One of the joys of running a letterpress studio is to share the experience with others. At galerie p98a we regularly set up workshop sessions for a group of individuals or an entire team. We’ve had design teams here for a team-building exercise, for a day of reprieve from sitting in front of their screens or simply for the fun of getting their hands dirty.
Our workshop at Galerie P98a in Berlin has been producing posters for a while now, plus other stuff. In our cellar, we also keep some of my older products, like the metal house numbers I designed for Design Within Reach in San Francisco a few years ago. On Spiekerstuff we now have a shopping cart installed that makes buying posters or house numbers painless – apart from having to pay for them, of course.
We’ll also eventually post our workshops on Spiekerstuff.
This month’s poster is, as always, 50×70cm in size (approx 20×28in), printed 2 colours on 150gsm MetaPaper Rough. The type is 16 cicero (approx 17 pica) HWT Artz, the one I designed for the Hamilton Wood Type Museum to cut in wood for us.
There are 50 prints of each poster, numbered and signed by Erik Spiekermann. We ship everywhere and you can pay by PayPal. Price is the same in every currency, £, $, €: always 98, including tax (where applicable) and shipping, wrapped in a solid cardboard tube.
Orders with shipping address please to firstname.lastname@example.org.
We now have two FAG proof presses, one Grafix, a Korrex Berlin, a Korrex Nürnberg, a Korrex Frankfurt and a Heidelberger Tiegel (platen). We won’t even mention all the small platens in the shop. And as off last week, all the presses are up and running, although the latest FAG needs cleaning up and repainting.
On top of that a surprising amount of large display type, made from wood or Plakadur, Berthold’s resin material from the 50s. And lots of lead type, old and new, including freshly cast Akzidenz Grotesk and Block in sizes from 8 to 24 point Didot. Reglet, quads and furniture, iron and aluminium, are waiting to be sorted. A second row of cabinets is on order.
The English version of “Stop Stealing Sheep and learn how to use type properly” has been out for a while. Peachpit still offer a big discount if you buy from them direct:
This is the video of my conversation with Jeff Veen at the Gigaom conference in San Francisco this week:
We will have six proof presses in the shop:
1 Korrex Nürnberg 35×58, 1 Korrex Berlin 50×65, 1 Korrex Frankfurt 61×86, 1 FAG 35×58, 1 Grafix 35×58 and one more FAG coming next week.
The Heidelberg Windmill is waiting to be put together and all the type needs sorting.
Ready to go any day now.
Discussing the quality of type on a smartphone screen is difficult without the actual object at hand. I posted screenshots, but they were reduced, changed in resolution, uploaded and rendered in a browser. Far removed from the real thing.
While that remains elusive, here’s another try at doing our work and that of the Firefox OS team justice. This is an attempt at uploading one of the screens at the same size and resolution it was sent to me. Who knows what WordPress and the browsers will do to it…
It could be a signal to quit: this is my fourth lifetime award since the German Design Council gave me their award in 2011, followed by SoTA (Society of Typographic Afficionados) and the TDC (TypeDirectors Club New York). The German Art Directors gave me their award last friday here in Berlin. It is a golden nail. Honi soit qui mal y pense…
My old Rivendell road bike was stolen in June. I’d had it for a long time and losing it did hurt. I think stealing a bicycle like that is more than just a little misdemeanour; it is a wicked crime and shows really bad character.
The only way I could get over the loss was by going to see Bradley Woehl at the American Cyclery in San Francisco and have him build me a new bicycle. The frame is made by Waterford in Wisconsin, the paint job is pretty much the same as my Rivendell and the parts are mostly Campagnola. We put 28 tyres on it, which looks less elegant than 23, but if you have seen the roads here in San Francisco, you know that even that is too thin.