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Inside L.A.'s oldest letterpress printer beloved by celebs, from Oprah to Jon Hamm

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Inside L.A.'s oldest letterpress printer beloved by celebs, from Oprah to Jon Hamm

Surviving in an obsolete industry as long as Aardvark Letterpress has requires fundamental elements of entrepreneurship. Skill, dedication, creativity and professionalism are essential. General manager and co-owner Cary Ocon returns to another theme that’s kept what’s now the city’s oldest letterpress print shop running since 1968.

“Dumb luck,” he says.

Brothers Brooks and Cary Ocon on the floor of Aardvark Letterpress.

A test negative taped to the window of Aardvark's office.

A test negative taped to the window of Aardvark’s office.

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The lack of pretense and polish here belies the pedigree of much of Aardvark’s client base. Entertainment, fashion, art and other creative industries converge at the unlikely corner of 7th and Carondelet streets overlooking the southwest edge of MacArthur Park. Both basic and technically complex, making letterpress goods is a process that involves the physical act of pressing inked plates onto paper using mechanical presses in a manner that literally leaves a deeper impression.

A look through samples of artful work imprinted with boldfaced names and known entities from Apple to Rihanna’s Fenty Corp. to Valentino to Billie Eilish reveals the many layers of exceptionalism at work that inspire trusting partnerships. When actor and producer Jamie Lee Curtis established her production company Comet Pictures in 2019, “Aardvark Letterpress helped me start off with a strong logo and design,” she shares via text message. “I’m grateful for their expertise and guidance.”

In addition to relying on Aardvark to help shape their professional image and branding, people come here for a richly tactile experience. Personally printed matter made with this level of care has a way of inspiring connection and celebration.

“Cary and the team at Aardvark represent that sadly disappearing sector of tradecraft in the current culture,” actor Jon Hamm says via email. “Singularly, almost maniacally, devoted to one thing, they practice an attention to detail that is as precise and exacting as it is gorgeous in its finished quality.”

“We were typographers before we were printers,” Cary says, pointing to the hulking Intertype brand typography machine dating from the early 20th century that stands in one of the shop windows. With its complex movements that cast lead into a mold to form letters, leaving piles of shavings that get repurposed, it’s the original piece of equipment Cary’s father, Luis Ocon, obtained when he bought Aardvark Typographers 56 years ago in its previous location on Grand View Avenue.

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The atmosphere is earnest and soulful, imbued with the makings of a one-act play setting and populated with a cast of characters. Gently sarcastic Cary handles overall management duties, while technically minded Brooks Ocon is the hands-on printing expert, alongside laser-focused master printer Bill Berkuta. Derek Pettet, a friend of Cary’s since the fourth grade, adds to the familiar dynamic.

Brooks Ocon aligns a block for printing.

Brooks Ocon aligns a block for printing.

Master Printer Bill Berkuta prints an order for a customer.

Master Printer Bill Berkuta prints an order for a customer.

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Another moment of good timing came in 1988 when Brooks went to run an errand at H.G. Daniels art supply store on 6th Street. He couldn’t find what he was looking for, so he was directed to McManus & Morgan Fine Art Paper nearby. Brooks noticed a “for lease” sign in an adjacent storefront inside the detailed 1924 Spanish Colonial Revival-style Westlake Square Building designed by architect Everett H. Merrill. It struck him as an ideal place for Aardvark to put down new roots, and his father agreed.

“This was the original art district,” Cary notes, referencing the erstwhile concentration of art schools in the area. Otis Art Institute (later renamed Otis College of Art and Design), the ArtCenter School (ArtCenter College of Design) and Chouinard Art Institute, which was the predecessor of CalArts, were clustered within blocks of each other before relocating to their respective campuses. Multiple art supply stores catered to the student population.

The initial period of Aardvark Letterpress becoming a studio whose services are prized among glitterati clientele like Oprah Winfrey and art galleries and fashion houses, however, was not so smooth.

Print of deceased founder Luis Ocon at Aardvark's entrance.

A print of founder Luis Ocon at Aardvark’s entrance.

A view of Aardvark from South Carondelet Street.

A view of Aardvark from South Carondelet Street.

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A self-taught newspaper Linotype operator who immigrated to the U.S. from Mexico City, Luis Ocon’s purchase of Aardvark Typographers from his former boss Ken Matson coincided with the early adoption of computerized typesetting. “The business just started to nosedive because no one’s doing metal type anymore,” Cary explains. A customer suggested they learn to print in order to adapt to the changing times. “We got our first press and stumbled our way through letterpress printing,” Cary recalls.

