Hello, Print Friend

This is the last episode in the series of collaborations with Print Austin interviewing their 5 x 5 Exhibition artists. As you’ll hear the exhibition is currently open in the Tin District in Dallas and closes on October 24th. So if you’re any where near than make sure not to miss it!
Today on the podcast, Miranda speaks with Austin, Texas–based printmaker and architect Juliee Beyt, whose journey into printmaking is what she calls her second act.
After spending decades working in architecture, Juliee found herself confronting an irony that a lot of people in creative professions can relate to: the more successful you become, the further you can find yourself from the actual act of making. For Juliee, printmaking became a way to reconnect with the creativity, experimentation, and joy that had drawn her to design in the first place.
In this conversation they talk about the surprising connections between architecture and printmaking, the pleasures of working in a process-driven medium, and why being a beginner can actually be a wonderful place to be.
They also get into some of the stranger phenomena of the art market. Why does everyone at a particular art fair seem to want the exact same print? Why do certain images suddenly take over our collective imagination? Remember when everything had an owl on it? And why is everyone making prints of sardines right now?
But beyond the technical and the commercial, this conversation moves into something much bigger: why we make things at all. What does it mean to create an object that becomes part of someone else's life? And how does making art allow us to leave a little piece of ourselves behind in the world?
It's a really lovely conversation about creativity, curiosity, community, and the immense satisfaction of making things with your hands.

Juliee's Instagram
Print Austin 5 x 5
Hello, Print Friend Residency in Chiang Mai, Thailand
The World's Largest Woodcut
Hello, Print Friend
Hello, Print Friend Documentaries
Hello, Print Friend YOUTUBE
Hello, Print Friend MERCH
Hello, Print Friend WEBSITE
Hello, Print Friend INSTAGRAM
Hello,Print Friend PATREON
Hello, Print Friend SPONSORS
Legion Paper

This week Miranda speaks with Evelyn Escamilla Nichols, a Mexican American graphic designer and printmaker based in Austin, Texas.
Evelyn’s path to printmaking winds through Chicago, art school in Monterrey, Mexico, a career in graphic design, and eventually back to the tactile, imperfect, deeply human process of making prints. In our conversation, they talk about the freedom she finds in printmaking after years of designing for clients, the beauty of leaving the artist’s hand visible, and the strange magic that still happens every time you pull a print and reveal the image for the first time.
They also talk about print as a tool for resistance and community. Evelyn is part of Protest Printworks, a loosely organized group of Austin printmakers who gather to live-print political imagery on shirts, totes, and posters brought in by the community. They discuss what it means to make political work in a deeply divided moment, the risks that can come with putting those images into the world, and the role artists can play in resisting apathy, creating spaces for connection, and documenting the times they are living through.
This is a conversation about making things with your hands, finding the thing you are able to contribute, and the power of an image once it leaves the studio and begins its life in the world.
Evelyn's website
Evelyn's Instagram
Print Austin 5 x 5
Hello, Print Friend Residency in Chiang Mai, Thailand
The World's Largest Woodcut
Hello, Print Friend
Hello, Print Friend Documentaries
Hello, Print Friend YOUTUBE
Hello, Print Friend MERCH
Hello, Print Friend WEBSITE
Hello, Print Friend INSTAGRAM
Hello,Print Friend PATREON
Hello, Print Friend SPONSORS
Legion Paper

