The Lab PDX: Invitation To Draw With Me!

 Collaboration:

My very first typewriter drawing was made up of 158 five-inch squares. Though I remain fond of using a grid, it's been about two years since I've worked this large, and I'm so excited to have the opportunity to share this process with the public on Thursday, July 28th, at Holocene during The Lab PDX! This one-night-only curated evening of creative expression features an exciting array of visual art, performance and music.

I will be using the above image, a lion statue I fell in love with on a recent trip to Seattle, along with several manual typewriters and YOU to replicate this as a large scale drawing made up of multiple squares to be completed, installed, and shared during this one night only event.  Though I typically use my machine to explore and convey the wild undulations of value, and this image certainly presents a wonderland of shading and line, I want to play with the many different ways marks can be made or images can be recreated. Despite the control/obsession inherent in my own practice, I do enjoy the variety and freedom in the act of drawing and am really excited to unleash others' ways of depicting what they see and/or how they use the machine to make an image! I am so pleased that the egalitarian nature of printmaking is finally making its way into my practice--which often feels so isolating and self-centered.

Typewriter-drawing tutorial/collabo with some of my favorite ladies during the Portland Correspondence Co-Op (PDXCC) meeting--it's every 3rd Tuesday at IPRC and it's FREE! 

I will be borrowing several typewriters courtesy of typewriter-enthusiast/expert Ethan of Ace Typewriter & Machine. He's offered three adorable portables: A Hermes 3000, an Olympia and a Lettera 32!

I can't wait to draw with you--get your tickets here--they're only $8 if you get them advanced!

Event Details:

I'm thrilled by the list of incredible folks involved in making this event spectacular, but I'm super-delighted to finally share the stage, so to speak, with my talented cousin Lorna Dune who will be performing some new dark motorik experimental dance! 

Here are just some of the other talented folks/groups involved: Adam and Rosalynn Rothstein, Megan McKissack, Sue & Shawn, Jenn Steigerwald, Sleeping Wolf, and The Pearls. 

Tickets are $8 in advance or $10 at the door.
Buy tickets here or get mored deets/stay tuned/RSVP here!

Sign-Up To Draw:

Since this drawing is quite an undertaking, I will have a substantial amount completed beforehand so that we can install and finish it during the event! It will be helpful to know who/how many folks wish to be involved, so if you are interested, please email me: redlumlehcar at gmail dot com (It's just my full name backwards).

Looking forward to the future!

International Typewriter Day: Limited Edition Screen Prints

I'm really looking forward to tomorrow!

The typewriter was on June 23rd in 1868, by Christopher Latham Sholes of Milwaukee, Wisconsin, marking the official date of International Typewriter Day!  I had no idea this important moment in history was so close to home--read more about it at the Typosphere.

During Oblation's annual International Typewriter Day Type-In this Saturday, June 25th, I'll be releasing these limited edition prints (screen printed by Seizure Palace):

From left to right: Avery As A Rectangle, Self Portrait I, Erica, Dominic, Madeline

Each print is 8 x 10 inches and is $40 (plus shipping)--only 50 of each!

*  *  *

Thrilled about all of the festivities, I'm most excited to participate in the Type-In by drawing my friend, official Sparkle Princess Alex Simon, with my trusty old machine.  As this magical creature deserves, replicating her likeness will require all of my typewriter ribbons: pink, green, blue, purple, red and black.  Since I lack yellow ribbon (for now!), below is a shot of the prep involved for tomorrow's live-typing session.  I'm using yellow carbon paper taped onto the paper, with the separated yellow CMYK layer of the photograph I'm working from, and my red ribbon so that I can see where I've already marked the yellow in.

Ouch!

Thankfully tomorrow this will transform from gore to glitter!

In addition to good company and refreshments, there will be a selection of Oblation's own typewriters for you to use as well as complimentary stationary, envelopes and even postage so that you can send type a letter yourself--and there's a raffle to win your very own typewriter.  Hope to see you there!

International Typewriter Day!

I'm so excited to team up with Oblation Papers and Press (516 NW 12th) again!

On First Thursday, June 2nd, I had the pleasure of setting up shop in their beautiful space and drawing Wilma, the beloved cat I share a house with.

Photo cred: Jennie Velazco

Detail of Wilma using my Sears Citation II manual italic typewriter and the following characters: + / * % "

Join us to celebrate

 International Typewriter Day

Saturday, June 25

1 - 4 pm

RSVP here!

