female announcer: On "Studio Space," visit the grande dame of the Kinetic Universe, June Moxon, and learn about her amazing cross-country ride.

Then an interview with Lynn M. Jones, the owner of a unique stationery and paper store: Just My Type.

Learn how this artist uses 20th-century machines and 19th-century methods to create 21st-century designs.

"Studio Space" explores the thriving art colony in Northern California.

♪♪♪ announcer: This activity is funded in part by the California Arts Council, a state agency, and by viewers like you.

Thank you.

Kati Texas: Hi, I'm Kati Texas.

David Ferney: And I'm David Ferney.

Today on "Studio Space," we'll visit with two women who are forging their own path through the art world.

Kati: First, I'll visit with metal sculptor and shoe enthusiast June Moxon, down on the family farm, then, David will sit down with fine art printmaker Lynn Jones to talk about her passion for printmaking on antique equipment.

♪♪♪ June Moxon: Yeah, I was told that I couldn't make something out of aluminum, because it would echo too much, that the sounding-- that it wouldn't work.

But I kept thinking, "No, I'm gonna try this.

I really wanna try it."

It was kind of like being inside a beer can, and we found out that we had to be really careful with what we were saying 'cause people behind us could hear.

Kati: Ah, I haven't spent much time inside beer cans.

June: Well, I think I have.

♪♪♪ ♪♪♪ Kati: Hi, I'm Kati Texas, and you are watching "Studio Space."

We're here today with June Moxon.

Hi, June.

June: Hi, Kati.

Kati: June, it's so good to see you, one of my dear friends.

Can you, first of all, can you tell us about where we are?

So beautiful.

June: Whoa, we're out on Arcata Bottom, and where I grew up, and so I am back here again.

Kati: On this farm in this garden?

June: On this farm, there's many generations that have been born and raised and farmed this ground right here.

It's so cool, Kati, 'cause every time, when I've been gardening, I put my hands in the soil, and it's like, "Oh," it's like some of the richest soil in the entire world is right here.

Kati: I don't wanna pin you down to one medium, so I'll have you describe it.

Tell us, what do you do?

What is your favorite art form?

June: My favorite art form is working with metal.

I love brass and copper and brazing the two together, and I found that, even though I can run a TIG welder, a MIG welder and I've done major, big sculptures of 6-and-a-half tons for the Calistoga Mineral Water Company with my partner, Ken Beidleman, and, yet my favorite is when I get down to little bitty things where it's so hard, and when you can braze together hairs-- just little brass hairs onto, like, a flashing of brass.

It's so hard to do, and I just-- I love that challenge of being able to, just, the timing and keeping it from exploding and just falling, and you're going, "Argh."

Kati: So brazing is where you use heat, and you're melting brass, and then you're controlling where that brass goes?

June: Yes.

Kati: As it's cooling, you're shaping it and using it not just to connect other pieces of metal together?

June: No, and you can pull it, and you can draw it, and it's all in the timing.

And when you learn to braze, it's starting, like, with a quite cool heat, and then you turn it up and up until it goes, until it just flows together.

And it's very tricky because you have to watch right where the heat will go, so it's the thickest, heaviest piece, but the timing is so minute and, just, getting that touch, you know, and being able to rotate it, and it's-- braze it and then tack it on one side, especially with little rods, and then turning it and getting it on the other side of a piece that's a much heavier, bigger piece, it's really hard to do.

Kati: Have you turned a few sculptures into puddles?

June: Yes, actually, but I did find out what to do with it.

Once I do mess it up or-- and sometimes I'll do it on purpose.

I'll make it into little balls, and so then I take very small hairs of copper or steel or brass, usually copper, and I'll wait, and I'll get that little ball heated up just right, and then I'll stick the brass or the copper right down into it, so then I have this nice, little wire with this balled end, and when I get a bunch of them together, then I have this wonderful little floating motion.

Kati: Oh, a floating motion.

That sounds like a-- June: It's a little floating motion.

Kati: --like a sculpture that is kinetic.

June: Well, yes.

Kati: Well, you mentioned the Calistoga Truck, that one, a humongous sculpture of a truck for a water company that's based here in California.

What other sort of large sculptures have you worked on?

June: I've worked on the Kinetic Sculpture Race for 39 years now, yeah.

Kati: Thirty-nine years of kinetic sculpture racing?

Okay, for those folks who don't know, can you tell us what is kinetic sculpture racing?

June: Well, kinetic sculpture racing is where you build a all-terrain, amphibious, artistically humorous vehicle, with a lot of humor, at least that's what was my goal.

