Nothing beats the long haul of March in Chicago like a working vacation in another print shop. Okay, maybe that’s just me, but it was a real treat to spend time in Central New York for a residency at the Wells College Book Arts Center, with stops at some of our favorite places along the way. We packed the car with tools and remaining copies of An Alphabet of Sorts, our contribution to the Goudy 150 keepsake project, prints to share and one kid destined for Grandma’s house.
The one stop Jo and I made together was at Virgin Wood Type to collect our newest typeface as well as other ornaments I can’t wait to ink up. A visit to Virgin is like waking up Christmas morning, where even the type gets the fancy wrap treatment.
Here’s Geri proofing up our Gothic Bold thanks to the ease of carbon paper.
For a small shop it’s terribly impressive what takes place here. The team was very busy, cutting nonstop to stock up for an upcoming trip to SGC.
We brought a clampersand as a gift for Matt, which Jo promptly tested on his thumb. It works!
The next day I headed out on my own, stopping for a few hours at the Cary Graphic Arts Collection to both visit and print and put together a little more research on Albert Schiller. Amelia made these great posters!
And here she is, having just set up my Goudy keepsake form to print. Many folks came through to pull a print for themselves, and I couldn’t resist putting one of the prints on Goudy’s press for a photo with the man himself.
After fully saturating myself with inspiration, it was time to head to Wells for the real work of my trip. I love this poster printed at their Book Arts Center, soon to be my home. It’s a little glimpse at the kind of typographical dessert that was waiting for me.
And here’s another. This is a fraction of the unbelievable type available to work with and I wanted to use it all. It was a delight to discover much of this was originally from the Chicago Type Foundry (read: OLD).
Friday evening I gave a warts-and-all lecture about the 15 year history of Starshaped and shared details about collaborating with Wells on the book. What a great way to launch my ‘baby’ into the world. Shout out to Jookie Jill for taking this right-on shot.
Not able to remove the images of Schiller’s Ampersand Machine from my brain over the last 6 months, I knew I wanted to create a response print that would take advantage of the type collection at Wells, including the different types of ornaments there. Hence my Alphabet Machine plan was hatched. I have a soft spot for big, fat type and was tickled to find this Bodoni in the basement of the Book Arts Center. We just don’t have enough of this at Starshaped.
It got a little tough to keep my bearings with this one, as you can well imagine. Limiting my choices to ornaments that were not organic while fitting my brainstormed buzz words (pipes, valves, shoots, squares, linear, conveyor… you get the idea) was the only way to keep my head screwed on straight in this ‘crack house of ornament’.
The first full proof was pretty great. Regardless of number of colors, I always print the entire form together to make sure everything makes sense before pulling out the separations. The paper is a gloriously rough and recycled gray and I used the same dark gray ink for the machine as in An Alphabet of Sorts.
The final print is very satisfying. It is now available for purchase here.
Throughout the week we hosted a few open studio times as well as helped students with their own printing. It’s wonderful to see how much the equipment is being used and I loved working with a new group of printers.
We also played hooky one day and visited the Bixler Letterfoundry which was almost too much to bear. Their large shop is split between meticulously maintained casting and printing areas and I spied on both.
I received a set of both of the new casts, shown here with a new-to-me set received from honorary Starshaped lady, Jessie of Punky Press.
Luckily we had to create another poster for an upcoming lecture, which gave me the opportunity to use more of the Bixler’s ornaments. Andrew Steeves’ talk on Ecology, Economy and the Endurance of Printing begged for a layout that would pull these elements together in a self-feeding, circular manner. And so this form was born, tying in natural, organic elements with directional and monetary hints at the same time.
While there are a lot of photos here, I feel that this post is not a well-rounded one. I was fighting a cold when I descended on Wells and didn’t take photos of its charming structures or Cayuga Lake. I don’t have images of all of the work done with students or the friends that came for my lecture. I don’t even have as many shots as I’d like to document the collection itself, though this trip is the first of what will be many. If you want to check it out for yourself, don’t miss the Summer Institute program, a veritable feast for everyone interested in book arts, typography and printing.