So excited to be a part of all the fun and to celebrate this coveted machine!

Oblation will be providing refreshments for the afternoon of fun which includes:

Letter typing stations where you can use their beautiful machines to type your own letters on provided stationary, envelopes and even postage!

Limited edition prints by yours truly--featuring a digital print designed by me specifically for Oblation and this special day!

Raffle to win your very own typewriter!

Can't wait to celebrate with you!

Gearing Up For International Typewriter Day!

Detail of my fun collabo with Oblation!

Did you know that June 23rd is officially International Typewriter Day? I didn't either until Oblation Papers & Press found me!

Thanks to my show back in February at Darling Press, I was able to connect with Oblation and they've invited me to be a big part of this special celebration.

Mark your calendars for Saturday, June 25th!

We're still hammering out some of the details, but here's a short list of the fun to be had:

* live typewriter-drawing by yours truly
* limited edition prints for sale
* letter-typing station with Oblation's own handcrafted paper, envelopes and stamps provided
* raffle to win a typewriter

I'll share the flier ASAP!

Please email your mailing address if you'd like one sent to you: redlumlehcar at gmail.com

I'm really looking forward to this! Hope to see you then!

First Friday Opening Reception at Bare Bones Cafe

Hello again everyone!

I'm thrilled to announce my work will be on view June 3 - June 30 at Bare Bones Cafe on Belmont!

This is going to be a very special opening reception--as Bare Bones graciously waives their commission, I will be donating 30% of my art sales to my favorite fledgling non-profit, Public Annex!

Find out more and donate directly here!

Public Annex (PA) is special to me because I am so spoiled and honored to know the community of hard working people hoping to lift this phoenix off the ground--from my former supervisor, Carissa Burkett, these are her beautiful words about this amazing and necessary nonprofit:

I am very excited to publicly announce a major project that I have been working on alongside my incredible colleagues and friends.

The state of Oregon along with federal changes are cutting funds going to incredible programs that support adults with developmental disabilities. We have formed a new non-profit called Public Annex, that will work within/outside/around/above the systems that limit access. Our goal is to provide accessible urban farming and arts programming, focusing on inclusivity of artists and farmers with developmental disabilities.

Our mission is to break down systemic barriers that prohibit marginalized populations from inclusivity by building a community around accessible farming and art programming.

Come celebrate with me and help me support Public Annex! There will be originals and prints available for sale, to accommodate most budgets.

In other exciting news, Lorna Dune and Keith Sweaty, two of my dearest people and super fun DJs, will be slinging tunes during the reception! Of course, there'll also be tasty snacks and refreshing beverages from Bare Bones!

Can't wait to see you there!

In Progress - Justin's Wife And Son

I'm having so much fun drawing these two.  I've said it before, the delicate features of children are so satisfying to capture--it's so easy to transform them into ghouls if you work them too much! This is such a sweet image to work from. This commission's due on Valentine's Day--I'm nearly finished.

Justin's Wife And Son, 2016, in progress, 8 x 10 inches

I would leave this negative space if it wasn't a commission--but at least it's something to consider for future pieces in my personal works. This one is on the minimal side, made using the following characters: # * %.  I might actually camouflage the few percentage symbols I've used to make it a strictly two-character drawing.  Why not? 

Time-Lapse: Install at Darling Press

My install at Darling Press was a success! I'm getting faster at installing these large-scale grid works.


Give Up The Queen And Nobody Gets Hurt was completed in 2014 using only my Sears Citation II manual italic typewriter and 74 five-inch squares of paper.  It's displayed by placing thumbtacks in the wall and tiny magnets to attach the paper in place. 


I'm so thrilled to share this piece alongside my latest typewriter drawings as Artist of the Month at Darling Press in February!  If you are in Portland, please join us for the opening reception First Friday, February 5 from 7-10pm.  There will be wine and snacks as well as live music from the Miley Cyrus Mind Control Quartet! Hope to see you there!

Artist Of The Month @ Darling Press

Please join us at the Darling Press Studio on first Friday, February 5th from 7-10pm--just two weeks away--to celebrate my latest typewriter drawings on view for the month. We can nerd out about beautiful old machinery while surrounded by it.

Stay tuned for more details on the Facebook invite page!

Hope to see you there!

