Andrew Rease Shaw
Salt Lake City, UT
Social Distancing Publication
Digitally-printed and saddle-stitched pamphlet
16 pages, 8” x 10”
Edited and designed by Andrew Rease Shaw
When COVID-19 hit the United States in March 2020, the response led to countless postponed festivals, cancelled gatherings, suspended schools, and shuttered businesses in an effort to prevent rapid spread of the novel coronavirus. The publication “Social Distancing” took its name from this concept that was at first such an unusual oxymoron and has since become common vernacular. In that moment of rapidly shifting information, rampant misinformation, community panic, global concern, and a call for a massive response to a microscopic contagion, our communities of artists and writers were poised to capture and interpret present-day experiences for future audiences.
The “Social Distancing” publication was compiled from an open, public, global call for submissions of art, poetry, and short-short fiction and essays to be included in a publication unique to our time. The call welcomed all ideas and experiences — serious, personal, social, collaborative, humorous, sarcastic, confessional, and experimental.
The layout brings together 30 diverse works from writers and artists from Utah, Colorado, Nebraska, California, North Carolina, South Carolina, Oregon, Massachusetts, the United Kingdom, Ireland, and New Zealand. The design creates a framework to unite poetry, photography, essays, collage, drawings, illustrations, and more into a cohesive newsletter capturing a moment in our global experience.
Bison Bison Supply 2020 Calendar
Hand-drawn graphite illustrations. Digitally printed on 100# paper, packaged with a bulldog clip for wall hanging
Twelve 8" x 12" panels
Illustrator: Mary Toscano
This calendar celebrates the animals, plants, and minerals found in and around the western United States: gopher snake, long-tailed weasel, yucca seed pods, prickly pear cactus, Gila monster, pigeons, Griffin's sheep moth, petrified wood, piñon pine cone, mountain cottontail, bighorn sheep, and the American kestrel.
Ink hand-printed on organic cotton fabric. 20” square.
Printer: Mary Toscano
Bison Bison Supply’s hand-printed handkerchief was designed with radiating patterns that are evocative of classic designs of the American Southwest and the circular geometrics of Buddhist mandalas while also expressing a modern aesthetic. The digital design was lasercut into a wood panel, inked by hand, and printed on nine colors of organic cotton fabric using an etching press. The pieces are finished with a serged edge. As the piece is worn and washed repeatedly, it takes on a unique pattern of distress and incredibly soft feel.
Torpor House Branding
Torpor House is a new and growing distributor of indie publications, creative zines, and artist’s books. The project’s brand is crisp and clean while also expressing motion and interaction. Its primary-focused color scheme, strong geometrics, and use of the Gothic drop-shadow typeface Balboa Plus are bold, inviting, and universal, expressing the company’s values of celebrating the artistry of printed and bound works, lifting up creative and marginalized voices, and building community through publication. The use of halftones and overlaid graphic techniques used on torporhouse.com create a tactile feel inspired by old-school publication printing techniques like letterpress and risograph.
Halophyte Publication, Issue 2, Translation
Digitally printed on text-weight paper and hand-bound
48 pages, 8” x 8”, with 20-page, 4.25 “x 2.75”
Managing editor: Mary Toscano
Guest editors: Jace Brittain and Paula Mendoza
The Halophyte Collective is a supportive community of artists and writers in Salt Lake City which collaborates on publications, artist books, exhibitions, and workshops. The third installment of the “Halophyte” zine, Issue 2, sought works regarding the process and theory of translation. We welcomed innovative and thoughtful work that approaches the concept and process of translation, explores intricacies of language, and represents the experience of communication. This zine explores translation as an endless process of understanding and misunderstanding. We translate to interpret, to intervene, to invoke, to explore and explode language. We see translation as a desire for recovery and the reckoning of inevitable loss. We see translation as obsessive collaborations against structures and as the obsessive unraveling of a singular consciousness. / The layout was designed to bring a gridded, legible unity to the disparate works in the zine. In place of typical page numbering, the top-left and bottom-right corner of each spread is colored to form a gradient from cyan to yellow as a graphic nod to the publication’s theme of “translation.” What resulted is a table of contents that can be navigated by color swatch rather than page number.