And so it does have to go on water.

It's gotta go on sand and mud sometimes and hills and gravel, and it's a very, very difficult race, and it usually goes around 42 to 46 miles, and it's down the freeway too, so I like to have, just for me, I like to have a lot of people on my team, and they all help.

They make costumes and head things, and they just get together.

They think up little routines and just little chants and so-- Kati: Do teams, like, dance and-- June: Dancing and just, movement, and so their costumes show off, and they have so much fun, and I learned all this from Hobart, who was the founder of the race, Hobart Brown.

Kati: Hobart also described kinetic sculpture racing as "adults having fun so children would desire to grow up."

June: Yes.

Kati: I think you embody that well.

June: Thank you.

Kati: Your team is really having fun.

June: Yes, they are.

Kati: And you said you've been doing this for 39 years?

What was the first kinetic sculpture team you participated in?

June: Hobart Brown's on the people-powered bus.

Kati: Ah, a notoriously heavy machine, yes?

June: Yes, it was, and I won a ticket to be on the bus.

I was the passenger.

Of course, it broke down within a block, and I ended up with everyone else, pushing it all the way to Ferndale, but after that first block, I knew this is something I was gonna do for the rest of my life.

It was just something that grabs you, and you just know it.

Kati: Yeah, I get that.

It's a ridiculous thing to do.

You pour months and, you know, of time and energy and love and money into this crazy thing.

June: It's everything, your mind and body and soul.

Kati: And for one reason, right?

June: For the glory.

That's all there is.

Kati: But the glory is everything.

June: It is.

Kati: When people watch the Kinetic Sculpture Race, if they've seen it before, you see it on the plaza, you know, you see this glamorous thing, people are driving around like, "Oh, looks like fun," and they're dancing, and they're singing, and then, you know, it's all this glory, but it's also a race.

You know, it's hard.

Getting in and out of the sand alive is hard.

June: Of course, they see us, so we're all clean.

Kati: Right, yeah, they see you when everything's still intact.

I think, yeah, I think if you can go into June's Dunes, if you can go into the sand portion of the race and come out again as friends, you've got something real good.

June: You have.

Kati: Got a good, strong friendship there, comrades in arms.

June: Oh, and that is so true, getting to the start.

Kati: Just getting to the start of the race.

Yeah, I have seen you.

I come to the lab at 9 in the morning, and June's still welding, you know.

June: Guilty.

Kati: And we're like, "June, your check-in time's in 20 minutes.

You're like, "I'm there; I'm there.

I'm already there."

Was young June, was little June always making little things or sculpting or drawing?

June: No, I was a cowgirl.

Kati: Oh, yeah?

June: I rode cows.

Kati: You rode cows?

June: I rode cows.

Anything I could--I tried riding the dogs when I was little.

It didn't work.

Kati: I wouldn't think riding a cow would work.

How does that work?

June: Well, it didn't.

I would--I did quit.

I had one that was called Mighty.

That's what my grandpa called it.

Kati: I have seen many pictures of you with your shoes and your sculptures-- both: --of shoes.

June: And I pedaled one across the United States.

Kati: That's right.

Your cross-country trip in the shoe.

And you set a world record doing that, didn't you?-- at the time?

June: We did.

Kati: And what was the record?

June: Well, we left Arcata and on a sculpture that was like a little castle which was a recumbent tricycle, and Ken Beidleman was pedaling that, and then I was attached to him on a tricycle that looked like a high-heeled snakeskin cross-country shoe, and then behind me was a big barrel, and we made the barrel, of course, and we made it long enough so we could sleep in it.

Kati: What's next for you?

What do you have planned?

June: Well, I feel like I'm in the next phase of my life, and I have been, for a long time, thinking about when I would finally come home, and so I have gathered materials with plans to work on wind sculptures because we have so much wind here that it's natural, and what's really interesting, to me, is movement, and I'm planning on building things so I can play, like, a piano and yet have something that's fairly large, and I love fabric and, just, characters of things so we'll be able to move and do all these things from just puppetry.

Kati: Okay.

June: And making the costumes of 'em and, just, it's the movement of things-- that, and working off a wind to make things move in the wind, and I have the perfect place to do it.

Kati: Yeah, an endless energy source right out here.

June: Absolutely, and so it just brings laughter.

I want it to bring good feelings.

That's what life is about.

Meeting Hobart and, just, the groups of people that he could take and get into a scenario where I just fell in love with that, just the bonding and fun and laughter, and it's--for me, it's pretty much all been about the laughter.

Kati: That doesn't surprise me.

