The Wonderful World of Wayzgoose!
A Recap by Nora Young, #981

This was my sixth Wayzgoose in as many years as an Amalgamated Printers’ Association [APA] member, and these celebrations of letterpress and its neighboring crafts continue to exceed every expectation. This year brought us to Carson, California, and the International Printing Museum [IPM] — a destination every letterpress enthusiast should experience.

Mark Barbour, #662, the museum’s founding Curator and Executive Director, along with some board, staff, and volunteers, created a welcoming and unforgettable gathering. Like the APA itself, the museum thrives on community. The IPM is a wonderland of letterpress history, machinery, and makery (I’m counting that as a word). Everywhere you looked were passionate, knowledgeable people willing to share their time and expertise.

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This year’s gathering also welcomed two APA scholarship recipients, making it possible for them to experience their first Wayzgoose. One scholarship went to Philip “Link” Harjung, who discovered the APA online and made the trip from his train-car bookshop and letterpress studio in Thorndike, Maine. The second was awarded to new APA member Jeff Weisgerber, #1030, of Indianapolis, Indiana.

Jeff perhaps summed up the weekend better than anyone:
“While the talks and workshops on printing were awesome, the people were even better. I enjoyed meeting so many of the artists that I see monthly in the bundles… and I’ve already been keeping the conversation going with some. I hope it’s not another full year before I see many of these folks again.”

Judging by the smiles on both Link’s and Jeff’s faces throughout the weekend, I’d say the scholarships accomplished exactly what they were intended to do: introducing two more printers to the remarkable community that makes the APA — and the Wayzgoose — so special. We come for the printing, but we return for the people.

Among those I had the pleasure of getting to know were Lorna Turner, who orchestrated the Book Arts Institute workshops with remarkable energy; board member Doug Haines, who kept the Goose running smoothly; and volunteer Bill Berkuta, whose knowledge of presses seems endless. They represent just a few of the many people whose enthusiasm makes the museum such a special place.

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The workshop offerings made choosing difficult, but I managed to squeeze in three. Jenn Graves, of SCRAPScollective, introduced us to slim-case bookbinding — a deceptively simple technique that produces elegant results.

Bill Berkuta, of Aardvark Letterpress, shared platen press tips and tricks from decades as a working job printer. This class had me itching to get home and start applying what I’d learned to my Sigwalt.

My final workshop, led by Jun Ha, of Riso Studio Arts, introduced the MiScreen printing system, a compact unit that burns silkscreens in seconds using digitally prepared artwork. Fascinating technology.

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Whenever there was downtime, we had full access to both the museum and the Book Arts Institute, which has expanded considerably since my last visit in 2018. I counted four or maybe more Vandercooks, several showcard presses, an impressive assortment of type and cuts — and we even met the new shop cat, Pica. Every print shop deserves one.

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Of course, there was no shortage of good conversation with both old friends and new acquaintances.

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Friday began with Sven’s welcome, followed by Mark’s presentation on moving Bruce McDonald’s, #56, remarkable collection to the museum. We also met Kathy McDonald and their daughter. As with many of Mark’s acquisitions, the move required equal parts ingenuity and determination—and yes, sometimes an engine hoist.

Local artist Leslie Ross Robertson, of Wavelength Press, shared her Planetary Resonance series, prints so richly detailed they appeared almost photographic. Her print of Jupiter alone required 26 passes on an SP20 Vandercook. Suddenly my own print runs didn’t seem nearly so ambitious. A panel discussion on building community and sustaining our craft featured Val Lucas, #977, Mark Barbour, #662, and Jenn Graves, with Jessica Spring, #738 serving as moderator.

Following lunch, Tony Guadagnolo, #936, presented the UNUM Project, joined by Larry Will, #1027, and Dan Cherry, #962, whose contributions were highlighted alongside the museum’s display of the project.

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Saturday flew by with the swap meet, where attendees could choose free fonts from the McDonald collection and matrices believed to be from the Smithsonian Institution collection. Then came the always-dangerous auction, full of treasures no one truly needs but everyone somehow manages to justify.

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The evening brought a group photo, tacos al fresco, and one of Mark’s most entertaining presentations — stories of the museum’s work supplying presses and expertise to Hollywood productions. Not a bad way to help support the museum.

Sunday began with Mark’s guided tour of highlights from the Lindner Collection, the foundation upon which the museum was built. If you’ve never made the trip to Carson, put it on your list. The afternoon wrapped up with a visit to the Barbours’ home, where Mark generously shared both his personal print shop and his other passion: vintage automobiles. It was a perfect way to wind down the weekend.

But there was still more.

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On Monday, many of us traveled to Corona for a tour of the museum’s warehouse. Three massive buildings, stacked floor to ceiling with presses, type, equipment, and printing history, offered a staggering glimpse into what it takes to preserve a craft. Some treasures await incorporation into the museum’s collections, while others are being cared for until they can find new homes where they can return to work.

Overwhelming doesn’t begin to describe it. Mark, those are some mighty shoulders you’re carrying. Thank you — and everyone at the International Printing Museum — for an unforgettable Wayzgoose.

Here’s to new friendships, old friends, and another unforgettable gathering. Until next year…

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Written by: Nora Young, #981, APA Mailer
Photos submitted by attendees or posted to the WhatsApp Wayzgoose Group
Post designed, edited & photo layout/insertion by: Lance Williams, #785, APA Registrar, Web & Data Manager.