If you got a letter from Le Corbusier, it had this stamp.

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@myhelloprettycity
If you got a letter from Le Corbusier, it had this stamp.
Oh My God. I just watched one of your videos where you re-wrote an entire address card...your calligraphy and your flourishes are crazy gorgeous. How exactly do you decide what flourishes to add? How do you know it's not going to be awkward looking or anything? :)
Thank you, I’m glad you like them! The secret for flourishing is to add just enough but not to go too crazy with them. Here is my process for making an envelope.
The first thing I do is stick a stamp on the top right corner. Sometimes I stick more than one stamp, sometimes I use stickers, but the point is that I want to know exactly how much space I have. Once I stuck my stamps, I consider what the address is. Some addresses are super long (international addresses) and some rather short. It helps to have a visual of the address as well. Here I have one for Ned Flanders which is a standard American address, a name, a street, city, state and zipcode. Knowing that the address is four lines, I draw my guidelines with pencil. I always make them wavy because I can’t be bothered with a ruler. Nevertheless, I make sure there is plenty of space at the top or bottom in case of overflow.
I always start with a large name, because this is what the recipient wants to see. I don’t make it very fancy to start with, instead I make sure the whole name is written well and readable and fits well in the space that is available.
When the name is done, I add some flourishes at the beginning and ending, but making sure it is not over the top yet. I want to leave space for the rest of the envelope.
Now for the street address, this is super important because this is actually what the postman is looking for. Again, make it readable and add flourishes later.
Leave all that tantalizing empty space for now.. put in the city..
..And state. You can just use the two letter state abbreviations, but I always like writing out the whole state especially if it’s just one short word. If it’s a long hard to spell word like Masassachussettchustetts or Pennysylvavniavaninia then I’ll just use an abbreviation. Also I always make sure the zipcode is visible, it is the most important part of the envelope for the postman!
Once everything is down, then the flourishing can start. Tastefully fill in the empty space.. it’s really hard to not go overboard, but once you have that figured out, let me know..
When the ink is all dried (I hold it up to the light to see if there’s any glossy ink spots left), I erase the pencil lines. It should look like the lines are floating! Sometimes at this point I add more stuff, but usually it should be ready to go.
Hope this helps!
Button worn in 1980, representing the fact that working women in the United States earned 59 cents for every dollar earned by men at the time. Today that figure is believed to be 77 cents.
Via the Edna Mae Phelps Political Collection, Oklahoma State University
From The New Yorker: Dick Cavett talks about his worst show ever, when John Cassevetes, Peter Falk, and Ben Gazzara walked onto their on-set interview to promote “Husbands” bombed out of their minds.
I want more women behaving like this on television.
Hiking - I don’t like either the word or the thing. People ought to saunter in the mountains - not hike! Do you know the origin of that word ‘saunter?’ It’s a beautiful word. Away back in the Middle Ages people used to go on pilgrimages to the Holy Land, and when people in the villages through which they passed asked where they were going, they would reply, “A la sainte terre,’ ‘To the Holy Land.’ And so they became known as sainte-terre-ers or saunterers. Now these mountains are our Holy Land, and we ought to saunter through them reverently, not ‘hike’ through them.
John Muir (via awelltraveledwoman)
I especially enjoyed the way he moved… projecting a sense of maleness that depended not on the exclusion or denigration or conquest of women but on his appreciation of his body and what it could do.
Dang. This is so right on.
Ellen Willis on Bruce Springsteen, 1974.
James Deen vibes.
(via ellenwillis)
"When feminism first erupted, it was for me an extremely erotic moment, ‘cause I think, for the first time, I saw the possibility of what I was really being beautiful."
—Ellen Willis
Filmmakers Mary Dore and Nancy Kennedy are making a documentary about early radical feminists, called She’s Beautiful When She’s Angry—and both my mom and I are in it.
So glad my life now includes knowing about this incredible woman who wrote and thought great things about rock and roll, feminism, and being alive.
Adam Frezza & Terri Chiao in the studio. Photo by June Canedo for Drop Magazine, Interview by Harri Thomas.
She was beautiful, but not like those girls in the magazines. She was beautiful, for the way she thought. She was beautiful, for the sparkle in her eyes when she talked about something she loved. She was beautiful, for her ability to make other people smile, even if she was sad. No, she wasn’t beautiful for something as temporary as her looks. She was beautiful, deep down to her soul. She is beautiful.
F. Scott Fitzgerald (via myquotelibrary)
The Real, Fabulous Knick Knacks of Fictional, Fabulous Females
Deborah Buck was the proprietor of Madison Avenue Buck House antique gallery and store for 10 years. Then the financial slump sent sales plummeting, and she had to closer her once-successful venture. But while she shuttered the business, she didn’t shutter its windows, spending six months using the retail frontage for an art project documented in the new The Windows of Buck House: Fabulous Fictional Females.
The book’s photos, taken by Jaka Vinšek, show how Buck kept her windows filled with a changing array of accouterments for 22 imaginary women. She wanted to create a pantheon of swashbuckling heroines seen from behind the curtain—a collection of commemorative portraits that evoke life, like dioramas at the Museum of Natural History. She’d been inspired by a visit to the home of Georgia O’Keeffe in the New Mexican dessert. “Everything was as she had left it, and it had such a strong voice,” Buck said. “It was a sense of connection with someone I truly admired: a woman who raised the bar on what was possible, someone who took risks with her life and her mind.”
So she came up with characters like Ink Lee, a Shanghai artist; Goldy Banks a Geneva investment banker; Berty Cardinal, a Brazilian ornithologist; and Eureka Miner, a Utah prospector. Often, the displays began with a “keystone piece” in the form of one item of furniture. “From there I created a personality collage,” she said. She began to ask questions about the woman she’d created: Who is she? Where is she? What’s she doing? What is her challenge?
Read more. [Image: Jaka Vinšek]
Farewell to the courageous, iconic Věra Chytilová.
If you haven’t seen Daisies, it’s a great place to start.
Ray Johnson created a series of promotional flyers for his design practice, These were created in the mid-1950s when he resided at 2 Dover St. in Manhattan. —ds
Mid-1950s
I was daring enough to want to do what I wanted,” she said, “even if it was a mistake.
http://www.nytimes.com/2014/03/23/nyregion/vera-chytilova-dies-at-85-made-daring-czech-films.html?hpw&rref=obituaries&_r=0
Reason #421 why we love classic correspondence: rounded-edge stationery.
From the archives: A stationery trousseau box pattern design (yes, even the boxes were custom back then) offered in our 1939 album.
Happy birthday to William Glackens (American 1870-1938)! Born and raised in Philadelphia, Glackens later moved to New York where he made this painting, which records a bruising visit to an indoor roller skating rink, made by Glackens, Robert Henri, and many of the other artists associated with The Eight (a group of American painters who focused their attention on scenes of daily life). The hilarious evening, in which Glackens was the first to fall, encapsulates the artist’s fascination with the modern city and its popular attractions. Glackens’s efforts to chronicle the contemporary urban scene were rooted in his training as a Philadelphia newspaper illustrator, when he worked alongside John Sloan and others on the Philadelphia Press. Come see this and other scenes of American life in the installation “American Impressionism and Realism" in Gallery 49. ”Skating Rink, New York City,” c. 1906, William Glackens, Gift of Meyer P. Potamkin and Vivian O. Potamkin, 1964-116-7
I will see this, too.