Spun cold
++ Frames come off the ridge and into the shed the same morning. We spin them at + cellar temperature, never warm. Heat makes honey pour fast and lose the smell + of its own flowers; we trade the speed for the smell. +
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--git a/site/css/tokens.css b/site/css/tokens.css index bd5865d..983436e 100644 --- a/site/css/tokens.css +++ b/site/css/tokens.css @@ -934,13 +934,14 @@ --font-label: "JetBrains Mono", ui-monospace, monospace; --font-mono: "JetBrains Mono", ui-monospace, monospace; - --display-weight: 800; + --display-weight: 700; /* lightened from 800 — 800 + loose tracking read too heavy */ --display-style: normal; --text-display: clamp(3.25rem, 6.5vw + 1rem, 6.5rem); --text-display-s: clamp(2.25rem, 4vw + 0.75rem, 3.5rem); - --tracking-display: 0.04em; /* all-caps, slightly tracked */ + --tracking-display: 0.02em; /* tight, professional (was 0.04em, which read as AI-spread) */ + --tracking-display-loose: 0.04em; /* spread look — marquee banners only */ --tracking-tight: -0.005em; --tracking-label: 0.18em; /* mono all-caps labels */ diff --git a/site/examples/garden-01/index.html b/site/examples/garden-01/index.html new file mode 100644 index 0000000..dd9899c --- /dev/null +++ b/site/examples/garden-01/index.html @@ -0,0 +1,386 @@ + + +
+ + +Field Almanac · Northern Vermont · Season 2026
+ Hollowback Apiary + +Nine hives. One ridge. No blending.
++ We keep bees on a single south-facing ridge above the Lamoille valley and + pour what they make, one season at a time — unfiltered, unblended, never + warmed past the temperature of the hive. +
+ ++ + Lot No. 14 · poured 4–5 September · 312 jars +
++ Everything in a jar of Hollowback honey was within a bee’s morning flight of + the same nine hives. That is the whole idea, and it is also the whole limit. +
++ The hives sit at the top of an old sheep pasture that runs down toward the + Lamoille. From May the bees work the wild raspberry and the clover that took + the field back; by July they are up in the basswood; in the cool weeks before + frost they bring in goldenrod and aster, dark and a little wild on the tongue. +
++ We do not move the hives to follow a crop, and we do not buy honey from anyone + else to stretch a season. So a poor June is a smaller June, and the + summer lot says so. We would rather sell less and have it be + honestly from here. +
++ The honey is spun cold, strained once through cloth to take out the wax, and + poured by hand the same week. Nothing is heated to make it pour faster or + filtered bright to make it sit longer on a shelf. It will cloud and set in the + cold — that is honey doing what raw honey does. Warm the jar in a bowl of + tap-hot water and it comes back clear. +
+All on one ridge, all overwintered in place.
+South-facing, above the valley frost line.
+Raspberry, clover, basswood, goldenrod, aster.
+Cold-spun, strained once, jarred the same week.
