Material Goodies from Carmel


[Alyson Kuhn] I was recently in Carmel for a couple of glorious days. Not at a B&B, but lots of R&R. Actually, I feel an alliteration coming on, for R&R&R: Regeneration & Reference Librarian & Revisitation. Allow me to show you Italian regenerated leather at Material Goods, an Arabic encyclopedia at the Monterey Institute of International Studies, and a French treasure desk at Pine Inn. Ready, set, read.

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So Noted: I.D. magazine to publish its last


[Tom Biederbeck] All things must pass, but that’s small comfort with 2009 winding down as one of the bleakest years on record for magazine closures. Even more painful is that the design press seems to be coming in for more than its share of bad blows. Latest to fall is I.D., the International Design Magazine; owner/publisher F + W Media has announced that the Jan./Feb. 2010 issue will be its final printed edition (Nov./Dec. 2009 cover shown).
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Our toast to embossing


[Alyson Kuhn] How do you see blind embossing? It doesn’t involve any ink, but it is very visible. Blind embossing is textural and tactile. In the case of the Favia wine labels, the effect is memorable.

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So Noted: Good, long calendar


[Lee Moody] When Peter Good decided that next year’s calendar theme would be Book, he was able to include his longtime friend, celebrity chef Jaques Pépin. This of course provided a reason to have a party: a calendar-signing party.

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Making envelopes makes me flap-happy


[Alyson Kuhn] Tracy Smith at Mohawk recently sent me a royal assortment of press sheets and wrapping papers, a perfect corrugated club sandwich. I have already had a lot of fun with them. I wish to subscribe to the Flat of the Month Club. AOK, Tracy?

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Show me the Mohawk!


[Alyson Kuhn] Just my type of invitation, the call for entries to Mohawk’s eleventh annual design competition. Marty Neumeier and Claudia Fung collaborated on a poster that is conceptually smart and typographically terrific. Marty recalls, “This was the first year Mohawk had so many paper grades to mention. This worked perfectly with my sense that there is resurgent interest in decorative typefaces of all kinds.”

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