Making Faces

I just received my copy of Making Faces: Metal Type in the 21st Century. Making Faces is a documentary by Richard Kegler of P22 Type Foundry showcasing Jim Rimmer, master typographer, who passed away in January 2010. The DVD came with a lot of extras: a specimen book of Stern—the first (and perhaps only) font released simultaneously in metal and digitally; a chapbook of Rimmer's type designs (pictured above); a cast metal lower case 'k' from the Stern family (also pictured above); and a copy of Rimmer's font Loxley, made for an edition of Robin Hood.

In the spirit of connecting this to entry to my blog—metal type is a perfect watermark. It leaves an impression beyond the letter forms and the paper fibers. It's a watermark of type designers and their lives, of craftspeople and industry; a watermark of both time and history. Kegler's drive to capture Rimmer at work on film is a valentine in the nick of time.

Gallery Stroll

Any time I can use Zaner—the lush Spencerian script by P22—I will. Same goes for shiny paper. (In this case, CTI's Aspire Petallics Silver Ore.)

This past Tuesday we had an event for University Hospital benefactor's to unveil the new portrait gallery as well as our wall of engraved donor names. We needed to represent both giving levels, but that made for a lengthy event title. The solution: a type treatment for each exhibit split by a flourish evoking: the unveiling of draped art; strolling; and even a lyrical quality. (It looks like a violin to me. Someone else told me it makes them think of Phantom of the Opera.)

The event was a fine affair, attended by people with interesting relationships to the University of Utah. A recent heart transplant patient spoke about his experience here and that really helped crystalize why we give. From the generosity of an organ donor's family, to the financial gifts that keep our institution a pioneering one, to the time commitments of our volunteer staff, it's always heartening for me to see the underlying passions that keep people connected.

Making Faces

I'm excited to have just made a donation to Richard Kegler's documentary Making Faces: Metal Type in the 21st Century. Kegler's foundry, P22, remains one of America's most engaging type makers and distributors. The documentary features Jim Rimmer, who passed away this year. Rimmer's exquisite font families can be found at P22. My favorite is the chiseled Lapis. Regardless of the tools used, fonts are still human-made; and I love how Rimmer's fonts feel cultivated by hand.

Kegler used persuasive incentive to donate: a copy of the film on DVD, a specimen book from Rimmer's poetic typeface Stern, and a yet-to-be-released Robin Hood font called Loxley. I look forward to the eventual release of Making Faces.

Flourish

Having coveted Thomas Paul's Flourish pillow for two years, I finally decided to buy it. Naturally I decide to do so even as it gets discontinued. Having made not one but two online purchases, only to be contacted later by both shops to say they can no longer fulfill my order, I panicked. But persistence pays off. Thomas Paul connected me to the Gilt Groupe for a one-day sale and I was able to get the pillow. For half price. Bonus: it's reversible. The black side was a dramatic surprise.

I adore Spencerian script, and the ornamentation from that era. Thomas Paul exploited that enchanted penmanship into a modern aesthetic. The emotional allure is inescapable. I have an ancestor who taught that style of writing and ornament. I learned it in elementary school. And now I seem to be sucker every time it turns up: in Martha Stewart Living magazine, in Alejandro Paul & P22's typography, and now ... in my living room.

Pretty Paper

My paper rep from Zellerbach's asked me to design a tag for her holiday gift to area designers this past Christmas. Camille packaged assorted paper and envelopes into a shiny little bundle so recipients can create custom notes and cards. Papers included the shimmery Aspire Petallics; tactile delights such as Oxford, Sundance Felt, and even Gmund; colors ranged from silver, marigold, turquoise, rustic reds, and even translucent whites. Camille sealed the packets with a handsome brown sticker.

The reindeer is licensed from CSA Images, and I used P22 Brass Script ... typeset in brass. Ultimately we just wanted the packages to be mirthful, but with a touch of glam, to match the high quality of the papers. Thanks to Camille for including me. I wish we'd had more time to do something really over the top. Past designers have included the idiosyncratic Angela Adams and McRay Magleby, so it really was an honor that I even crossed her mind.

Yellow Study

Who loves yellow? Designers do! Squint if you must, but look at this small book assortment: Modern Typography by Robert Kinross; 79 Short Essays on Design by Michael Beirut; Copywriting by Mark Shaw; FontShop font booklet; AIGA 365 edition 29; Chronicle Books' Stretch Deck; National Geographic magazine; Rite in the Rain all-weather writing paper pocket notebook; Knock Knock pocket notes.

To round out my yellow study, a still life of objects found 'round the house: bed sheets; towels; Kleenex; Sea Salt Neroli Lotion by Caldrea; a project calculator; Klein Tools wire cutter; West Elm scoop-back chair; Verner Panton chair; my Tweety Bird bucket with a sunflower from the yard; and wall paint with the dreadful name: Lovely Lemon Light. Not pictured is my other basement room painted in a yellow called Gabriel's Horn. Apparently paint color copywriters were marketing to old ladies and somehow sucked me into their web. I am not ashamed. I may have cringed at my mother's yellow kitchen growing up, complete with yellow stools and china hutch. But today I'm a proud homeowner, and Mom—I understand.

Oh, and that font: P22 Brass Script Pro.

Bar Code Deluxe

I recently bought this gem of a catalogue from P22 type foundry. It's exquisite with it's black felt cover, deckle edges, metallic inks, die-cut, translucent sheets and Mohawk's superfine paper throughout. But the thing I had to capture is it's debossed bar code on the back. I have not seen anyone do that yet. Don't know if it's permissible, or an artistic statement on utility vs. aesthetics. Either way, it was a delight. The actual content of the book needs to be seen to be appreciated. And this collector's piece from P22 is one that will surely call back to me again and again.