How to Look Like a Speckled Trout, or, How to Become Your Own Printer Without Owning a Press -- And Is it Worth It?
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| Title: | How to Look Like a Speckled Trout, or, How to Become Your Own Printer Without Owning a Press -- And Is it Worth It? |
| Creator: | Carolyn Cooper |
| Date(s): | January 1986 |
| Medium: | |
| Fandom: | multifandom |
| Topic: | |
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| Click here for related articles on Fanlore. | |
How to Look Like a Speckled Trout, or, How to Become Your Own Printer Without Owning a Press -- And Is it Worth It? is a 1986 essay by Carolyn Cooper.
It was printed in the zine Blue Pencil #3.
From the essay: "Mostly you should do it only if you find yourself lovingly, wistfully studying a print technique and saying "If only I knew how.""
Some Topics Discussed
- zine production
- fan empowerment
From the Essay
I love learning new things, new skills, new concepts. And I love the graphic arts so when I became friends with Mary Lowe and Katharine Scarritt of Shoestring Press, I naturally became interested in their press and the process of printing. As press time neared and my original printer bombed out, theoretical interest turned to practical application as I found acting as chief serf and apprentice could get me credit towards my bill. Unfortunately, Mary learned too late that a little knowledge in my hands can be a dangerous thing. I started getting IDEAS. And that, folks, is one of the biggest advantages to learning, really learning, about printing. You soon begin to learn what questions to ask and what techniques might or might not work to get the effect you want.
First let me dispel any notion that you will be able to print your own zine after one, easy lesson. After several lessons, I was allowed to solo on the printing of my black work — and within 30 minutes I was yelling for Mary because the press had decided to eat every 3rd page! Now, after a year of instruction, I can clean the press, load the press, mix the solution, and run a simple job with a modicum of difficult--if the press is on pretty good behavior. Mary is still not always satisfied with my results and I still have to yell for her when the press REALLY has a bad day. I still can't run problem paper (like sheers). I still haven't run more than one color by myself. And Mary cringes every time I say "I have a question." It's not like operating a photocopier. Learning to run a well enough to do your own zine takes time and effort. Actually running a press is a lot of WORK! It's sort of the LaMaze method of zine production.
It is messy, time consuming, boring and requires a coach. It is also tiring. So why do I do it? Because it gives me the freedom to do things that I could never afford otherwise. It gives me the freedom to try things, like the rainbow printing, would not be able to otherwise. For me, spending my evenings, weekends and compensation time listening to the chuff, chuff, chuff of the press, covering a pair of old jeans and an apron in ink specks, and having gangrenous looking hands is as much a part of my zine production schedule as typing and layout.
Press operation is not for everybody. If the thought of ink under your fingernails, brown-black fingers, and several hours in grimy clothes makes you shudder; if the thought of 12-20 sweaty, hard labor in a room full of noise and chemicals BEFORE STARTING TO COLLATE makes you want to throw-up; if you ALWAYS wait until the very last minute to plan production—then don't even think of becoming your own printer. Find the extra money and pay someone else to do the work. The savings on a basic zine from printing it yourself is not that substantial at best 25-30%.
BUT if you crave luxury papers, if you lust for overprints and duo-tone, if you delight in the thrill that comes in a surprising print effect then you should consider it. How do you find a press you can "borrow" if you don't happen to be friends with Mary and Katharine? Scout around the backyard or Quick printers in your town until you find someone who needs some help. Try to negotiate an arrangement whereby, in exchange for helping around the shop, you will be taught the fundamentals of operating the press (and if possible, making plates). Be sure the number of hours you will work in exchange for this training is explicit. You should also try to arrange to have access to the press in exchange for assistance once you are trained. Again, be certain to have a definite agreement on the amount of press time and materials you are exchanging for a specified amount of work.