-D though . . . but it gives me a bunch of good information and ideas without allowing myself to be influenced by contemporary phases and trends. I’m extremely interested with classifications and sub-cultures . . . both historically and in our current society.
What is your process?
Research then draw, and hope that it all goes away when I close my eyes at night.
Is the work that’s in commercial campaigns and magazines a sketch you did for yourself first that they liked or do you create work with a specific client in mind?
I’ve decided recently that in order to keep the basis of my work as real as possible its important that I create most of what I do for clients on my own terms. I usually create a series of works for a gallery show, or for myself and then incorporate into the work I do for clients, or even license it out for other projects and product. This isn’t always the case as clients do often have something specific in mind- but more often than not I make work for myself first.
Any advice for aspiring illustrators?
Hustle. Everyday.
Anything else we should know about you?
I’m wearing black reptile skin pants and this amazing oversize ‘Party Prowler’ tee right now that I got at the flea market, I just ate some string cheese and I feel like a million bux.
At the urging of one of my friends, I’ve listed a 6 month version of the 622 press Card of the Month. It has the same options as the full year (3, 5 or 8 cards per month), but this way you don’t have to shell out for the full year all at once. Hopefully this encourages those of you who were on the fence!
Yesterday I finished up four orders of business cards so I thought I’d share!
I designed these cards (and a website to come soon!) for my good friend Mollie Shambeau. One of the cheeriest and most stylish people I know, these cards suit her perfectly.Colleen Frankhart is a freelance writer found me through etsy. I picked up the turning gears motif from a WPA era image she has on her website and we both really like the connotation of "I can see the wheels turning."
Sara Forster is another freelance writer and former coworker. She wanted simple, pretty, nature-inspired cards with all her information on them.Simple yet really well designed, these are for a fellow graphic designer. She designed them herself. Printing relatively thin lines are really the best way to show off the beautiful impression letterpress leaves on the page — gorgeous!
Last weekend I picked up a set of invitations that had been drying in the studio for the previous week. A couple decided my tablescape design would be perfect for their engagement dinner — and I have to agree!
622 press | LETTERPRESS GOODS MADE BY HAND 