Medlar Comfits: Je t'aime: typography

10 August 2012

Je t'aime: typography

Lovers of great letters can go to Paris to have fun,
but there are many other places where romance has surfaced.

This script graces an otherwise disgraceful public toilet.

I'd love to turn it into a font, called Je t'aime, or Joie.

There's something about Je t'aime though.

It can dance with many partners, beautifully.

3 comments:

Adam Browne said...: but isnt that perfect? isnt that what love is, beautiful lettering uncertainly calligraphed onto the wall of a disgraceful toilet?

also - have you seen these flowers - frumesetea? - https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc7/426948_225237104238192_131291716966065_425922_181292749_n.jpg; 16 August 2012 at 18:13
anna tambour said...: Isn't it good that there is such a variation of what we see as perfect?

And ooh, what's the story about those flowers?; 18 August 2012 at 14:49
Anonymous said...: just a picture that was on facebook, and I thought you'd be interested, although it looks a bit more prim than the flora you usually favour...

and the graffito is perfect at least in the wabi sabi sense...

Adam; 18 August 2012 at 19:39

Post a Comment

from Oddness/Forbidden Futures

"Her love for the lives and fortunes of the small is most evident to me in her dog-centered stories. “The Dog Who’d Been Dead”, “Shaking Heaven’s Fleas”, and “Bones from Heaven” involve the afterlife of dogs—where they go, what concerns them, how they feel about the humans with whom they are so closely linked, and their own relationship with d/Death. Tambour beautifully enters into the minds and souls of dogs here, and if nothing else, her concern for the little ones, human creation’s overlooked ones, makes her work and this collection in particular immensely rewarding." -- Jeremy Brett, The SFF Librarian Reviews, Ancillary Review of Books, August 2023

from Infinity Plus

"An awful lot in this book. As with her magnificent CRANDOLIN, perhaps too much. Yet it is not a book measured for a market, and we need more of that. Tambour has, I hope, quite a few more coming. And I hope that the market finds her. The language she is evolving for telling the kinds of wild and biting stories she is interested in is part vernacular, part natural historian, full of wit and pulling its drama from an assumed sharing of empathy for those in the predicaments in which her characters find themselves." - Paul Voermans, "Technique of Awful: When Extremity Takes Us Past the Real", 10/22/2017, The New York Review of Science Fiction