SARAH
{right: kerned; left: not so much.}
So, I spent the better part of my afternoon printing with my shiny new silver ink on kraft chipboard. I have had this idea in my head for so long {think the minute Christmas was over last year} that it felt so good to get it out. That is, until biggest fan / greatest critic walked into my studio.
R: The "Y" is bothering me. I don't like it. {note: I might be paraphrasing here}.
Me: Okay.
R: It doesn't look like it is a part of "Merry."
Me: Okaaay.
Clearly I am annoyed. 1. I just spent a lot of time printing a lot of postcards. 2. He is right. Damn, he is RIGHT! It is all I could see. But this was not my fault. Blame the century-old, wonky wood type. So what next?
Away R goes to my giant cabinet of lead type & spacers. He finds the exact size I need to properly lock the type into the chase & proceeds to space each letter from the other as he sees fit & proportionally correct based upon the space between the "R" & "Y". Thus he begins his first lesson in kerning. Now, I am no font/typography geek. Far from it. I design something until it is pleasing to my eye. I have never taken a typography class, though I certainly appreciate a well-designed font. I recently had a client {a book designer herself} who gently pointed out my not-so-great eye for tracking & it really challenged me, but I was up for it.
Now, Mr. Attorney-by-day-Typographer-by-night had questioned my kerning skills. After teaching him how to lock the type & furniture in place, we proceed to print his {well} kerned version. Damn. So much better than mine. I will use them both & print the missing "and" on there in red ink. Though R suggests a "shimmery blue." We shall see. I am off on my MERR Y way now...
