Paul Shaw Letter Design

Sagmeister unmasked

admin — Sat, 01 Jun 2013 04:04:17 +0000

The TDC lettering walk on Sunday, May 19 was a gray, rainy mess. Although ﬁve participants stuck it out to the end, it was a miserable day and the new signage gems that we found in the Woodhaven and Richmond Hill neighborhoods were overshadowed by the difﬁculty of photographing them in the drizzle. Not only was my camera wet but so were my glasses. I had no idea what I was even looking at as I took photographs—and the results were predictably fuzzy. This was especially so for the remnants of a sign advertising the Alexandria, presumably a 1930s hotel, that was hidden on the side of an apartment building flanking the Jamaica Avenue el at about 94th Street.

Consequently, I vowed to return to the two neighborhoods as soon as the weather turned nicer. That was Sunday, May 26. This time I got many good photographs and even discovered some more signs of interest, chief among them was the headquarters of Boundary Fence & Railing Systems at 131st Street and Jamaica Avenue—beyond the stopping point for our TDC tour.

Seeing Boundary’s name as part of the chain link fence along Jamaica Avenue made me realize that I had stumbled upon one of Stefan Sagmeister’s sources for his recent book Things I have learned in my life so far.” They sell a system of colored, plastic diamonds that can be inserted into the interstices of a chain link fence and assembled, pixel-like to form letters and words. Here is their full name:

Boundary Fence & Rail Systems, Richmond Hill, Queens, New York. Photograph by Paul Shaw (2013).

The reversed ampersand and the change in scale give the sign a warm, vernacular touch. The red outline provides a bit of pizzazz, though it is unclear whether gaps in it—see the bottom of the stem of the R for instance—are intentional or are the result of some of the plastic elements falling out or being stolen.

Backward ampersand. Detail of the Boundary Fence fence signage. Photograph by Paul Shaw (2013).

The company makes other kinds of fence signage as the fence on the 132nd Street side of the compound indcates. I am not sure what the entire sign says beyond “…Ribbon Ornamental Bamboo PVC….” The letters seem to be made of ‘astroturf’, surely a material that Sagmeister would embrace.

“Ornamental Bamboo PVC” signage by Boundary Fence & Railing Systems, Richmond Hill, Queens, New York. Photograph by Paul Shaw (2013).

The Rchive no. 12—No. 1 in New York

admin — Sat, 18 May 2013 18:59:03 +0000

The mosaics in the New York City subway system display a surprisingly subtle variety of letterforms. This is especially evident in the stations along the Broadway/Seventh Avenue line (no. 1) between South Ferry and Times Square that have their names rendered in seriffed letters: Rector Street, Cortlandt Street, Franklin Street, Canal Street, Houston Street, Christopher Street / Sheridan Square, 18th Street, 23rd Street, 28th Street and 34th Street / Pennsylvania Station. An easy way to see these differences is through the capital R in the six station names where it appears. Here they are in geographical order.

Mosaic R from Rector Street station (no. 1 line), New York City subway system. Photograph by Paul Shaw (2009).

Mosaic R from Franklin Street station (no. 1 line), New York City subway system. Photograph by Paul Shaw (2011).

Mosaic R from Christopher Street / Sheridan Square station (no. 1 line), New York City subway system. Photograph by Paul Shaw (2009).

Mosaic R from 18th Street station (no. 1 line), New York City subway system. Photograph by Paul Shaw (2009).

Mosaic R from 23rd Street station (no. 1 line), New York City subway system. Photograph by Paul Shaw (2009).

Mosaic R from 28th Street station (no. 1 line), New York City subway system. Photograph by Paul Shaw (2008).

With one exception, all of the Rs are oldstyle. Those from Rector Street and 18th Street are the most elegant of the lot with the one from 23rd Street the clumsiest. The problem with the latter is that its bowl is too wide and the leg curves up too abruptly. The exception is the R for the Christopher Street / Sheridan Square station, marked by a stocky proportion and heavy “mansard” serifs. There is no other station that I know of in the subway system that has letters like this.

What is remarkable about this variety of letterforms is that although all of these stations were designed under the aegis of Squire J. Vickers as the chief architect for the IRT and BMT, no one knows who actually created the lettering. The stations were constructed between 1911, when the engineering contract was bid out to the Bradley Contracting Company, and 1918, the year that all of them opened.

