It felt natural to build a typeface to celebrate Christo's work—its bulk, its dimensionality, its drapery. The final variable form includes not only a weight axis, but a perspective axis as well. The web specimen allows the option to explode the cover, to test the dimensional. It also place the bandy regular weight in conversation with the extreme ink traps of the display. In this spaces, I had the letterform fold inwards to evoke the character of Christo's wrapped works.
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At sunrise, on October 9, 1991, Christo and Jeanne-Claude's 1,880 workers began to open the 3,100 umbrellas in Ibaraki and California, in the presence of the artists at both sites. This Japan-USA temporary work of art reflected the similarities and differences in the ways of life and the use of the land in two inland valleys, one 12 miles (19 kilometers) long in Japan, and the other 18 miles (29 kilometers) long in the USA.

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In Japan, the valley is located north of Hitachiota and south of Satomi, 75 miles (120 kilometers) north of Tokyo, around Route 349 and the Sato River, in the Prefecture of Ibaraki, on the properties of 459 private landowners and governmental agencies. In the USA, the valley is located 60 miles (96.5 kilometers) north of Los Angeles, along Interstate 5 and the Tejon Pass, between south of Gorman and Grapevine, on the properties of Tejon Ranch, 25 private landowners as well as governmental agencies.

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Eleven manufacturers in Japan, USA, Germany and Canada prepared the various elements of the umbrellas: fabric, aluminum super-structure, steel frame bases, anchors, wooden base supports, bags and molded base covers. All 3,100 umbrellas were assembled in Bakersfield, California, from where the 1,340 blue umbrellas were shipped to Japan.

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Christo and Jeanne-Claude's 26 million dollar temporary work of art was entirely financed by the artists through their The Umbrellas, Joint Project for Japan and U.S.A. Corporation (Jeanne-Claude Christo-Javacheff, president). The artists do not accept sponsorship. All previous projects by Christo and Jeanne-Claude have been financed in a similar manner through the sale of the studies, preparatory drawings, collages, scale models, early works, and original lithographs.

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Christo
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