Anthropologie + Hatch = Hand-crafted collaboration

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[Alyson Kuhn] The June Anthropologie catalog is so good that I will keep mine intact for a very long time. I will not slice off the cover to make a fab envelope. I will not tear out the page with the bowtie blouse. But I will gladly tell you what I now know about Anthropologie’s road trip to Nashville to collaborate with Hatch Show Print.

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Guest Post: Letter Loving Lady

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[Trish Kinsella] Samara O’Shea practices what she preaches. She runs a letter-writing business at letterlover.net where she helps those at an acute loss for words to express themselves letter perfectly with pen and paper. She has also published two books on the subject, For the Love of Letters and Note to Self. Last weekend, I had the pleasure of attending her salonesque workshop at Terrain.

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So Noted: 3/50 Project

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[Laura Shore] I love a good cause {even more so when it involves shopping}. I also love my local florist, wine store, and breakfast place. Their businesses are under pressure these days, as are a great many undercapitalized local enterprises. The 3/50 Project aims to save our shopkeeper nation – one store at a time.

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Typecraft Redux Deluxe

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[Alyson Kuhn] Yesterday’s post showcased the Deborah Butterfield catalog recently designed by Stefan Bucher, printed at Typecraft Wood & Jones. When David Mayes {print rep extraordinaire is an inadequate but pithy way to refer to him

} was describing the press-finessing for the Butterfield project, he mentioned in passing that he and Stefan had previously collaborated on a catalog for a David Hockney show. I found the particulars of that project so interesting that they warrant a post of their own.

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Behind the Scenes at Typecraft Wood & Jones

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I have just become aware of the extremely gorgeous catalog Stefan Bucher designed this Spring for Deborah Butterfield’s exhibition at L.A. Louver. How this catalog came to be so beautiful is a stellar story of designer-printer collaboration, so let’s go there.

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So Noted: Milton Glaser

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One of the great joys of my job is seeing how our paper weaves itself into the work of truly great designers. Another is collecting cool ephemera from designers I know and admire. The problem with collecting ephemera is that it’s so, well, ephemeral. After rolling up posters and transporting them from office to car to apartment to attic to the framer. . .  well, you get the idea. So imagine how thrilled I was to see that Milton Glaser has launched a new site, offering his posters and prints in pristine, collectible condition.

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