Midwest Craft Pilgrimage

On Monday, Annie & I set out on the first leg of our self-styled, midwestern craft pilgrimage. Arriving in Cedar Rapids on Monday afternoon we will proceed directly to Iowa City for an informal gathering at printer Sara Sauer's house. The next morning, papermaker Timothy Barret will pick us up and give us a tour of his state of the art hand papermaking facility. From there we will tour the University of Iowa's Center for the Book & meet with students in the MFA Book Arts program.

On Wednesday we will drive up to Decorah, Iowa where we will spend the evening with artist, printer, and prize-winning chili cooker David Esslemont and his family. Last year, David and his son made an outdoor adobe pizza oven & one of our objectives (perhaps our primary objective?) is to obtain plans and advice on how to build one for ourselves.

Thursday morning we will head on to Stockholm, Wisconsin for three days with Gaylord and Brenda Schanilec. While there, Gaylord will give us a two day lesson in multi-chromatic wood engraving and, weather permitting, we will spend the third day on his floating observational platform (ie. boat) in Lake Pepin.

Next stop is Chicago for a few days with Paul Gehl and Rob Carlson, a visit with Inge Bruggeman and the students at the Columbia College Center for Book and Paper Arts. A final dinner with Bob McCammant of Sherwin Beach Press ends leg one of the tour.

Swan & Hoop 3: A Meditation in Rome

As the fundraising campaign to make Gremolata and Cancellaresca Milanese into new foundry type winds down, I have received the first few copies of Swan & Hoop 3: A Meditation in Rome by Paul F. Gehl. Comprising the script from which Paul Gehl read his address, How Can Type History Be Good History? to the plenary session of ATypI Roma on Friday, September 20, 2002, A Meditation in Rome is an insightful exploration of historical honesty in typographic revivalism. The book is illustrated with historical imagery, typographic comparisons, and a large, fold-out photograph of the Pantheon by Annie Schlechter. Set in the digital versions of Gremolata and Cancellaresca Milanese, the book is printed on Hahnemühle Biblio paper and features a cover paper that is printed from a new metal type ornament that I designed specifically for the book.

Gremolata and Cancellaresca Milanese Launch

I launched the kickstarter campaign this morning. If successful, Micah Currier and I will convert my typefaces Gremolata and Cancellaresca Milanese into a new proprietary type family comprising over 185 different characters and ligatures. Any support you can give will bring us closer to our goal.

Gremolata and Cancellaresca Milanese

In a couple of weeks I will be launching a Kickstarter campaign to raise money to have Micah Currier at the Dale Guild Type Foundry cut and cast my typefaces Gremolata and Cancellaresca Milanese as a new proprietary metal type family. Here are a couple of pictures of the digital predecessors of the typefaces in action.

Thoughts on Making New Metal Type

Annie shot this video during my conversation with Gaylord Schanliec and Jane Siegel at the Center for Book Arts, New York. It gives a good sense of my motivations in turning my digital typefaces into new metal type.

Specimens of Diverse Characters Arrives!

Copies of the deluxe and standard editions of Specimens of Diverse Characters arrived from Book Lab II this week. I realize that I designed the books but I am still surprised by their heft—they are BOOKS. The transformation from loose sheets to bound book always takes me off guard, the final metamorphosis in the chain from concept to sketch to drawing to print to book. It is easy to understand why so many printers and book makers have also been drawn to alchemy.

The books are bound using a modified Bradel binding that opens beautifully flat at every spread. The standard edition has a red leather spine with paper covered boards printed from my foundry Lisbon Ornaments. It is housed in a cloth covered clamshell box with an inset red leather label stamped in silver foil. The deluxe edition uses the same structure but the boards are covered in gray leather with a specimen of Iohann Titling stamped in silver foil on the front cover. In addition to the book, the deluxe comes with a portfolio of progressive state proofs of three complex prints and a selection of five unbound prints from the book. The book and portfolio are housed in a clamshell box with a leather spine and foredges. At the back of the box is an inset window behind which is a setting of Harry Carter's passage Type is something that you can pick up and hold in your hand in a special issue of Iohann Titling foundry type cast on a 30pt body.

The standard and deluxe editions of Specimens.

The deluxe edition with its box.

The deluxe box showing the inset form of type. In the foreground the book sits on 

the portfolio of state proofs and prints that accompanies the edition.

A close up of the type form.

The standard edition with its box.

A close up of the patterned paper printed from foundry Lisbon Ornaments.

While waiting

While waiting for the first copies of Specimens of Diverse Characters and Nocturnes to arrive from Book Lab II next week, I decided to make a little booklet of the new foundry types I made this year with Micah Currier at the Dale Guild Type Foundry. Copies will be sent to subscribers on Tuesday. In the meantime, here are some angled photos of the pages.

Nicolas

Iohann Titling

Above and below: Lisbon Ornaments