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Crap Hound - Sex & Kitchen Gadgets
Not For Kids. Not For Kids. Not. For. Kids.

Edited and designed by Sean Tejaratchi, Crap Hound is the seminal mixture of social commentary and somewhat overindulgent graphic design.

Did this issue make a big printing house we used in the mid-west for years call us and tell us they couldn't work with us anymore? Yes, yes it did.

Each page of Crap Hound is a treat to the eyes. Design-types will appreciate the incredible attention to detail of tessellation, and how each page tells a story all its own. Crafty-types and Xerox-jockeys will enjoy taking scissors to its pages and refashioning their own works.  Tattoo artists will revel in the iconography on each page.

100 pages of content, replete toasters, blenders and, well, lots and lots of sex stuff. Oh, and a couple of typefaces in the back, too.

This issue contains almost all of both Crap Hound #2 and Crap Hound #3, plus a whole lot more.

Size: 8.5" x 11"

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Sean Tejaratchi is an American graphic designer, art director and writer.

He is currently based in Los Angeles, but cut his teeth working on alt-weeklies in Portland, Oregon in the 90s.

Sean is known for creating the clip art zine Crap Hound, and was voted one of "The 25 Funniest People on Twitter" by Rolling Stone in 2012. He also is known for the blog LiarTownUSA that defined what a modern satirist is in the early 2000s.

Straight Talk About This Issue

Back in 1995, after weeks of fasting and silent prayer, I decided to divide the topics of Sex and Kitchen Gadgets into two issues. Crap Hound 2 had 68 pages and focused more on inanimate objects, and Crap Hound 3 had 76 pages, focusing more on people.

This let me dodge the bindery‘s saddle-stitch limit of 100 pages, and, at a time when I relied heavily on submissions, inserting half a year between issues would allow prospective contributors to see the extent and style of material I was after, improving the odds of submissions to the second part.

Time passed, and I became a man.

I learned to refine old images into usable material, and how to pack more images into each page. I realized I might be able to combine both issues and a shitload of new material into one big issue. I knew I could lose a fair amount of mediocre and redundant images. I could cut extraneous text passages, headlines, and hideously dated material. I could also gently uninclude material that, while being completely unremarkable in the ’90s, would almost certainly offend today’s more “delicate” sensibilities.

So... 22 years after the first issue was published, I scanned the original boards and separated the pictures, improving what I could.

About two-thirds of the imagery on these new layouts is carried over from the original issues. The remaining third is entirely new material. I kept editorial to a minimum and ruthlessly filled dead space.

Of the 11 fonts from Issues 2 and 3, I’ve kept only two. In the end, I kept it to 100 pages. I win. Again.

One more thing: If you’re looking for additional imagery of these topics, there are 12 pages of all-new material in the Additions 2020 issue, listed in the back, available through Buyolympia.com.

Enjoy the issue, and thank you for reading, special friend.

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