Wizards and Runes
John visited my studio, where I was working on a set of roman capitals that would ultimately become the Requiem typeface. He had some suggestions about the design, which like most critiques were especially hard to articulate; typography suffers from a poverty of terminology. Eyeing two bottles of Rich Art poster paint in my taboret, John reached for these along with a sheet of typing paper, and the cheap plastic paintbrush that I kept for dusting my keyboard. In a few effortless strokes of black, he perfectly reproduced Requiem’s capital S, waited a moment for the paint to dry, and then reloaded the brush with white to render his corrections. The whole shebang couldn’t have taken fifteen seconds, most of it spent waiting for paint to dry. I just stared: it was like watching someone fold a paper napkin into a remote control helicopter, and then pilot it around the room.