The Rchive no. 11—two from São Paulo

admin — Sat, 18 May 2013 16:49:37 +0000

Metal R on apartment building in São Paulo. Photograph by Paul Shaw (2013).

This R is typical of the lettering style found on São Paulo buildings erected in the 1950s and 1960s. Its light weight and extended proportions distinguish it from the sans serif letters commonly found on American buildings during this period. Was it brought to São Paulo from Italy by Italian architects such as Giancarlo Palanti (1906–1977) and Achillina Bo Bardi (1914–1992)?

Painted R from XEROX sign on store front in São Paulo. Photograph by Paul Shaw (2013).

A vernacular contrast to the mass produced R above, though it too is an extended sans serif. This is a detail of the multinational corporate name XEROX. Has branding failed?

An addendum to Print: The Color Issue—George F. Nesbitt 1841

admin — Fri, 17 May 2013 20:12:40 +0000

Here is a short visual addendum to the current Stereotype column in Print co-written by Stephen Coles and I that focused on chromatic typefaces. These are two pages from Nesbitt’s Fourth Specimen of Machinery Cut Wood Type “manufactured and for sale by George F. Nesbitt, Tontine Building, New-York” (1841). The specimen book is very short and all of its samples are, like those shown here, two-color decorative typefaces. Some are in red and black while others are in red and blue. But all have names that are a mouthful (e.g. Twelve Line Pica Antique Amalgamation Shaded, 2 Colors!). Unlike the 1874 chromatic tour de force by William Page, Nesbitt’s specimen book is a modest affair. Yet, it has its own charms.

Twelve Line Pica Antique Amalgamation Shaded, 2 colors and Twelve Line Pica Gothic Condensed Open Shaded, 2 colors from Nesbitt’s Fourth Specimen of Machine Cut Wood Type (1841). From the Rare Book and Manuscript Library, Columbia University.

Twelve Line Pica Lined Ground, 2 Colors and Twelve Line Pica Black Ground, 2 Colors from Nesbitt’s Fourth Specimen of Machinery Cut Wood Type (1841). From the Rare Book and Manuscript Library, Columbia University.

Bibliologia 7

admin — Thu, 16 May 2013 16:18:41 +0000

Bibliologia 7 (2012) is ﬁnally out—and so is my article “New Types for New Books Revisited”. The article is a survey of the typefaces used by several American and British book designers, ranging in age and in temperament. It is a tribute to the late Will Powers (1943–2009) and his essay New Types for New Books: What We Have, What We Need (2006) which argued that we should use only typefaces designed for digital production and not settle for digital upgrades of typefaces originally made for foundry, Monotype, Linotype or ﬁlm composition. Powers championed types such as Iowan Old Style by John Downer (Bitstream, 1990), FF Clifford by Akira Kobayashi (FontFont, 1999), Whitman by Kent Lew (Font Bureau, 2001), Chaparral by Carol Twombly (Adobe, 1997), ITC Legacy Serif by Ron Arnholm (ITC, 1992), and Miller (Font Bureau, 1997) and Monticello (Linotype, 2005) by Matthew Carter. My article is an attempt to see which faces, in addition to these, book designers are using today. It is not a deﬁnitive survey but a snapshot.

