"It is the end of the age of hot mechanical hot type printing. And the beginning of the new, the computerized cold type via electronic."
I knew there was a time when newspapers were set in type by hand but this video shows the chaos of 140 Linotype machine operators pieces together the last issue of the NY Times newspaper set by hand all the way to print production. back then the plates were casted with 40 lb lead metal plates and the entire process is done under a tight deadline to ensure the paper gets out to the trucks and planes in time.
The main Lintotype operator interviewed in this coverted 16mm film says he's retiring after 49 years of printing experience. He retired after the last issue was printed. Another printer there says that all of his "...26 years of printing experience is now locked up in a box. It's inevitable to move onto computers."
Despite this being 38 years ago, I still see some of the tools used then used now in present-day letterpress printing. I still use a quoins to lock up a form on the letterpress bed and I too can read text inverted. The polymer plates used today are not right-reading and are inverted. The machine is also just as greasy to work with.
One of the best parts of working with designers is getting to know them as a person first and to see them create a brand that is an organic extension of themselves. I met Elise Joseph, a stylist + tastemaker now based in Nashville, Tennessee, a few years ago and back then she had the vision to create Goodwin but it was a vision at the time. We shared a long coffee in Venice's Abbott Kinney area and even then she was longing to be in Nashville. She was outgrowing her blog Pennyweight and was looking ahead.
A few years later she reached out for some collateral for her new adventure, Goodwin, a curated capsule online shop based on the foundation of mindful women's wear. Her shop carries clothing from independent designers for a conscious buyer. I too have been trying to buy clothes with this ethos and ask myself "Where is this made? How and where was the fabric created?" As someone who works with my hands, I try to value the time and quality put into each garment. The effect of wearing a piece made with intention makes me feel beautiful and gives me a sense of pride knowing that I helped to support a fellow creative. I know the piece will last longer and plus there'll be no one else around wearing the same thing.
Elise partnered with Julia Kostreva to create her branding and logo. For her printing, we selected neutral toned papers milled in Germany. Her business cards are duplexed to about 200# and letterpress printed. The hangtags are also letterpress printed and triple-mounted with a black paper sandwiched in between for an extra thick tag.
These projects are my favorite kind- there's fulfillment when unique prints are sent off to a place with heart.
I'm grateful to be a part of Goodwin's circle of designers even if it's only through paper.
This truly is like the cherry on top! We had no idea we still have a chance to get into Dwell Magazine, the coveted magazine for architecture and design. It's been a few years since our home was completed in August of 2013 and as time passed, we were able to slowly acquire furniture and fixtures we wanted and were able to dial in the house to our liking. Living in the space made us aware of how we were using spaces and how the flow felt as we made it into our home. Our house is like an evolving work in progress always and we haven't even touched the landscaping our outdoor spaces yet.
Our living room in print in Dwell Magazine, Jul/Aug issue
The article talks about our journey of building a custom home during a recession. We started this project while we were still in our late 20s. What were we thinking? At the start we were brimming with ambition but as construction goes we were scraping by after we saw a good chunk of savings poured into concrete and casings. We didn't even have framing to show for yet! We were dragging to the "half a decade saga" as Dwell mentioned and took a year off during that time. During that year, we lived abroad in Munich, Germany. Richard was working on designs BMWi cars, an almost top secret project at the time, and I honed my printing skills in the motherland of printing. The time away from LA helped us to recoup finances and allowed to step away from a project we were deep into. We got married 2 months after moving back to LA and even have wedding photos of us in front of our construction site.
Editorial spread of the article
While telling our story during the interview for this article, it made me nostalgic. Like any challenge overcome, it's that much sweeter in hindsight. Goodbye to the days of panic floods whenever it rained, frantically getting dressed because of construction workers stomping the grounds at 7:30am, a makeshift kitchen, intermittent periods with no water, annoyed and angry neighbors, endless dust, stressful inspections and stacks of invoices. I can go on and on.
It felt good writing a note to mom to insert into a copy of Dwell then sending it off in the mail. We heard back from her as soon as she got it.
In case you don't get Dwell in print, the folks over at the magazine were polite to send us a digital version of the article.
Check out the link below to see the article and for more photos.
Special Thank You to
Michael Friberg for the photos and spending the entire day with us from first to last light
Jessica Comingore for house styling the night before until 10:30p
DevCon Construction for building our home and putting up with us
Click here for the full PDF of the editorial spread
A wedding invitation is usually the first decision a couple makes that so publicly reflects their taste and the tenor of their wedding. At best, invitations should infer a sense of elegance and originality. At worst, they can look like a mere afterthought.
- Vera Wang