Printing, printing, printing

And baking cake

I’ve had studio space in about every corner of my current apartment: next to the bed in the front room, in the back room under the bookshelves when it was the living room, and now in the front room again, which is the living room, in a closet that’s four feet wide by two feet deep with the doors taken off. I have a desk with drawers, two small shelves for pens and knicknacks, and a big shelf above for storing fabric, packaging materials, old sketchbooks, and other miscellany. I’ve set it up for drawing, painting, photoshopping, bookbinding, and now linocut printing. The latest feature that’s become useful in my converted closet is the rod installed above the desk, which I’ve set up to accomodate a clothesline-like system for drying prints. It’s saving the living room from being completely covered in pieces of paper that will stain anything they touch, and continues to save my checking account from the need to rent a separate studio space. A win all around.

Above, a lino book of cakes made to celebrate a friend who appreciates a good dessert.


The best cake filling:

Chocolate Ganache

8 oz semisweet chocolate (feves, whole, or a bar, chopped)

8 oz milk (or cream or almond milk)

Place chocolate in a bowl. Heat milk in a small saucepan until it starts to get frothy but before it boils (it shouldn’t feel scaldingly hot to touch). Pour the milk over the chocolate and let it sit a few minutes, then stir. If the chocolate has broken or the mixture got too cool to melt all of it, just pour the whole thing into your saucepan over low heat and stir until it comes together. Chill until it’s the consistency you want for your filling or topping (I like to let it cool in the fridge maybe 20 minutes for cake filling, but if you wanted to drizzle it over the top of the cake I’d use it right away).


I’m watching shorts on Criterion Channel while I draw and carve. Cheryl Dunye, Les Blank, and Roberta Cantow are giving me the visual inspiration that podcasts just can’t bring to the table.

Still from Roberta Cantow’s Clotheslines.
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