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Total Monsoon

Endless Monsoon anthology "Total Monsoon" green front cover with swamp scene and plastic fern leaves
Total Monsoon risograph anthology by Sarah Welch

Total Monsoon is the culmination and finale to our Endless Monsoon project. This 310 page risograph comix anthology with screen printed cover contains the entire arc of our series, and also includes brand new content in the form of interstitial comics between books, interviews, and very special foreword by Robert Boyd.

Produced at a larger size of approximately 7.25″ x 10.5″, this perfect bound publication was a definite challenge to produce! Originally slated for release in late 2017, we had to delay until spring of 2018 due to the flooding of our studio during Hurricane Harvey. Luckily, our trusty Risograph GR3750 was able to avoid damage during the storm, and we were able to resume printing after rehabilitating our space with the aid of friends and family.

Special thanks to everyone who helped to make this project a reality!

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  • Endless Monsoon anthology "Total Monsoon" front cover detail on grey felt background
  • Endless Monsoon anthology "Total Monsoon" back cover detail green with screen printed swamp scene
  • Endless Monsoon anthology "Total Monsoon" inside detail
  • Endless Monsoon anthology "Total Monsoon" inside detail of a train crossing and construction scenes
  • Endless Monsoon anthology "Total Monsoon" inside detail of friends handing out and a cat on a leash
  • Endless Monsoon anthology "Total Monsoon" inside detail of character checking the weather through a window
  • Endless Monsoon anthology "Total Monsoon" inside detail of a highway overpass illustration
  • Endless Monsoon anthology "Total Monsoon" inside detail with girlfriends drinking beer on the stoop
  • Endless Monsoon anthology "Total Monsoon" inside detail
  • Endless Monsoon anthology "Total Monsoon" inside detail
  • Endless Monsoon anthology "Total Monsoon" inside detail
  • Endless Monsoon anthology "Total Monsoon" inner cover with foilage pattern and ex libris plate
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Very Pleasant Transit Center

Very Pleasant Transit Center is the fourth installment in the Endless Monsoon comics series.

This part comic, part art-zine features many lush drawings of highways and industrial wastelands. Set somewhere in Southeast Texas, two friends negotiate their lives in the sub-tropical, semi-swamp.

3-Color Risograph Printing ~ Measures 7″ X 5″ ~ 56 pages

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Only Humid

Only Humid is the third chapter in the Endless Monsoon saga.

This part comic, part art-zine features many lush drawings of highways and industrial wastelands. Set somewhere in Southeast Texas, two friends negotiate their lives in the sub-tropical, semi-swamp.

3-Color Risograph Printing ~ Measures 8″ X 5″ ~ 60 pages.

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Brackish

Over a five month period Mulholland and Welch each created many, many ink drawings, they curated those works and compiled them into the Brackish zine. Drawings of special interest were chosen to become risograph or letterpress prints paired alongside the book.

Brackish, the art zine images the past, present, and sometimes invented future of the Houston landscape. The book features local and invasive flora & fauna, architecture, interior spaces, city infrastructure, industry, and residential vignettes. Special attention is lavished on locations with ancient, sometimes futuristic presence. Think 2001: A Space Odyssey meets Jurassic Park.

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A Fabled Evening

We were very honored to have this opportunity to work on a custom letterpress invitation for local arts nonprofit Diverseworks. Founded by artists in 1982, Diverseworks is well known for fostering new and daring art without restraints in our hometown, Houston, Texas.

This custom letterpress invitation suite was designed by Sarah Welch and printed on our Kluge letterpress in vibrant dark blue. Printed on 110# Crane’s Lettra, we love the tactile feel of this invite and its matching envelope. We were especially happy to have some room to play with on the depth of impression, since this invite was specifically designed with letterpress in mind– by leaving the back of the card’s face blank, we were able to work deeper than normal without the need to worry about show-through or distortion of elements on the opposite side.