Here is a summary of what each designer suggested:
Jack Stauffacher (San Francisco)—Kis-Antiqua Now (Hildegard Korger and Erhard Kaiser, Elsner & Flake, 2009) and Cycles (Sumner Stone, Stone Typefoundry, 1993–2004).
John D. Berry (Seattle)—FF Clifford, Miller, Cycles, Minion (Robert Slimbach, Adobe, 1992), FF Quadraat (Fred Smeijers, FontFont, 1992), Swift (Gerard Unger, Hell, 1987), and Kingﬁsher (Jeremy Tankard, Jeremy Tankard Typography, 2009).
Mark Argetsinger (Rochester, New York)—CC Galliard (Matthew Carter, Carter & Cone, 1993), Big Caslon (Matthew Carter, Carter & Cone, 1994), DTL Vandenkeere (Dutch Type Library, 1995), DTL Elzevir (Gerard Daniels, Dutch Type Library, 1993), DTL Fleischmann (Erhard Kaiser, Dutch Type Library, 1994).
Kent Lew (Washington, Massachusetts)—Whitman, Vectora (Adrian Frutiger, Linotype), Avenir (Adrian Frutiger, Linotype), Gotham (Tobias Frere-Jones, Hoefler & Frere-Jones) and Benton Sans (Font Bureau).
Scott-Martin Kosofsky (Lexington, Massachusetts)—Chaparral, ITC Legacy Serif (roman only), Miller, Arno Pro (Robert Slimbach, Adobe, 2007), MvB Verdigris (Mark van Bronkhorst, MvB Fonts, 2003), Renard (Fred Smeijers, TEFF. 1992), Custodia (Fred Smeijers, OurType, 2002), Merlo (Mario Feliciano, Feliciano Type Foundry, 2004), Rongel (Mario Feliciano, Feliciano Type Foundry, 2001–2004), Mercury (Jonathan Hoefler, Hoefler & Frere-Jones, 2005), Baskerville Original (Frantisek Storm, Storm Type Foundry, 2008), Walbaum 2010 Pro (Frantisek Storm, Storm Type Foundry, 2010), Documenta (Frank Blokland, Dutch Type Library, 1993), and Cronos (Robert Slimbach, Adobe, 1996).
Charles Nix (New York City)—Rawlinson 2.0 (James Montalbano, Terminal Design, 2003), Kinney (James Montalbano, Terminal Design, 2011), Clearview Text (James Montalbano, Terminal Design, 2004), Giacomo 2.0 (James Montalbano, Terminal Design, 2011).
Ron Costley (London)—Minion and Utopia (Robert Slimbach, Adobe, 1989).

These designers also suggested several typefaces which they found intriguing but had not yet used: DF Rialto (Giovanni de Faccio and Lui Karner), Lyon (Kai Bernau), Versa and Versa Sans (Peter Verheul), Foundry Wilson (Freda Sack and David Quay), Skolar (David Brezina), ITC Quay Sans (David Quay), FF Proﬁle (Martin Wenzel), and Priva Pro (Dino de los Santos).

Bibliologia is an Italian journal devoted to bibliography, library science, history of typography and the book. It is edited by Giorgio Montecchi, but number 7 has been guest-edited by James Clough of Milano. In addition to my article there are several other articles worth noting: “I romani di Francesco Griffo” by Riccardo Olocco, “Il manuale di scrittura fra Cinquecento e prima metà dell’Ottocento” by Francesco Ascoli, “1925–1945: l’alba dei caratteri scritti moderni” by Riccardo De Franceschi, and “The Burgert Handpresse” by Ewan Clayton. Unfortunately, the articles by Olocco, Ascoli and De Franceschi are in Italian. Olocco’s article is a detailed examination with macro-photographs of the typefaces of Francesco Griffo, the Bolognese punchcutter famous for the types he made for the Venetian publisher Aldus Manutius that, in the 20th century, became the basis for Poliphilus and Bembo. Even more unfortunately, Bibliologia is, like its English counterpart Matrix, very expensive. This is a shame since the material in it deserves wider exposure. Perhaps someone will produce an English language version of Olocco’s research.

La dolce vita dei caratteri: looking back at Legacy of Letters 2012

admin — Wed, 15 May 2013 06:19:41 +0000

In preparation for Legacy of Letters 2013 I was looking through the over 1300 photos that Alexander Trubin sent me from last year’s tour and workshop. I had failed to organize them and last night I found myself bogged down in the tedious task while watching the New York Rangers demolish the Washington Capitals. The tedium was relieved by the opportunity to enjoy and relive the tour afresh: rubbing inscriptions in the courtyard of Sant’Ambrogio in Milano, viewing the moulds and matrices of Bodoni in Parma, surveying Verona from the Panoramico, eating and drinking with printer Martino Mardersteig, arriving at Villa Bolzonello in Cornuda, exploring the riches of the Tipoteca, walking down a dusty road in Cornuda with the other Legacy of Letters participants in the warm sun, looking at rare books in Venice, working on the tour keepsakes with master printer Lucio Passerini, and more. Indelible memories.

Here is a selection of some of Alexander’s photos from last year as a taste for those of you who missed the experience. This year’s tour and workshop will not be identical but it promises to be just as sweet. Join us and ﬁnd out for yourself.

Making a rubbing in the courtyard of S. Ambrogio, Milano. From left to right: Angela Holland, Clinton Harvey, DIana Pasovski, Tim Chambers, David Shields, Maureen Hoffmann, Paul Shaw and Alta Price. 18 July 2012.