While Cary was earning degrees at UC Berkeley and the University of Minnesota and then embarked on what would be an unsatisfying law career, Brooks and Luis were “struggling” to keep Aardvark afloat. Patriarch Luis, who passed away last year at the age of 86, was their stepfather who raised them as his own after meeting their mother, Helen, when Luis and Helen worked at the Holland House Cafeteria in what was Britts Department Store across the street from the Original Farmers Market. (The Ocon brothers also have two sisters and a half-sister.)

Decades before exclusive event planners trusted Aardvark Letterpress to create exquisite wedding invitations and noted artists such as Shepard Fairey partnered with the team on limited edition letterpress works, the business was hyper-local. Mariachi musicians would walk in on a Monday morning needing a fresh supply of business cards after a busy weekend promoting their talents.

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Otis Art Institute in its original Westlake location accounted for the occasional job, and Gary Wolin, who still owns the century-old McManus & Morgan, referred customers who needed to print on the specialized papers he sold. The simpatico, closely connected businesses remain neighbors after Wolin downsized within the same building. (Newer tenants in the recently renovated property include taste-making firm Commune Design and Hannah Hoffman gallery.)

“We were a secret among graphic designers,” says Cary, who joined the business full time in 1998. Otis alumni would remember the old school print shop down the street, where the 1920s stencil-painted ceilings, multiple Heidelberg, Germany-made production presses, sturdy wooden drawers full of brass type in hundreds of fonts and other tools still serve as a portal to a pre-digital era.

One of Aardvark's six Heidelberg presses, vintage printing machines that apply designs directly to paper.

One of Aardvark’s six Heidelberg presses, vintage printing machines that apply designs directly to paper.

Because cultural tastes and trends have a way of being cyclical, toughing it out eventually paid off. Cary points to Martha Stewart’s championing of letterpress stationery as part of the reason why a revival came around in the early aughts. Aardvark was ready to meet new demand. “Again, it was dumb luck, because we had all the ability to set type.”

In this analog environment computers are used to manage workflow, and a processor upstairs transfers digital design files to make polymer plates used for most jobs. (Aardvark turns to A&G Engraving in Vernon to fabricate photoengraver metal plates for select projects and fine art prints.) This team’s expertise remains unrivaled in L.A. To mix inks, for instance, Berkuta refers to the color recipes on his well-worn Pantone fan deck and then relies on his eye and experience. “I’m weighing it in my head,” he says about getting the ratios right.

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“I have collaborated with the team at the Aardvark studio adjusting plate pressure, ink colors and translucency to achieve sublime effects that no other medium can deliver,” artist Fairey states via email.

A linotype detail.

A linotype detail.

A Marilyn Monroe print on foil.

A Marilyn Monroe print on foil.

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“I consider the invitations, menus and other objects they provided for our wedding to be works of art. Turns out 100 years of experience is worth something!” Hamm adds.

Despite the accolades, Cary is upfront about the challenges of sustaining this artisan enterprise. “To even print a simple business card, it’s much more labor intensive, so we can’t do it for 50 bucks,” he explains. To keep evolving, he’s preparing to launch Aardvark Printworks, a collection of letterpress art featuring imagery such as artists’ renderings of L.A. landmarks.

“I didn’t appreciate what we were doing,” Cary reflects about his earlier relationship to Aardvark Letterpress’ niche trade. “I see how it does move people.” Even if the family has yet to devise a clear succession plan for the future, the Ocons are proud of their legacy. “It’s something special. We’re thankful we can keep going,” Cary says.

Their impact reaches beyond Los Angeles. “I value a family business that keeps the craft of letterpress, an important printmaking tradition, alive and accessible to L.A. artists and businesses,” Fairey echoes.

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Feeling cooped up? Get out of town with this delightful literary road trip

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Feeling cooped up? Get out of town with this delightful literary road trip

Tom Layward, the narrator and main character of Ben Markovits’ new novel, The Rest of Our Lives, introduces himself in a curious way: On the very first page of the book, he talks, matter-of-factly, about the affair his wife, Amy, had 12 years ago, when their two kids were young.