Well, what did Hobart say?

I think that a lot of people have said, like, "If it ain't fun, don't do it'?

June: Yes, and that is very, very true.

We learn to laugh at ourselves.

I mean, if we were never-- and to cheer our friends, I mean, you always yelled and everything.

Your friend's racing because that was fun.

That was, you know, why you were doing it, and just to be the best you could be.

Kati: Well, June, thank you so much for inviting us here and for showing us your work and for talking with us today.

June: Well, thank you for coming.

Kati: And thank you for joining us on "Studio Space."

♪♪♪ Lynn M. Jones: Back when I was at Mr. Goines's studio, even in Berkeley, his printing press was in the window of his shop.

He wasn't on a street that had a lot of walking traffic, but whenever I was using the press there in the window, people would walk by and do a double take.

David: That was Berkeley?

Lynn: That was in Berkeley, and I thought, "Someday, I'm gonna have a shop with a press in the window.

David: Oh, great.

David: Today we're with Lynn Jones.

Lynn is a letterpress printer and a fine art printmaker as well as graphic designer.

Thanks for joining us, Lynn.

Lynn: Thank you for having me.

David: Yeah, you bet.

You first started getting into printmaking in college, but I understand what really turned you on to it was your internship with a pretty well-known print and poster artist, David Lance Goines, down in the Bay Area.

Lynn: That's correct.

In 1999, I had a summer internship with him.

David: Uh-huh, can you tell us a little bit about that and how it really drew you into the work that you're doing?

Lynn: He brought me on initially to help him complete the illustrations for Alice Waters's cookbook, the "Chez Panisse Cafe Cookbook," published by HarperCollins, and I didn't realize what a big deal it was until after the fact.

But yeah, he needed help completing the illustrations for that, and after we were done with that, which was all linoleum block carved, he showed me how to use the letterpress machines in his shop, in his studio.

It was amazing.

I had never seen machines like that before, and once he showed me how to use 'em, I was hooked.

It's pretty cool.

David: One of the things I like about the store is that you--not only do you get to see a wide variety of your work, both in the fine art print stuff and your cards and other-- your block prints as well, that's really nice to see that, you know, kind of community in here and your stuff as well.

Lynn: Yeah, we strongly-- we, myself and my now two part-time employees, we strongly believe in supporting local artists, female artists, people-of-color artists, and, really, it's small makers, you know?

We don't wanna be a Hallmark store.

That's not my intention, and we want to bring in things that can't be found in any other store in the area so-- and it's constantly changing.

It's fun to be able to move things around and see what's working, what's not.

David: So you do a couple of different kinds of printing here in your store and in your work.

I understand that some of your favorite stuff is linoleum carving.

You've said that if there's one thing that you could do for the rest of your life, that would be it.

Lynn: Yup, yup, definitely.

I think I'm working my way in that direction.

Lynn: So this is what I'm going to print in silver over the top of there, so you have to figure out where the second color is gonna go, and then so I've transferred it to the black, and now I'm gonna carve this out so that only the part that I want to print is still remaining on the block.

I've done all of the fine lines first, and now I'm gonna go back in with a slightly larger tool and remove the parts that I don't want next to those fine lines.

This isn't one of my more detailed blocks, but you can imagine on the much larger ones, turning it around to getting just the right shape mark on the big ones can be fun.

A lot of block printers prefer kind of a-- what they would call a noisy block, which includes lots of little lines around the main lines that they're trying to get to form their image.

I don't care for that, so I carve down around the lines that I wanna keep a little bit further and make sure that the final printed image is very clean.

Lynn: In 2014, I won a kind of-- a notable prize in our area, the Victor Jacoby Award, and that was kind of my kick start to going back to printmaking all the time, but that didn't get off the ground as quickly as I'd've liked, so then I started printing the packaging for Dick Taylor Craft Chocolate.

David: Right, which is, like, your signature thing.

Lynn: And they printed all their own stuff for the first five years of their business.

I showed them how to use the press 'cause we're buddies too.

And so I showed them how to use it.

They were doing all the chocolate making, all the packaging, all of-- David: All the printing-- Lynn: Everything, all the printing, and then, about five years into it, I was like, "You guys seem like you're pretty busy.

Would you like me to do the printing for you?"

And they said, "Yes," so, yeah, now I've been printing for them for about five years-- print probably 250,000 to 300,000 impressions for them each year.

David: Wow.

Lynn: Yeah, that's a lot.

David: Oh my goodness, it is your signature thing.

Lynn: Yeah, yeah, it really is.

