Sirens of the Sea

Judith Schalansky is my latest delight. I bought The Atlas of Remote Islands during the middle of winter. Exotic island escapes seemed in order. I was vulnerable to a seductive, yet sparse, cover. The subtitle: 50 Islands I have Never Set Foot On and Never Will conjured another favorite author. In The Art of Travel Alain deBotton tells us of Duc des Esseintes who, in order to escape the hassles of oversea travel, made an aquarium so that ‘the imagination could provide a more-than-adequate substitute for the vulgar reality of actual experience.’ The Atlas was an easy sell.

I was more than a month into this bedside escape when I finally read about the author and made the shocking discovery … she’s the same designer behind Fraktur Mon Amour, another valentine from an earlier post of mine.  I should have detected her signature use of spot color and adoration of unusual typography. Now I am as envious as I am grateful for Judith Schalansky.

I might not have stumbled on the about the author page were I not seeking a note on the type. There was none, but a little research led me to the quirky, yet sublime, Sirenne. You should read about it here. I have no idea how this book came to be, but I imagine Judith said to herself one day “I’d love to make maps”; and then she did just that.

Exposed Grid

University of Utah Health Care's Information Technology Services hadn't updated their strategic plan in a decade. This decision-leading document needed to be progressive, confident and engaging. I felt we should be front-and-center about infrastructure by leaving the booklet's grid exposed on the cover. The spare cover also adds a nice counterpoint to the photography-rich interior. Each spread has a health care photo where technology is integral to medical practice.

The table of contents is also left exposed on the cover. The booklet is split in halves: The Introduction has an orange background; The Plan — a yellow ground with a faux watermark. The photo well and type columns adjusts with each half of the book. All images have a shiny UV gloss. UV also adorns the vertical and horizontal lines on the cover, as well as our title. It's a great finishing effect that helps emit the back-lit technology photos used throughout. Principal photography is by Kevin Lee.

Page numbers are represented in Hoeffler & Frere-Jones' Dividend, from the Numbers family. Numbers has a pixel-like quality in spite of it's low-tech origins (designed after antique perforated check writing machines) that plays well with the display face Headroom, by TypeTrust. Headroom is a mechanical all-caps face that includes a cheeky ink-trap alternate. The booklet's text face is Scala Sans.

To keep costs down, we constrained the booklet to one parent sheet. To keep the book polished, we had it perfect bound. A companion Web site can be found here.

Recycled Leather from Italy

On a recent trip to Carmel, California I found a tiny shop called Material Goods that sold some products by San Lorenzo. They have a series of desk products made from natural regenerated leather. Scraps of leather are cut up and mixed with rubber, creating a soft, but durable, finish. The notebook I bought is dyed bright orange, which matches my Russell and Hazel calendar. I've decided to use the San Lorenzo book to keep notes on fonts and typography. I also enjoyed talking with the proprietress of Material Goods. She's been to Utah before, and told me where her favorite candy shop is. Treats all around!