BmoreArt

Vice Versa Press began in 2008 after taking a zine class at the Maryland Institute College of Art. I’d published household newspapers when I was a kid, but never took the self-publishing medium seriously until we approached zines so formally in class.

After completing my first assignment (which was the first draft of Guide to Dating Gangsters Vol. 1), I continued to print show posters, paper goods and zines under the umbrella name of Vice Versa Press. I’m currently based in Chicago, but spent several years hopping from residency to residency utilizing whatever resources I had on hand to print and publish. Guiding principals? Do or die. I make what I want. It’s great.

 The first decision is based on which printing process I have available to me. Now that I’m in Chicago, the resources are abundant…but with some of my past residencies I could only print at Kinkos with the Xerox method.

Aesthetics is definitely a part of the final process decision and I take into account the amount of time needed, cost, price, and overall look of the finished piece. If I need something to look vintage, I go with Riso. If I need something printed on an alternative surface, I go with screen printing. If I need something quick, dirty, and clean; I go with photocopy.

Why printed material? What is it about the physical over the digital? Do you ever augment your printed work with web based approaches (please provide us with links – if so)?

I just sort of have a natural affinity for print. Over the years I’ve assessed that question often, and I’m realizing that I’ve always been interested in manufacturing and the processes of making multiples as it relates to art and commerce. I wanted to learn to screenprint shirts when I was a kid, so then I could sell them with hopes of one day that being my job. And now that I have sole-proprietorship over Vice Versa Press, that kiddo dream has come true. This is my job now.

From time to time I will augment my work digitally, and this happens when I’m on a tight deadline to save time. I usually set type by placing each individual letter where I want it to be, and because that takes forever…sometimes I’ll cheat and photoshop some handwriting in as a quickie move. I’ve attached a few examples.

What are you most looking forward to seeing at the Open Space Prints and Multiples Fair?

I’m most looking forward to touching base with all of my fellow MICA alum and exploring Baltimore again. I went to school with an incredible group of people who are doing incredible things around the world.  And I wanna stop by The Crown and go dancing at The Depot. I’ve traveled around the US quite a bit, and I’ve never spent time in another city like Baltimore. Baltimore is an amazing city. It’s fun. It’s dangerous. All of the creative output in Baltimore is out of the world.

Was there a specific artist or art publication that got you into creating or printing these yourself and starting a press? If so, what was it? Do you still have the publication?

Not a specific artist per se, but I was heavily influenced by punk culture and old show flyers and rock and roll t-shirts. I wanted to make the stuff that I could not find in stores…but so desperately wanted to buy myself. It wasn’t that long ago, but you couldn’t find whatever you wanted instantly online. And I wanted to be that provider of unique things.

With that being said, Aaron Cometbus (https://en.wikipedia.org/wiki/Aaron_Cometbus) has been a huge influence in my writing style and Craphound Magazine (http://readingfrenzy.com/shoppe/crap_hound/) has provided the base for much of the work I’ve made. Modern Dog (http://moderndog.com/18/) has also inspired my graphics since FOREVER.

Will you be debuting a special edition or new publication at the fair? If so tell us about it.

I’ll be focusing more on prints at PMF VII, and will be showing more of my print editions on site. However, I’ll have our newest zine, Guide to Being Broke & Fabulous, available along with a new line of screen printed paper fans and seasonal gumball journals.