Lucio Passerini inking type during our visit to Il Buon Tempo, his printshop in Milano. 19 July 2012.

A Parmense rebuke: “Educated people throw refuse in the trashcan.”

Moulds, ladles and other items for casting type on display in the Museo Bodoniano, Parma. 20 July 2012.

View of Verona from the Panoramico. 20 July 2012.

Arriving at the Villa Bolzonello in Cornuda, our base for the workshop portion of the tour. From left to right: Tim Chambers, Paul Shaw, Angela Holland, Sandro Berra, David Shields, Maureen Hoffmann and Pat Vining. 20 July 2012.

Sandro Berra showing us some of the treasures in the library at the Tipoteca. 21 July 2012.

Some of the many printing presses at the Tipoteca.

Calligraphy workshop with Paul Shaw. 21 July 2012.

Isla di S. Giorgio, Venice. Home to the Fondazione Cini. 24 July 2012.

Borges labyrinth at the Fondazione Cini. 24 July 2012.

Detail from 15th c. manuscript written in rotunda. Note the guidelines and the poorly done correction (e with abbreviation mark above it).

Saying farewell to Dott.ssa Lucia Sardo (center), Ilenia (right) and the Fondazione Cini. 24 July 2012.

Luca Barcellona demonstrating the construction of Imperial Roman capitals and fraktur using the broad brush. 25 July 2012.

Working on the group keepsake: setting type. From left to right: Tim Chambers, Angela Holland, Lucio Passerini, Maureen Hoffmann, Paul Shaw and David Shields. 26 July 2012.

Lucio Passerini proudly displays Alexander Trubin’s freshly printed keepsake. 27 July 2012.

On the road between Cornuda and Rovereto. 28 July 2012.

Alta Price and Paul Shaw facing off in the courtyard of MART (Museo d’Arte Rovereto Trento) in Rovereto. 28 July 2012.

Legacy of Letters 2012 farewell dinner in Verona with guest Martino Mardersteig. On the left: Diana Pasovski, Clint Harvey, Paul Shaw, Martino Mardersteig, Maureen Hoffmann, and David Shields. At the end Tim Chambers. On the right: Alexander Trubin, Alta Price, Angela Holland, and Patricia Vining.

Sasha, thanks for the photos and for being part of the tour last year. It was great fun hanging out with you.—Paul

Alexander Trubin practicing calligraphy. Photograph by Maureen Hoffmann. 25 July 2012.

A typographic mystery: an English typeface and a Maine gravestone

admin — Thu, 09 May 2013 18:48:25 +0000

Last year while on vacation in Maine, I discovered peculiar letters on a well worn and lichen-encrusted gravestone in the Hope Grove Cemetery. The tomb was for two children, Enoch P. who died in 1811 at the age of 18 and Sarah who died in 1804 at the age of ten. The foot of the tomb is missing and thus their last name is unknown, though local genealogists surmise it is Safford since a similar tomb nearby bears that name. [Thanks to Peter Gariepy for this information.] The stone must have been commissioned several decades later judging by the style of lettering.

Detail from gravestone of Enoch P. and Sarah in Hope Grove Cemetery (Hope, Maine). Photograph by Paul Shaw 2012

Today, while I was sorting through digital images I commissioned from Columbia University of the 1834 specimen book of William Thorowgood, the 19th century London typefounder, I suddenly stopped short. There, on a page with Four Lines Tuscan Open and Two Lines Great Primer Egyptian Open, was a typeface that looked like the peculiar Maine letters. Called Two Line Small Pica Shaded and Ornamented, it differs from them in two respects: the letters are shaded and they are not as wide. Otherwise, the basic forms are identical.

Two Line Small Pica Shaded and Ornamented. From New Specimens of Printing Types (London: William Thorowgood & Co., 1834)

Here is an enlargement of the E from the typeface and a rubbing of the E (rough due to the lichen) from the gravestone for comparison.

E detail from Two Line Pica Shaded and Ornamented.

rubbing of E from gravestone of Enoch P. and Sarah in Hope Grove Cemetery (Hope, Maine).

So, how did a rural Maine lettercutter end up copying an ornamented letter from a London typefounder? I have no answer. But this is not the only instance of “typographic” letters on New England gravestones, just the ﬁrst where I have been able to link a style directly to a speciﬁc typeface and typefounder.