Amy, who’s Jewish, got involved at a local synagogue in Westchester; Tom, who was raised Catholic and is clearly not a joiner, remained on the sidelines. At the synagogue, Amy met Zach Zirsky, who Tom describes as “the kind of guy who danced with all the old ladies and little pigtailed girls at a bar mitzvah, so he could also put his arm around the pretty mothers and nobody would complain.”

After the affair came out, Tom and Amy decided to stay together for the kids: a boy named Michael and his younger sister, Miriam. But, Tom tells us “I also made a deal with myself. When Miriam goes to college you can leave, too.” The deal, Tom says, “helped me get through the first few months … [when] we had to pretend that everything was fine.”

Twelve years have since passed and the marriage has settled back into a state of OK-ness. Miriam, now 18, is starting college in Pittsburgh and because Amy is having a tough time with Miriam’s departure, Tom alone drives her to campus.

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And, once Tom drops Miriam off, he just keeps driving, westward; without explanation to us or to himself; as though he’s a passenger in a driverless car that has decided to carry him across “the mighty Allegheny” and keep on going.

The three-page scene where Tom passively melds into the trans-continental traffic flow constitutes a master class on how to write about a character who is opaque to himself. “[Y]ou don’t feel anything about anything,” Amy says early on to Tom — an accusation that’s pretty much echoed by Tom’s old college girlfriend, Jill, whom he spontaneously drops in on at her home in Las Vegas, after being out of touch for roughly 30 years.

But, if Tom is distanced from his own feelings (and vague about the “issue” he had “with a couple of students” that forced him to take a leave from teaching in law school), he’s a sharp diagnostician of other people’s behavior. What fuels this road trip is Tom’s voice — by turns, wry, mournful and, oh-so-casually, astute.

There’s a strain of Richard Ford and John Updike in Tom’s tone, which I mean as a high compliment. Take, for instance, how Tom chats to us readers about a married couple who are old friends of his and Amy’s:

[Chrissie] was maybe one of those women who derives secret energy from the troubles of her friends. Her husband, Dick, was a perfectly good guy, about six-two, fat and healthy. He worked for an online tech platform. I really don’t know what he did.

So might most of us be summed up for posterity.

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As Tom racks up miles, taking detours to visit other folks out of his past, like his semi-estranged brother, his meandering road trip accrues in suspense. There’s something else he’s subconsciously speeding away from here besides his marriage. Tom tells us at the outset that he’s suffering from symptoms his doctors ascribe to long COVID: dizziness and morning face swelling so severe that daughter Miriam jokingly calls him “Puff Daddy.” Shortly after he reaches the Pacific, Tom also lands in the hospital. “Getting out of the hospital,” Tom dryly comments, “is like escaping a casino, they don’t make it easy for you.”

The canon of road trip stories in American literature is vast, even more so if you count other modes of transportation besides cars — like, say, rafts. But, the most memorable road trips, like The Rest of Our Lives, notice the easy-to-miss signposts — marking life forks in the road and looming mortality — that make the journey itself everything.

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Behind this wealthy SoCal neighborhood, you can soak in a rustic hot spring oasis

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Behind this wealthy SoCal neighborhood, you can soak in a rustic hot spring oasis
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The water bubbles up hot from the earth and sunlight filters down through the branches of mighty oaks.

But before you can soak in Santa Barbara County’s highly popular Montecito Hot Springs, you’ll need to hike a little over a mile uphill, threading your way among boulders, oaks and a meandering creek. And before the hike, there are two other crucial steps: getting to the trailhead and knowing what to expect.

The trail to Montecito Hot Springs.

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These rustic spring pools are about 95 miles northwest of L.A. City Hall, just upslope from well-to-do Montecito, whose residents include Oprah Winfrey, Prince Harry and his wife, Meghan Markle, and Gwyneth Paltrow.

Though the trail and hot springs are part of Los Padres National Forest, the trailhead is in a residential neighborhood of gated mansions. Beyond the trailhead parking area (which has room for eight or nine cars), the neighborhood includes very little curbside parking. After visitation surged during the pandemic, some neighbors were accused by county officials of placing boulders to obstruct public parking. Parking options were reduced further when county officials added parking restrictions earlier this year.

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Bottom line: Unless you can arrive on a weekday between 8 and 10 a.m., you’re probably better off taking a rideshare service to get there. Whenever you arrive, you’re likely to have company. And you might want to wait until the landscape dries out a bit from the rains of recent weeks.

As Los Padres National Forest spokesman Andrew Madsen warned, “the foothills of Santa Barbara are especially fragile and hiking is especially precarious in the aftermath of heavy rains.”

