What was your first zine about and when was it made?
Our first publication was a poetry anthology by members of the website where Justine and I first met. That was back in the spring of 2009, so I suppose we’re right near our 5 year anniversary as a press. Now, I do all of our comic art projects and Justine focuses on the poetry and prose stuff.
Describe your most recent zine:
Our most recent project is a new printing of Blast Furnace Funnies by Frank Santoro that will be making its West Coast debut at LAZF. I sent a few copies to Frank to sell at SPX, but other than those, it hasn’t really been released. To me, Blast Furnace Funnies is one of the high points in comics over the last few years, and my copy of the original newspaper edition is all yellow and brittle, so I wanted to reprint it in a more permanent format. (Kind of like what Picturebox did for Storeyville, but more handmade.) There are actually two editions – one super-limited oversized hardcover and the more affordable softcover version that I’ll have at the fest. The guts are printed on a color laser printer and each page is glued onto a black backing sheet – I’m really happy with how it came out. The cover is printed with Ultrachrome ink on Rives BFK that I treated by hand so that the ink wouldn’t blot out, so each one is slightly different.
Of all the things you’ve ever made, zine-related or otherwise, what’s your one favorite?
This is hard, since I get really attached to every project that I work on. However, Furlqump by Brett Harder is probably the one I’m *most* attached to, for a few reasons. I first came across Brett when he left a comment on my blog, and I browsed to his website and noticed that he’s a freakin’ unbelieveable cartoonist. He had never been published before, and he liked the idea of his first book being a handmade, limited edition type of thing. I scanned and color-corrected each page, printed about a million test prints to get the colors right, and generally slaved over it from start to finish. I worked on it for over a year, since I wanted to release it in three editions of escalating complexity. The mega-deluxe edition was one of those bit-off-more-than-I-could-chew projects, but now it’s done and I’m super proud of it.
What do you do when you’re not creating and how does it help or harm what you do artistically?
In my day job, I work for a design company that makes travel accessories. I’m not a fancy designer, though – I manage their business operations. I suppose a lot of people would find it horribly boring staring at spreadsheets all day, but I actually enjoy it. Plus, my boss is rad. Having a full-time job cuts into my Chance Press time, but I don’t know if I’d ever want to do Chance Press full-time. I like that it’s my hobby, and if it became my job, I’d probably end up resenting how stressed out it made me to depend on it for a living.