The Rchive no. 9—The Return of the Classical Roman Letter

admin — Sun, 17 Mar 2013 17:02:43 +0000

The New York Life Insurance Company Building (1899; now the New York City Criminal Court Building) was designed by Stephen Hatch but completed by McKim, Mead & White after his death in 1894. The building’s address is afﬁxed to the side in copper letters that have classical Roman overtones not normally found at that time. They are surely the work of McKim, Mead & White rather than Hatch, reflecting the ﬁrm’s interest in Beaux Arts architecture with its adoption of Greek and Roman stylistic vocabulary.

This budding classicism, as well as its flaws, can be seen in the R. The proportion, serifs and bowl all suggest the Imperial Roman capital but the sagging, curved leg—poorly positioned in relation to the weight of the bowl—is a feeble echo of William Morris’ Golden Type and Jenson Oldstyle, the pirated copy designed by J.W. Phinney and cut by John Cumming for the Dickinson Type Foundry in Boston. Despite its shortcomings (which include a left serif at the apex of A), the address lettering heralds a new interest in classical Roman capitals among architects that blossoms in the years after 1910.

R detail from 346 Broadway building, Manhattan, New York. Photographed 7 March 2013.

However, architects and craftsmen struggled with the classical form, often mixing it, consciously or not, with features typical of Victorian lettering. A prime example (and a late one) is the lettering on the directory in the lobby of the Bowery Savings Bank building (York & Sawyer, 1923). The E is clearly inspired by the Trajan inscription letters yet the R has a seriffed leg and a bowl that suggests it is part of a compass-made circle. Father Catich would be horriﬁed.

Detail of lobby directory, Bowery Savings Bank, 110 East 42 Street, Manhattan, New York. Photograph 16 February 2013.

The Rchive no. 10—Faux Art Deco

admin — Sun, 17 Mar 2013 16:14:05 +0000

R from Tick Tock Diner, Manhattan. Photograph 16 February 2013.

The neon is real but the Art Deco letter R is not. This is a detail of the word “DINER” from the Tick Tock Diner in Manhattan, kitty corner from Penn Station and Madison Square Garden. It is the New York City outpost of a famous diner in Clifton, New Jersey of the same name.

The original—which I have never seen—is an iconic American diner judging by the many photographs online (as well as its own Tick Tock Diner website). It opened in 1948 and presumably its neon sign, with the clock and “Eat Heavy” slogan, dates from that year. It is a semi-Art Deco sign with the word “DINER” set in two-weight sans serif caps that evoke Moderne typefaces such as Omega (Stempel, 1926), Modernique (ATF, 1928), Britannic (Stephenson Blake), Peignot Bold (Deberny & Peignot, 1937) and Radiant (Ludlow, 1940), but that is distinct from all of them in its elongation. The remainder of the lettering is in a narrow grotesque which is indicative of the 1950s rather than the 1930s. The combination makes sense for a business that opened in the years just after World War II with the memory of the Art Deco era lingering but a new horizon beckoning.

Tick Tock Diner, Clifton, New Jersey. Photograph from the Retro Sign Blog, 2011.

In contrast, the Midtown Manhattan location opened in 1997. And although its décor “evokes the spirit of the original outlet with plenty of chrome and comfy banquette seating” its sign is a feeble counterpart to the original. (Though, to the owners’ credit, they did not attempt to recreate the original Clifton sign.) “HOME COOKING” and “AIR CONDITIONED” are not even neon. “Tick Tock” is based on ITC Barcelona (ITC, 1981), a typeface by Ed Benguiat inspired by Victorian lettering, and “DINER” is in 1970s Retro Art Deco style.

The two distinctive features of the “DINER” lettering—the lowercase N and the horizontal strokes on E and R that cross the stem—are rarely found in typefaces issued between World War I and World II. In my search only Neon (Nebiolo, 1935) has the lowercase N and only Stellar (Ludlow, 1929), Bernhard Fashion (ATF, 1929) and Electra (Nacional, n.d.) have the overlapping horizontal stroke. None of these have letters as streamlined and heavy as in “DINER”. I think these letters are derived from 1970s/1980s lettering by Leslie Cabarga, Michael Doret, Daniel Pelavin, Tom Nikosey et al, but have not identiﬁed a speciﬁc example. There are no phototype or digital typefaces that match it exactly, though Five and Dime NF (Nick’s Fonts, 2002) is so close I suspect that Nick Curtis may have gotten the idea for his face from seeing the Tick Tock Diner in Manhattan!