All that said, the hike is rewarding and free. From the Hot Springs Canyon trailhead at East Mountain Drive and Riven Rock Road, it’s a 2.5-mile out-and-back trail to the hot springs, with about 800 feet of altitude gain on the way.

Arriving at 10 a.m. on a Tuesday, I got the last parking spot at the trailhead, stepped past the signs forbidding parking before 8 a.m. or after sunset, then stepped past another sign warning that “this is a challenging and rugged hike.” Also, there are no bathrooms or trash cans on the trail or at the springs.

“It’s important that people know what’s going on up there before they show up,” said Madsen. “It’s not all that glamorous.”

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Even though it’s only 1.2 or 1.3 miles to the hot springs, plan on about an hour of uphill hiking. Once you’re above the residential lots, you’ll see pipes along the way, carrying water down the hill, along with occasional trailside poison oak. As you near the pools, you’ll pick up the scent of sulfur and notice the water turning a strange bluish hue. Then the trail jumps across the creek — which I initially missed.

But there was a silver lining. That detour gave me a chance to admire the stone ruins of a hotel that was built next to the springs in 1870s. After a fire, it became a private club. Then it burned in the Coyote fire of 1964, which blackened more than 65,000 acres, destroyed more than 90 homes and killed a firefighter. The hot springs and surrounding land have been part of Los Padres National Forest since 2013.

Hikers look west over flowers and greenery from behind low stone ruins near Montecito Hot Springs.

Hikers look west from the ruins near Montecito Hot Springs.

(Christopher Reynolds / Los Angeles Times)

On a clear day with the sun in the right place, you can stand among the overgrown ruins, look west and see the ocean, a few old oil platforms and the long, low silhouette of Santa Cruz Island. This is what the native Chumash would have seen (minus the oil platforms) through the many years they used the springs before European immigrants arrived.

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Pleasant as that view was, I was ready to soak, as were the two couples who got momentarily lost with me. (We were all Montecito Hot Springs rookies.) Once we’d retraced our steps to the creek and crossed it, the trail took us quickly past a hand-lettered CLOTHING OPTIONAL sign to a series of spring-fed pools of varying temperatures.

A dozen people were already lazing in and around the uppermost pools (one woman topless, one man bottomless), but several pools remained empty. I took one that was about 2 feet deep and perhaps 90 degrees. In one pool near me sat Ryan Binter, 30, and Kyra Rubinstein, 26, both from Wichita, Kan.

Hikers Ryan Binter and Kyra Rubinstein soak at Montecito Hot Springs.

Hikers Ryan Binter and Kyra Rubinstein, visiting from Wichita, Kan., soak at Montecito Hot Springs.

(Christopher Reynolds / Los Angeles Times)

“She found this,” said Binter, praising Rubinstein’s internet search savvy.

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At the next pool were Emanuel Leon, 20, of Carpinteria, Calif., and Evelyn Torres, 19, of Santa Barbara. The last time they’d tried this hike, they’d strayed off-track and missed the hot springs, so this time, they were savoring the scene.

“Revenge!” said Leon, settling in.

The soaking was so mellow, quiet and unhurried that I was surprised to learn that the pools were not erected legally. As Madsen of the Los Padres National Forest explained later by phone, they were “created by the trail gnomes” — hikers arranging rocks themselves to adjust water flow and temperature, with no government entities involved.

Legal or not, they made a nice reward after the hike uphill. The downhill hike out was easier and quicker, of course, but still tricky because of the rocks and twisting trail.

On your way out of Montecito, especially if it’s your first time, take a good look at the adobe-style grandeur of the Our Lady of Mt. Carmel Catholic Church building, which looks like it was smuggled into California from Santa Fe. For food and drink, head to Coast Village Road (the community’s main drag) or the Montecito Village Shopping Center on East Valley Road. Those shops and restaurants may not match the wonder and comfort of a natural bath in the woods, but for civilization, they’re not bad.

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George Clooney gets French citizenship — and another dust-up with Trump

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George Clooney gets French citizenship — and another dust-up with Trump

The French government confirmed this week that it has granted citizenship to George and Amal Clooney — pictured on a London red carpet in October — and their 7-year-old twins.

Henry Nicholls/AFP via Getty Images


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Henry Nicholls/AFP via Getty Images

One of Hollywood’s most recognizable stars is now officially a French citizen.