Commission: The Tightrope Walker

At the end of 2015, I had the honor of making a typewriter-drawing for my very first collector in Portland.  In 2009, Michael bought an etching of mine from a group show at Backspace (RIP)--my first show in town--alongside Troy Briggs, Adam Stacey and Anthony Hix. That was probably one of the last prints I pulled from the MIAD print shop.  I covet and romanticize this space and can recreate the sensual-landscape of wonderfully toxic odors, each differing from the litho-, to the -intaglio to the -screen room. Let's gaze listlessly out of a window.

The Tightrope Walker, 2015
8 x 14 inches, typewritten ink on paper

The Tightrope Walker was a fun challenge--working smaller than ever before, figure-wise.  The tightrope walker herself is only 4.5 inches tall.  It was exciting and delightfully nerve-wracking to force myself to work in an impressionist way--each mark a gamble. I am grateful for having abandoned my purist tendencies with typewriter-drawing awhile back, and employed an eraser.  Everything is a drawing tool.

It was fabulous to make a piece for such an imaginative person--we had a long back-and-forth of planning for the feeling and look of the piece.  It was originally going to be a thoughtful gift for his wife, but Michael admitted when we exchanged that it became mainly for himself... Self-gifts are important.

There was another contrast between this piece and the work I make for myself.  I am a coward with words and have never considered incorporating text in my own work. I realize this may sound counterintuitive or wasteful (I'm using a typewriter all wrong!), but I really just enjoy using the typewriter as a straightforward drawing tool--using apostrophes and asterisks for fine lines and percentages and pounds for shading or to make velvet black, without incorporating subtext.  Plus, there are people like Leslie Nichols using the same tool to create incredible things utilizing text and meaning and order in such an overwhelmingly beautiful way.  Yes, a hero of mine. Michael had asked me to incorporate a quote from Ernest Becker's book The Denial Of Death, as a secret message, not necessarily detectable, "like a little hidden Easter egg for [himself]". What a lovely project. Thanks Michael!

So Long, Chromaphobia

I've spent nearly a decade with an aversion to using color. This stemmed from my initial love for etching and aquatint--what's the point of introducing color when you can play endlessly with undulating values?!--as well as a fear and lack of understanding color itself and how to use it.

I've discussed my fear of painting with many friends. The biggest drawback to me is that there are too many variables (brushes, marks, materials, translucency, etc) and then on top of it, color and all of its endless avenues.  As my friend Keegan pointed out, I enjoy being able to make a mistake--hence using the typewriter, etching an image in steel, or using permanent marker and rubbing alcohol to make a drawing. I enjoy using tools which provide some kind of limitation. Light masochism? Cowardice?

Anyway, for the last few months, while actively in a frenzy of high contrast black and white portraiture, I have spent a lot of time passively staring at, thinking about, and appreciating color, as a voyeur. I contemplate the subtle yet overwhelming effects of light on a beige wall alongside the dazzling appearance of vivid colors in nature, ordinary human-made objects, photography, and painting. I have spent a lot of time building imaginary palettes, wondering how things were created, considering the changes in house exteriors I see on my daily routes while illuminating light upon surfaces paired with the sky in the background alters the same view so drastically.

Precious Cargo, in progress
typewritten blue and red ink on Rives BFK

Now that I have finally shrugged off the fear of using color, I'm taking steps to using it directly--and it is mind-bendingly exciting.  Even just pairing two colors--knowing that blue and red make purple because I'm a 30 year old person with rods and cones--is a thrill to watch, and maybe more so because I'm watching it change as it moves through the typewriter.

I'm super excited to use this decade to further consider and actively use color.  I remember an instance pointing to my color-use-paralysis in litho class my sophomore year of college, with Lynn Tomaszewski.  We were doing two- to three-plate printing, and while my other classmates were playing with the overlap of various colors and values and how that affected different areas of an image, I was resigned to using an fiery red, shapes of color without texture or changes in value under a black plate which held all of the outlining visual information. The same went for my color work in screen-printing and intaglio, too. I am still working through this--in Dominic In Blue, it's hardly an exercise in color use, but it's a fun monochromatic study--a focus on using different tools (I used only "/" for the flesh).  And I just drool over that cerulean ribbon!