This week Miranda speaks with Elizabeth Williams de Garcia, an artist whose intricate copper line etchings bring together memory, domestic space, nostalgia, and the strange emotional lives of the objects.
Elizabeth grew up in Louisiana and Texas and discovered printmaking while studying at the University of Louisiana at Lafayette. Since then, her life and practice have taken her from the United States to Guatemala, the Netherlands, and back again, with each move requiring her to rebuild not only a home and studio practice, but a relationship to place and community.
Her work is extraordinarily rich in texture and detail: patterned fabrics, birds, bodies, flowers, furniture, household objects, and fragments of interiors accumulate into images that feel like memories caught somewhere between the familiar and the uncanny. Working exclusively in copper line etching, Elizabeth builds tone and atmosphere through painstaking networks of drawn lines, often spending months developing a single plate.
In their conversation, they talk about the pleasures of slow processes, why she returned to etching after years of painting, the relationship between moving and memory, and what happens when the aesthetics of your childhood begin to disappear. They also talk about the experience of repeatedly being an outsider, the surprising culture shock of returning to the United States, and the way printmaking studios can provide an almost instant point of connection when you arrive somewhere new.
They also get into Southern interiors, maximalism, crows bearing less-than-glamorous gifts, and why Elizabeth hopes looking at her prints can simply be, in her words, “a party for your eyes.”
Elizabeth's Website
Elizabeth's Instagram
Print Austin 5 x 5
The World's Largest Woodcut
Hello, Print Friend
Hello, Print Friend Documentaries
Hello, Print Friend Residency in Chiang Mai, Thailand
Hello, Print Friend YOUTUBE
Hello, Print Friend MERCH
Hello, Print Friend WEBSITE
Hello, Print Friend INSTAGRAM
Hello,Print Friend PATREON
Hello, Print Friend SPONSORS
Legion Paper

This episode is part of our ongoing collaboration with PrintAustin and its 2026 5 × 5 Exhibition. This week Miranda speaks with Andi Newberry, an interdisciplinary artist, printmaker, writer, and educator originally from North Texas.
Andi’s work tangles memory, storytelling, and imagination through screenprint, lithography, monotype, collage, textiles, and writing. In their conversation, they talk about the ways both prints and memories are transformed through translation and retelling; how photographs, cinema, dreams, and family stories shape our sense of self; and why a good title can offer another doorway into an artwork.
They also discuss the badass women printmakers who inspired Andi’s path, the relationship between teaching and maintaining a creative practice, and her wonderfully inventive Do Not Disturb print exchange, which uses the familiar form of the hotel door hanger to explore privacy, surveillance, security, isolation, and community.
Andi's Website
Andi's Instagram
Print Austin 5 x 5
The World's Largest Woodcut
Hello, Print Friend
Hello, Print Friend Documentaries
Hello, Print Friend Residency in Chiang Mai, Thailand
Hello, Print Friend YOUTUBE
Hello, Print Friend MERCH
Hello, Print Friend WEBSITE
Hello, Print Friend INSTAGRAM
Hello,Print Friend PATREON
Hello, Print Friend SPONSORS
Legion Paper

This week Miranda speaks with artist, educator, and all-around print friend Vanessa Jo Bahr.
Vanessa is the founder of Scavenger Studios in Ashland, Oregon, where she runs a community print studio and artist residency, alongside teaching printmaking at Southern Oregon University and maintaining her own incredibly rich studio practice.
Vanessa is a scavenger in a very real sense of the word. She collects objects from the natural world, works with reclaimed copper plates, makes inks and pigments from plants and other materials, makes paper from studio scraps, tans hides, and follows materials all the way back to their origins. Her work asks what happens when, instead of constantly looking for something new, we pay close attention to what is already around us.
They talk about running artist residencies, the particular magic of spending long days in the studio with other printmakers, and why sometimes the best work happens when it’s late, you’re running on fumes, something has gone completely wrong, and you just have to figure out what to do next.
This is a conversation about printmaking, but it’s also about curiosity, resourcefulness, and finding ways to live a little closer to the materials and landscapes that make our work possible.
Vanessa's Website
Vanessa on Instagram
The World's Largest Woodcut
Hello, Print Friend Documentaries
Hello, Print Friend Residency in Chiang Mai, Thailand
Hello, Print Friend YOUTUBE
Hello, Print Friend MERCH
Hello, Print Friend WEBSITE
Hello, Print Friend INSTAGRAM
Hello,Print Friend PATREON
Hello, Print Friend SPONSORS
Legion Paper