Faux or not, the word “DINER” looks great. It’s too bad that the rest of the sign does not match it.

Tick Tock Diner, 481 Eighth Avenue, Manhattan. Photograph from Block Avenue Blog, 2011.

Legacy of Letters 2013 Tour and Workshop Options

admin — Thu, 14 Mar 2013 19:04:38 +0000

Legacy of Letters 2013 Tour and Workshop Options

For the ﬁrst time Legacy of Letters is offering shorter options to its full ten day tour and workshop. Here are the various choices:

Full Tour and Workshops with Tony Di Spigna and Lucio Passerini
Sunday, June 23 through Thursday, July 4
$3775 / €2900 regular price
$3500 / €2690 student discount
Details at http://www.paulshawletterdesign.com/category/tours-talks/legacy-of-letters/

Punches for swash capitals by Giambattista Bodoni.

Optional Post-Tour trip to Parma (Museo Bodoniano)
Thursday, July 4 through Friday, July 5
$360 / €275 single-room occupancy
$300 / €230 per person/double-room occupancy
Details available upon request

The post-tour trip to Parma will include visits to the Museo Bodoniano, the Biblioteca Palatina and an archaeological museum. It will be a rare opportunity to see punches, matrices and books by Giambattista Bodoni as well as Renaissance manuscripts, incunabula and Roman inscriptions (metal as well as stone). There will be time for participants to explore Parma—the city of parmigiano and prosciutto—on their own.

Spencerian lettering for Codex 2 by Tony Di Spigna. Inked stage. 2012.

Spencerian Lettering workshop with Tony Di Spigna (http://tonydispigna.com)
Wednesday, June 26; Thursday, June 27 and Saturday, June 29
$650 / €500 regular price
$600 / €460 student discount

Participants in the Spencerian Lettering workshop will learn the basics of drawing pointed pen script letters (the kind found in George Bickham’s The Univeral Penman). The focus will be on creating a design rather than just individual letters. This is a unique opportunity since Spencerian lettering is something rarely taught in graphic design programs or in workshops run by calligraphy societies.

The workshop begins on Wednesday morning and ends on Saturday night with a group dinner, which is included in the price of registration. The registration fee includes the full workshop, all necessary calligraphy supplies, and the ﬁnal group dinner. It does not include accommodation, other meals, or any other expenses.

On Friday, June 28, the rest of the tour will take a day trip to Padua to see manuscripts and incunabula at the Biblioteca del Seminario Vescovile, visit the archaeological museum to see Roman inscriptions, and see Renaissance monuments and medieval inscriptions around the city. Participants in the Di Spigna workshop who want to come along should contact us for details.

Diana Pasovski adjusting wood type for her personal keepsake. 2012.

Typesetting and Letterpress Printing Workshop with Lucio Passerini (http://www.ilbuontempo.it)
Monday, July 1 through Thursday, July 4
$900 / €690 regular price
$800 / €610 student discount

Milanese printmaker and printer Lucio Passerini will direct the letterpress workshop. He will teach participants how to set metal type and oversee the printing. Participants in the workshop will collaborate on a group keepsake—using the Tipoteca’s extensive wood type collection—honoring Giambattista Bodoni in this bicentennial year of his death. They will also have the opportunity to create an individual keepsake.

The workshop begins on Monday morning and ends on Thursday night with a group dinner, which is included in the price of registration. The registration fee includes the full workshop, all necessary printing supplies, and the ﬁnal group dinner. It does not include accommodations, other meals, or any other expenses.

Workshop Combo: Lettering+Letterpress: Wednesday, June 26 through Thursday, July 4
$1400 / €1075 regular price
$1300 / €990 student discount

The workshops begin on Wednesday morning and end on Thursday night with a group dinner, which is included in the price of registration. The registration fee includes the full workshops, all necessary calligraphy and printing supplies, and two group dinners; it does not include accommodation, other meals, or any other expenses.

Additional information
For workshop-only options, we can put you in contact with local accommodations, etc. upon request. Contact Alta at alprice@textuality.org.

Legacy of Letters Facebook page: http://www.facebook.com/pages/Legacy-of-Letters/175239115856555

Tipoteca Italiana website (where the workshops are held): http://www.tipoteca.it/