Dominic In Blue, 2016
typewritten blue ink on Rives BFK
8 x 10 inches

I am looking forward to escaping this paralysis, this rigid thinking I have with color.  The typewriter, since it naturally provides limitations (in mark-making, width allowance, material), is actually helpful in allowing me to hand myself over to color.  By providing these limitations, it allows me to be more flexible and carefree within the realm of color.  While color choice is still limited--there aren't endless ribbon colors like there are tubes of paint, but as we all know from living in a world covered in CMYK-printed things, I still have a pretty free range. Plus I recently learned that Ace Typewriter has pink and green ribbons in addition to the blue and purple that I've already added to my chromatic collection!

This rigidity is still present in my first attempt at creating a four-color CMYK typewriter-drawing.  I separated the layers of a color photograph in Photoshop and had each layer printed so that I could copy the predetermined colors exactly.  Being that I haven't yet located a yellow ribbon, I have substituted the use of Saral yellow transfer paper secured to the Rives BFK and running it through with the photocopy secured on top and typing over all three layers, doing the Y-layer blind, so to speak.

Self Portrait, in-progress 4-color typewritten ink and 

I plan to continue working in a way using the CMYK process, but instead of relying on the predetermined layers given to me, trying to use my own brain to imagine how hard/soft or dense/loose to apply each layer.  Though I bought this book years ago, I'm currently reading Island of The Colorblind by one of my favorite authors, self-proclaimed neuro-anthropologist Oliver Sacks (RIP). I recognize my privilege in being able to see and appreciate color.  In the book, he discusses his friend and colleague, Knut, an achromatope, "who has never seen color...has experienced only the positivity of vision, and has built up a world of beauty and order and meaning on the basis of what he has." I am excited to navigate this new personal appreciation and bask in the magic of color.  Now go read the book.

Top-Heavy, 2016
collaged typewritten purple and red ink on paper
10 x 13 inches

The last thing--I look forward immensely to exhibiting my latest typewriter-drawings (some in color) at my upcoming shows this February: first a solo exhibition at Darling Press (endless gratitude to Nele and Jen for connecting us and making this show happen!) and several pieces will be featured in a drawing show curated by Robert Tomlinson at the Western Oregon University. More details to come...stay tuned!

The End Of A Fabulously Busy Year

I am thrilled, relieved, grateful, inspired, and overjoyed--this year has been exceedingly full and exciting in so many ways and it looks like this year is primed to unfold in kind.

I have not updated this baby in awhile because I've been blissfully nestled in a seemingly endless array of deadlines, from holiday gift typewriter-drawing commissions, to web illustrations and too many crochet projects--fortunately for my blog, my wrists are now protesting my use of them, forcing me to take a hiatus from drawing.

I keep getting asked to draw beautiful women--yes, please! Will release full image after Christmas presents are received...

So in the meantime I'll torture myself with these images of projects I can't wait to finish or begin:

I would totally date a grid.

Here's a snap of some freshly scored Rives BFK that I can't wait to dig into. This is intended for my upcoming show at Café Lulu in my hometown Milwaukee, Wisconsin, in April 2016. I've got a huge space to fill and plan to make twelve to fifteen 30 x 44" drawings for this show--at this point mainly using permanent marker and other usual suspects of drawing materials.

* * *

Purple ribbons available at Ace Typewriter in St. John's!

A recovering chromaphobe's in-progress self portrait.

I cannot believe I am finally basking in the magic that is working in color! The idea of creating a four-color CMYK typewriter-drawing was floating around in my head for awhile, but the problem stopping me was locating a yellow ribbon. Thanks to Ace Typewriter I have blue, purple, and standard black and red, but it appears that yellow may not exist--if anyone has leads, let me know! Luckily, my brilliant friend Jessica Poor suggested using Saral yellow transfer paper:

Photocopy of separated yellow layer on top of yellow transfer pape fastened to quality paper allowing the typewriter to transfer marks indirectly.

That pretty blue ribbon--it looks ultramarine but types a stunning cerulean. Tiny view before the cyan layer is added to the completed magenta (well, red) and yellow layer.

 This is why I refer to myself as a closet-printmaker. All of my drawings are attempts to make drawings that look or act like prints. Is typewriter drawing just a masochist's monotype?

