Making With Mohawk
As we look back on 2019, we reflect on the core of our mission – supporting and inspiring the maker community
As members of the creative community, we are in love with making—and we are always hungry. Our days are overwhelmed with inspiration: Instagram, magazines, books, blogs, our peers, our heroes. But while high on inspiration, many of us feel low on something just as important: opportunity.
Inspiration without making is like unrequited love. For many in the creative community, this is an ever-present struggle. There's always a limitation: projects, budgets, brands, directors, cultural gatekeepers. We are driven by the feeling deep inside that we just need the chance to make the work we know we can create—and the opportunity for our work to stand next to work we respect.
So it’s only right that the last few months of 2019 were spent making art and having deep discussions with exactly the kinds of people who inspire us.
Through a series of three small workshops across the United States, we had the opportunity to engage and celebrate with the act of making for making’s sake. We teamed up with The Aesthetic Union, The Arm, and Double Trip Press, who each opened their doors to host three unique evenings of creation and discussion.
The workshops weren’t exactly typical. Instead of honing technical skills to perfection, these gatherings celebrated the magic of inaccuracies, inconsistencies, and rule-breaking—in other words, the ongoing renaissance of analog print processes.
First, in October, Chris Fritton—also known as the Itinerant Printer—joined Mohawk at The Aesthetic Union. He showed the group how to use the letterpress in unintended ways to create artistic inkwipes that look like watercolor paintings. Artful on their own, they also make unexpected backdrops for typographic experiments. In addition to showing off new ways of thinking about letterpress specifically, Fritton asked participants to think about the tools and processes they use every day, and whether those materials could be approached in new and novel ways.
In November, Mohawk visited The Arm in Brooklyn for a Risograph (Riso) printing session. Riso was once an inexpensive way to print large quantities of informational material. They were utilitarian reproduction machines, occupying space in church basements or schools, and were best suited for lo-fi, ephemeral projects. Today, the relatively inexpensive startup cost and quirky appeal of Riso printing has attracted a following of experimental artists.
Off-registration, limited colors, and uneven ink transfer could be seen as challenges in traditional printing contexts, but at The Arm, these qualities are celebrated as intrinsic to the magic of Riso printing. Using scanned photos, cut and torn paper, and hand-drawn and traced art and lettering, the workshop’s attendees made unique, multicolor prints on Mohawk Superfine Eggshell Ultrawhite and a selection of Keaykolour shades. They left inspired to look for opportunity, and beauty, in the unexpected.
For the final event of 2019, Mohawk visited Double Trip Press in Chicago. Using two Vandercook letterpress printers, visitors to this beloved print shop got to make their own copies of the “Ways of Seeing” typographic design found in Volume 2: Voice of Mohawk Maker Quarterly Issue No. 16 – Community. The final print was a two-color letterpress print on lush Superfine Eggshell Ultrawhite 150 Cover that’s both eye-catching and thought-provoking.
As we kick off a brand new decade, we at Mohawk hope you’ll try out some new ways of seeing for yourself—and don’t forget to break a few rules while you’re at it.
Originally invented to make use of low cost inks, Risograph is an intermediate between digital printing and screen printing that comes with inherent quirks: off-registration, limited colors, uneven ink performance — in short: an inaccurate and inconsistent process. Much like the Holga camera with its brilliant simplicity, lack of precision and light leaks, Risograph’s bugs are its features. Risograph’s results are reminiscent of handmade screen-prints, coveted for their effective adoption of very bold, bright and vibrant colors.
Nothing is created in a vacuum. Our community—the always-evolving context of our physical, social, and emotional lives—has everything to do with how we make and view art.