A French government bulletin published last weekend confirms that the country has granted citizenship to George Clooney, along with his wife, human rights lawyer Amal Clooney, and their 7-year-old twins.

The Clooneys — who hail from Lexington, Ky. and Beirut, Lebanon, respectively — bought an 18th-century estate in Provence, France in 2021. In an Esquire interview this October, the Oscar-winning actor and filmmaker described the French “farm” as their primary residence, a decision he said was made with their kids in mind.

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“I was worried about raising our kids in LA, in the culture of Hollywood,” Clooney said. “I felt like they were never going to get a fair shake at life. France — they kind of don’t give a s*** about fame. I don’t want them to be walking around worried about paparazzi. I don’t want them being compared to somebody else’s famous kids.”

In another interview on his recent Jay Kelly press tour, Clooney mentioned that his wife and kids speak perfect French, joking that they use it to insult him to his face while he still struggles to learn the language.

This week, after a French official raised questions of fairness, France’s Foreign Ministry explained that the Clooneys were eligible under a law that permits citizenship for foreign nationals who contribute to the country’s international influence and cultural outreach, The Associated Press reports.

The French government specifically cited the actor’s clout as a global movie star and the lawyer’s work with academic institutions and international organizations in France.

“They maintain strong personal, professional and family ties with our country,” the ministry added, per the AP. “Like many French citizens, we are delighted to welcome Georges and Amal Clooney into the national community.”

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They aren’t the only ones celebrating. President Trump, who has a history of trading barbs with Clooney, welcomed the news by taking another dig at the actor.

In a New Year’s Eve Truth Social post, Trump called the couple “two of the worst political prognosticators of all time” and slammed Clooney for throwing his support behind then-Vice President Kamala Harris during the 2024 election.

“Clooney got more publicity for politics than he did for his very few, and totally mediocre, movies,” wrote Trump, who himself has made cameos in several films over the years. “He wasn’t a movie star at all, he was just an average guy who complained, constantly, about common sense in politics. MAKE AMERICA GREAT AGAIN!”

Clooney responded the next day via a statement shared with outlets including Deadline and Variety.

“I totally agree with the current president,” Clooney said, before referencing the midterm elections later this year. “We have to make America great again. We’ll start in November.”

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Clooney and Trump — once friendly — have long criticized each other

Clooney, a longtime activist and Democratic Party donor, has remained active in U.S. politics despite his overseas move.

In July 2024, he rocked the political establishment by publishing a New York Times op-ed urging then-President Joe Biden — for whom he had prominently fundraised just weeks prior — to drop his reelection bid to make way for another Democrat with better chances of taking the White House. A growing chorus of calls led to Biden’s withdrawal from the race by the end of that month.

In a December interview with NPR’s Fresh Air, Clooney said his decision to speak out on that and other issues generally comes down to “when I feel like no one else is gonna do it.”

“You’ll lose all of your clout if you fight every fight,” he added. “You have to pick the ones that you know well, that you’re well informed on, and that you have some say and you hope that that has at least some effect.”

Clooney has been a vocal critic of Trump throughout both of his terms, most recently on the topic of press freedoms during the actor’s Broadway portrayal of the late journalist Edward R. Murrow last spring.

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And Trump has been similarly outspoken in his dislike of Clooney, including in an insult-laden Truth Social post — calling him a “fake movie actor” — after the publication of his New York Times op-ed.

In December, just days before this latest dust-up, Clooney shared in a Variety interview that he and Trump had been on good terms during the president’s reality television days. He said Trump used to call him often and once tried to help him get into a hospital to see a back surgeon.

“He’s a big goofball. Well, he was,” Clooney added. “That all changed.”

In the same Variety interview, Clooney — the son of longtime television anchor Nick Clooney — slammed CBS and ABC for abandoning their journalistic duty by paying to settle lawsuits with the Trump administration. He expressed concern about the current media landscape, particularly the direction of CBS News under its controversial new editor in chief, Bari Weiss.

Weiss responded by inviting Clooney to visit the CBS Broadcast Center to learn more about their work, in a written statement published in the New York Post on Tuesday. It began with “Bonjour, Mr. Clooney,” in a nod to the actor’s new milestone.

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Clooney told NPR last month that he will continue to stand up for what he believes in, even if it means people who disagree with him decide not to see his movies.

“I don’t give up my right to freedom of speech because I have a Screen Actors Guild card,” he added. “The minute that I’m asked to just straight-up lie, then I’ve lost.”

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