* * *

In more leisurely news, I've had the immense pleasure of discovering the Portland Correspondence Coop held every third Tuesday at the IPRC--it's a wonderful community of awesome creative people who meet and make mail art, often involving some kind of mail art exchange with a monthly theme, jovial conversation and a rotating cast of typewriters brought in to test-drive by expert/enthusiast Ethan Jewett of PDX Typewriters. Its free, open to the public and highly recommended--stay tuned via instagram, too!

The PDXCC has reminded me about how great mail art and old fashioned correspondence is in general--I mean, I use a manual typewriter to draw, I should be using it the right way, too.

In my early twenties, I had a solid penpal situation with my dear pal Emily--of which the peak of correspondence took place when we lived on the same street (and still used USPS!)--as well as romantically bombarding potential suitors and my friend Michael, who I met in Milwaukee but was instrumental in and an unforgettable help when I moved to Portland.

Klaus Nomi Elvis stamp

Drawing frivolous things--a forgotten pleasure

Reverse side of a wedding gift waiting to be sent. Color!

Anyway, I'm really excited to have begun a mail-art back-and-forth with Brendan Larsen, one of my favorite drawers I've found on Instagram. Also, I look forward to rekindling the practice of sending unexpected appreciative mail to loved ones as well as some good old typewritten-letter correspondence with Colin Smith and future fun drawing collabo with the talented Quinn Amacher. Anyone else?

* * *

Lastly, I'm excited to announce that my typewriter-drawing, Carissa, is featured in the winter issue of PictureSentence and that the creators of the publication, Robert and Margaret Tomlinson, have invited me to share some of my work in a drawing show Robert is curating at the Western College of Oregon in February 2016.

Also in February, I look forward to a joint exhibition with the incredibly talented Stephanie Yoo* at Darling Press! Brooklyn transplants, she and her loverman Hunter have been super supportive in sharing my work with others and attending my shows (and letting me draw them!). I wouldn't have met them if it wasn't for my amazing cousin and prolific musician Lorna--who now also, along with her wonderful partner Keith, share this beautiful city with us. I'm so spoiled.

That said, I want to express my gratitude for the unending ways my pals and colleagues have offered their undeniable emotional, logistical, creative, brilliant, kind-hearted, and continuous support. Thanks so much for attending my many shows and events this year, and I can't wait to share the details of 2016's already mounting list of shows! Looking forward to the future! XO

*CORRECTION: The show at Darling Press will be a solo show after all, but Stephanie Yoo and I will have a joint show sometime later this year. 

Mostly Drawings Of Women: Opening Reception First Thursday

It's exactly one week away from the reception for my final solo show of the year--I'm excited, relieved, and super pumped to hide in the studio to prepare for the upcoming shows next year. 

Until then, I'm very glad to install Give Up The Queen And Nobody Gets Hurt once again--I just need to make sure I have 296 magnets and thumbtacks. I'm also happy to see all of my typewriter drawings behind glass--I'm a poor gift-wrapper, so I won't see most of them until I install at the salon this Monday. 

 

This reception delightfully coincides with 77 Salon's brand re-launch party, so it'll be quite the celebration.  It's rumored there will be pizza and bubbly. Hope to see you there!

Mostly Drawings Of Women

ink and typewriter drawings by Rachel Mulder

77 Salon

1100 NW Glisan Street

Portland, OR 97209

First Thursday, November 5

7-9pm

On view Nov. 2 - 29

M-F: 10am-8pm

Sat: 9am-6pm

Sun: closed

Streetside At Blackfish

First Thursday Shot, by Keith Milgaten
Stephanie And Hunter, 2015
typewritten ink on paper, 28 x 34 inches

I'm so excited to focus on wrapping up my projects for what has been a delightfully wild and productive year.  I'm currently working on a bunch of holiday-deadline commissions and wrapping up all my loose ends for my final show in November--details coming soon.  In the meantime, check out my latest typewriter drawing on view at Blackfish Gallery in The Pearl District.  You can see it at any time of day, so go at midnight. Stephanie And Hunter will be on view through October 31.

Unrevealed @ Luke's Frame Shop

My latest typewriter drawings are now on view from today through September 29 at Luke's Frame Shop. I'm so excited to finally see them vertically on a white wall. Endless gratitude to the always kind and helpful staff at Luke's.

ThomErica, accidental/temporary found collage in flatfile drawer--each separate and on view at Luke's Frame Shop September 3 - 29, 2015. Typewritten ink on paper.