And then, on top of that, I fit in my own line of greeting cards and the large prints, too, so-- David: Right, the fine art.

Lynn: It's fitting it all in.

That's what I need to work on most, yeah.

David: Now, you mentioned, in 2014, that you received-- were the recipient of the Victor Jacoby Award through the Humboldt Area Foundation-- Lynn: Correct.

David: --which is quite prestigious locally, and a big, sort of, stamp of approval, you know, from the arts community, if you will.

Can you talk to us about that award, and what it is and also what it meant to you and your work at that point?

Lynn: I had just purchased the big Vandercook press.

That's the flat bed that allows me to print up to 18 by 24.

David: Uh-huh, the fine art prints and stuff, yeah.

Lynn: Yup, the one that I do the limited-edition fine art printmaking on.

I knew that that's the direction I wanted to go because I love carving the blocks so much.

It's meditative.

I just get to sit there and listen to a radio show or podcast and carve out little tiny details.

So that's the part of my business that I was hoping that the Jacoby Grant would kind of kick-start, and Victor Jacoby set up the fund so that artists wouldn't have to worry about their day-to-day needs, groceries, bills, stuff, so I really used a lot of that money, a little to buy supplies 'cause paper is expensive-- cotton paper is expensive-- but a lot of it was used for child care for my son.

David: So you could actually work.

Lynn: Mm-hmmm, because he was three at the time.

My daughter was in elementary school at the time, so she was taken care of during the day, but I could actually send him to a preschool and then-- 'cause my husband's also working outside the home, too, so that allowed me to stay home and print, yeah, it was a huge boost.

David: Yeah.

Lynn: Yeah.

David: You're very much into vintage gear, both some incredible presses and old equipment here in your store, as well as vintage letterpress and type.

Lynn: Definitely.

David: Can you talk to us a little bit about some of this amazing gear that's in here and how you came about, you know, working with it and acquiring it?

Lynn: Yeah, the paper cutter and press that I have on one side of the studio, they don't get used as often, but they're not just decorative.

The paper cutter, I don't know exactly what year it was made, but the press is from 1907.

It's a Chandler & Price, made in Cleveland, Ohio, and it runs on a foot treadle, so you pump it with your leg while you're feeding each piece of paper by hand, so it's a little bit of a dance because it's a bit of a workout too, but then on the other side of the studio, I have my 1925 Chandler & Price.

Same machine, just newer and it's hooked up to a motor.

So I flip the switch, and then it opens and closes on its own, and then I feed each piece of paper in and out by hand, but it's a lot less physically taxing.

So I can do at full speed a thousand impressions in 40 minutes.

♪♪♪ ♪♪♪ ♪♪♪ David: Is there any projects or ideas of something that you've always wanted to do that you've kind of had in the back of your mind that-- Lynn: Oh, yeah, there's tons of things rattling around up here, but, yeah, finding time to fit everything in is challenging.

Yeah, I've got a couple projects, one in the works right now.

I'm working on a series of 12 Eureka Victorians, the houses, and I've completed four, but I'm really hoping to have a nice, cohesive set of 12, and I really thought that, when I started it, that I'd be able to do it in a year.

One a month, that's not that much of a problem, but it's been probably three years, so far, and yeah, other things, just keep jumping in the way.

David: Can you show us how some of it works?

Lynn: Sure.

♪♪♪ ♪♪♪ ♪♪♪ David: So your store and shop is called Just My Type.

Can you tell us about where the name come from?

Lynn: Well, sure.

I was at Mr. Goines's shop, and I was setting up a big project on the bed of the Vandercook with Chinese type because, you know, movable type is all languages.

They made it all over the world.

So I had Chinese type from a newspaper that had gone out of business in San Francisco, and I was setting it in the shape of a horse.

So I'd set one end of the horse, and I ran out of type.

So I was gonna borrow type from a friend, and I wanted to be able to remember which type was mine and which type was his, so I borrowed Mr. Goines's digital camera, which digital cameras were pretty fancy and new at that point, took a picture, downloaded it to his computer, and titled it "Just My Type," because that was just my type and not my friend's.

David: Right, right, and you were like, "ding."

Lynn: And just like that, I was like, "That's my business name," yeah.

David: Nice, that's a good story.

Well, thank you so much for having us.

It's been a real great pleasure.

Lynn: Yeah, you're welcome.

♪♪♪ ♪♪♪ CC by Aberdeen Captioning 1-800-688-6621 abercap.com announcer: This activity is funded in part by the California Arts Council, a state agency, and by viewers like you.

Thank you.