++ Four pours from the 2026 season, each from one stretch of the bloom. When a + pour is gone it is gone until the same flowers come round again next year. +
+Lot 14-A · late May
++ The first and palest pour. Light, almost floral, the taste of the field + coming back after the sheep. Sets soft and white in the cold. +
+$16 / 12 oz
+ Reserve +14 jars left
+Lot 14-B · early July
++ Our shortest bloom and the one we wait for. Cool and green-edged, a little + minty, with the smell of the linden flower still in it. Stays liquid longest. +
+$19 / 12 oz
+ Reserve +Sold out for 2026
+Lot 14-C · high summer
++ Everything blooming at once — the household jar. Round and even, equal + parts clover and wildflower. The one we put on toast and never label fussily. +
+$15 / 12 oz
+ Reserve +In the pantry now
+Lot 14-D · before frost
++ The last and darkest pour, brought in cool. Malty, almost smoky, with the + bite the goldenrod leaves behind. For cheese, dark bread, strong tea. +
+$17 / 12 oz
+ Reserve +In the pantry now
++ Every jar carries its lot letter and pour date. Shipped in straw, padded by hand; + flat-rate within New England, at cost beyond it. +
++ Four steps, and not one of them is in a hurry. The whole point of small-batch is + that no part of it scales. +
++ Frames come off the ridge and into the shed the same morning. We spin them at + cellar temperature, never warm. Heat makes honey pour fast and lose the smell + of its own flowers; we trade the speed for the smell. +
++ One pass through a square of cloth takes out the wax and a stray bit of comb. + That is all. We don’t fine it bright or push it through paper — + the pollen and the cloud are the honey, not a flaw in it. +
++ The strained honey rests in a covered tank for several days so the last air + and froth rise on their own. No pump, no pressure, nothing forced. It clears + the way a pond clears after rain. +
++ We fill, weigh, and cap each jar one at a time, write the lot and the date on + the label, and pack it in straw. A good day is a few hundred jars — and + then that pour is closed. +
++ A standing jar is the simplest way we know to sell honey: tell us your address + once, and one jar of whatever we’re pouring arrives at the turn of each + season — four jars a year, billed the week each ships. Pause or stop with + one reply. No tiers, no app, no club. +
++ Press Quaternary a working type studio. Bríd Halloran sets letters that refuse to sit still. +
+ ++ Pull the axes. The word reads Restless by design — that is the point of a variable face. +
+Six masters on one weight axis, one width axis, one optical size. Drawn 2024–2026. Latin Extended, set here at the sizes it was made to do work at.
+Hairlines hold at billboard size.
+Reads quiet in a paragraph, loud on a wall.
+A working middle, for captions and credits.
+Where a headline starts to push back.
+Set it once. Let it shout.
+The shape carries the meaning. Below: “Rain on the Lee,” set so the lines fall the way the rain does — typography as the picture, not its caption.
++ Rain on the Lee, a concrete poem. The words fall down the page in slanting lines, + faster and heavier toward the bottom, where they pool into the single word: river. +
+ +A twelve-column grid is a promise. I keep it just long enough that breaking it means something. One element always crosses the line on purpose.
+Fri 14 March · 8pm
+Triskel Arts Centre, Tobin Street
+ +Eleven years, set in a ledger. Type design, identities, poster series, and the occasional book — each with whoever commissioned it.
++ I draw type, set poems into shapes, and make posters that argue with their own grid. + Most of it starts on tracing paper and ends as one variable file. I take a few + commissions a year — identities that need a face nobody else has, and print + that wants to be read across a room. +
+ + + +Edition 04 · Govanhill · 18–19 October 2026 · Free entry
+ OFF-REGISTER + + +A risograph print fair · Two days · One drum at a time
++ design like print: warm, off-register, intentional. For one weekend the + Pulp Yard fills with spot colour — fluorescent pink that won’t sit + still, teal that bleeds a hair past its edge, paper you can smell. Come + turn the drum. +
+ +Thirty-four studios · Hall A & the Mezzanine · updated 2 Oct
+Showing all 34 studios.
+ ++ … and twenty-five more, from Govan Letterpress to Fluoro Bakery. + The full A–Z and the floor plan go up the week before. +
+Talks on the Mezzanine · printing in Hall A · all free, drop in
+Small groups · materials included · book at the door
+Sat 13:00 · 90 min · £18
++ Draw it, fold it, run it through the press, staple it. You leave with + twenty copies of an eight-page zine and ink under at least one fingernail. + No experience — we mean it. +
+8 places · ages 12+
+Sat 15:30 · 2 hrs · £26
++ The whole point of riso is the misregister. We’ll layer teal over + yellow, shift the paper a few millimetres on purpose, and chase the green + you can only get by accident. Bring a drawing or use one of ours. +
+6 places · ages 16+
+Sun 15:00 · 60 min · free
++ One colour, big shapes, no precious objects. Little ones cut a stencil + and pull their own poster to take home. Aprons supplied; the floor is + already a mess. +
+Drop in · under 12 with an adult
++ Free entry, both days. No ticket needed — but leave your email and we’ll + send the floor plan, the full A–Z of studios, and a heads-up when workshop + places open. One message, the week before. Nothing after. +
+ + +