I'm thrilled to celebrate the show during the reception on Saturday, September 12.  We will be there from 6-8pm and there will be snacks and refreshments to numb all of our emotions. See more details and RSVP to the event on Facebook here. Until Soon!

In Progress - Kierre

I'm working on one of my last drawings for Unrevealed, which will be on view at Luke's Frame Shop from September 3 - 29. This piece consists of the following characters: @, #, ', %, o, ", *, and +.

Kierre, in progress typewriter drawing on Rives BFK

I am having so much fun drawing.  It's funny, if I were trying to make this image with traditional drawing media like graphite or charcoal, I would become so frustrated because it would become too time consuming, because I would pile on the material too quickly.  Typing, in a perhaps counterintuitive way, helps me work faster because it forces me to be more patient, challenging my heavy hand.  Since I have to treat it more preciously, I don't use a ton of time erasing and therefore redoing.

Come celebrate with me during the reception on Saturday, September 12, from 6-8pm.

Typewriter Drawing: Process

I forget that perhaps my process isn't as clear to others at it is to me.  Using my Sears Citation II manual typewriter, I use various symbols on paper repeatedly to create shifts in value and texture. My current series Unrevealed is a collection of such portraits based on photographs where the subject is obscured by light/shadow, perspective/foreshortening, or cropping.

studio view/in progress, Patsy, 2015
image made using: & % " # '

in progress detail, Erica, 2015

I typically pull the pin on the platen out, disengaging the roller so that I don't have to abide by the mechanical shift to the next line.  This way, especially if I'm working towards a rich black, I have more control and can more thoughtfully layer characters on top of one another.

studio view/in progress, Erica, 2015
image made using: o ' # % "

I discovered that # is my favorite symbol for skin since its natural appearance of crosshatching makes for an even balance in shading.  It covers a lot of surface area and is my main character for making pure black.  It resemble a mezzotint, but I can't decide which process of the two is more masochistic. % is a very effective symbol for hair.  The linear quality of the / in the % helps it illustrate the direction of the hair, but the little circles keep it from becoming cartoonish, and lend a softness to it which makes it look more believable.

Patsy, 2015
typewriter drawing on Rives BFK

This collection will be on view at Luke's Frame Shop in Portland, Oregon this Septmber!

In Progress - Thom

I'm experimenting with a new way to deal with the narrow width allotted by my Sears Citation II typewriter. Looks like the beginning of a beautiful friendship, or future large-scale drawing nightmare disguised as friendship. Oh, good.

If you're in PDX, please come see the end result and celebrate the new incarnation of Unrevealed, my ongoing series of small-scale typewriter drawings, during the opening reception on Saturday, September 12, from 6-8pm at Luke's Frame Shop.  Can't wait!

Unrevealed: In Progress

"Lawrence", 2015, typewriter drawing on Rives BFK

In this series of portraits the subject's identity is obscured either by natural visual distortion or by the purposeful withholding of certain features, a result of my fascination with the way in which facial features can mutate into erratic and confusing landscapes. As my heavy handed drawing techniques in traditional media and linework urge cartoonish renderings, the sense of veracity that comes with portraiture was elusive.

Using my Sears Citation II manual typewriter as a drawing tool and a photograph of the subject as a framework, I challenged my instinct to rely on caricature but also found myself resistant to the ideals of traditional portraiture. Rather than seeking and depicting a blank truth, where facial features and body parts appear as expected, I was compelled to complete an exercise in neglecting the firmly cemented visual images in my head. Navigating through this imagery using this cumbersome yet delicate drawing tool within the delineated contours of the photographs allowed me to scatter my focus, working in one compartment at a time and allowing the images to form like sediment collecting, a slow build of overlapping marks and feeds through the typewriter until each was complete. Focusing solely on the difference in values and angles and not the expectations of visual truth, I was led back to the fundamental task of drawing what’s there.

June 2015

Unrevealed will be on view at Rush Mor Records in Milwaukee, Wisconsin, June 5 - June 30, 2015. Opening reception Friday, June 5, 5pm - 10pm--part of Bayview Gallery Night and Rollout, a family-friendly bike tour/interactive gallery night extravaganza sponsored by Rush Mor, Church of 2 Wheels and South Shore Cyclery. 

Here's a snippet of the limited edition poster I made commemorating Rollout 2015! There will only be 25 after the participating galleries/businesses get theirs, so make sure you snag one.  See you there!