I may have already posted these. They are photos taken at Typecon 2004 at the Window Lettering workship with John Downer and Leonard Otillio. The results are amazing. I don't know if he would use the same method described in the Times article for a larger window. Here he is silk screening the black, screening a bevel varnish, applying the leaf, backing with paint, and rubbing out the extra leaf.

http://www.aquatoad.com/typecon/IMG_6127.JPG
http://www.aquatoad.com/typecon/IMG_6129.JPG
http://www.aquatoad.com/typecon/IMG_6136.JPG
http://www.aquatoad.com/typecon/IMG_6139.JPG
http://www.aquatoad.com/typecon/IMG_6141.JPG
http://www.aquatoad.com/typecon/IMG_6150.JPG
http://www.aquatoad.com/typecon/IMG_6152.JPG
http://www.aquatoad.com/typecon/IMG_6154.JPG

R

So nobody minds that Pagane is leaning heavily on Mantinia there (right?) with not a hint of credit to the font? And no size/weight compensation either.

hhp

Yes. A heavy Mantinia lean. Serifs seem less delicate. Maybe the client specifically chose that typeface. Traditionally, I wonder, do lettering artists allow their customers/clients to choose a typeface to work with, or would they present them with some specimen of their own original designs?