In March 2024 I was lucky enough to interview Ray Robinson (Robinson Stamps, New Jersey) via email. You can read more about his space covers here.
Below is a transcript of the interview, with special thanks to Ray !
Q. Did you illustrate any of the designs yourself ? I presume the ‘RER’ on some of the designs is you.
A. I do all of the illustrations, working from photographs for the block printed designs. RER are my initials.
Q. The envelopes your covers are printed on seem to be very high quality, typically much higher quality than other cover manufacturers from the same time period. Was this on purpose, or did you just have a good source of very high quality envelope stock ?
A. The envelopes are not always of high quality on the earlier designs, they have no rag content. I learned about having a good rag content as I developed my process. Low rag content means the paper has a tendency to yellow over time, which I cringe when I see this happen to my work. My father was a foreman at the envelope manufacturer, where my uncle was president. My father used to do a run of envelopes from left over paper, so the quality varied as to what was available. Since I didn’t pay for it, I never complained. He once cut some envelopes from a glossy paper which I could not use, as it would not hold a postmark. Since I had no training, much of my work was trial and error. I choose to create first day covers after reading an article about creating “hand-made” covers. I learned about block printing in middle school, and knew I could easily adapt this process. Some of the envelopes, like the light tan (putty laid) and the green (with a flake look) are my favorites to work with. However I know many collectors are not fans of any envelopes that are not white. I liked to choose a color to compliment the stamp for first day covers, or to add variety to what I saw as too plain.
Q. I’m curious to hear a little bit more about the printing process you used, the different steps involved, and even things like what type of ink you used (if you can remember!) as it all adds to the story which I find fascinating ! Also did you make the covers at home and how did you dry them, did you make prototypes, different colours, etc. Can you walk me through your creative process when designing a new cover? How did you come up with the concepts and execute them ?
A. My process: after making the block cut or purchasing printing plates, I would roll out the ink with a hand roller, ink the plate and press to paper applying pressure. Some of the prints could not be used if the pressure was indirect. The addition of the proof press allowed for consistent pressure and inking. This also allowed for printing a larger number of envelopes. To dry them after printing, I would lay them out on a table, which meant I had to stop printing when I ran out of room. The inks were from the envelope company, all processional oil based inks, although I occasionally would purchase a small tube water-based ink for my original hand printed envelopes. Sometimes I would print out covers and not use the design because I did not like the outcome. Specifically, my work for Metropolitan Opera, Brooklyn Bridge and Igor Stavinsky first day covers, I had to scrap my original designs. Again trial and error process. I would draw the design, and transfer it to the block for cutting. For the printing plates I designed, I would draw the art for submission for the plate to be made. I did not think about drawing a large image and reducing it, as I did not have the capability myself, so my art for these designs are sized to fit on the envelope. I now realize if I had draw a larger image and reduced it, I could have had better detail.
Q. Did you have a regular subscriber base or did you sell covers through a shop / mail order service / etc ?
I mostly sold first day covers as self-service through the First Day Journals, and Linn’s. I did a lot of trading at shows.
Q. What challenges did you face in the production and distribution of your covers, and how did you overcome them ?
A. My biggest challenge was distribution. I did not have the finances to fully advertise and compete with the increasing number of cachet makers. I liked to do sports and space as a side-line to the first day covers, but reaching people was difficult.
Q. What inspired you to start creating space covers to commemorate shuttle missions ? Was there a particular moment or event that sparked this interest ?
A. I always wanted to be an astronaut (I attended Space Camp as an adult with my wife). Any connection I could make with the space program made me feel involved. I did not become an astronaut 🙁 – I was a Phys Ed teacher then became a Nuclear Medicine Technologist for 36 years before retiring 2 years ago.
Q. Were you in contact with or friends with other space manufacturers back in the day when you were producing covers ?
A. I met members of the NY chapter of the Space Unit at a show, and ended up joining the group. We would meet monthly at a Queens NY show. I would provide art for them and travel to Chicago with them (meeting Hartsfield and Irwin in the process).
Q. Can you tell us about any collaborations or partnerships you engaged in during your time as a cover maker ?
A. I provided art for Sean Marser for the United Nations issue, as well as art for the Space Unit ATA (for printed covers and rubber stamps).
Q. Can you remember when you stopped making Shuttle covers ? The latest in my collection is April 1990.
A. STS-46 1992 and then STS-71 1995 MIR Docking with the holo stamp. At the time the flights were becoming commonplace and were not attracting televised coverage, so I was losing track of the launches as well as becoming more involved with my children. I would obtain singular covers for my own collection, but not for purposes of selling.
Q. On the STS-3 cover it says ‘SU/NY-1’ at lower-right. Can you remember what that means ? Also this cover does not appear to be hand-printed like the others.
A. Space Unit – NY chapter created for Interpex 82.
Q. Could you share any memorable experiences or anecdotes from your time creating and selling covers ?
A. Meeting Buzz Aldrin, Jim Irwin, Hank Hartsfield and Cosmonaut Gherman Titov. Just being around like-minded people at the stamp shows. Getting small recognition as I signed covers at Interpex (like I was a real artist).
Q. Finally, looking back on your career as a cover maker, which cover are you most proud of (i.e. which is your favourite) ?
A. I did not view myself as a businessman producing covers for sale through mass-production (because I did not achieve this). My main goal was for my enjoyment, a sense that I could do what others were doing, and maybe better. As for the first day covers, I often saw myself as a folk-artist. I never charged a high price, and enjoyed seeing others enjoy my art. My joy is for the eclectic style.