File consists of incoming correspondence from Richard L. Hopkins of Hill & Dale Private Press and Type foundry, West Virginia. Records include postcards and letters concerning the American Typecasting Fellowship conferences and newsletters, technical advice, the borrowing of material and comments on each others’ work.

File consists of two copies of “Printing History”, the journal of the American Printing History Association. Issues feature articles concerning W. Starling Burgess and the design of an italic type to accompany the Times 54 typeface, and highlight the controversy over its design. The 1998 issue includes articles authored by Rimmer.

File consists of records documenting Rimmer’s design of the Hannibal typeface, named after the birthplace of Mark Twain. Records include tracing paper samples, digital print-outs using the Ikarus program, instructions to self regarding modifications and required future work, samples, and printed letters. File also includes a sample of the Amethyst typeface.

Series consists of incoming and outgoing correspondence of a personal and business nature between Rimmer and various members of the printing community, including Paul Duensing, Jules Remedios Faye, Richard L. Hopkins, Richard Kegler, Robert R. Reid, William Rueter, Andrew Steeves, Christopher Stern and Alan C. Waring. Correspondence includes technical advice and comments on recent work. Records also include contact information, thank you letters and prints, as well as correspondence related to various organizations, including the American Typecasting Fellowship, Typochondriacs and the Alcuin Society.

File consists of galleys of “Fred Goudy, typesetter?” written by Jim Rimmer as the first book attempted by Pie Tree Press. Records show the mock-up of the proposed book, which was never completed. Includes an introduction, text, and prints, with hand-written comments for modification. Galleys are handset in 14 point Kennerley Old Style and italics. Rimmer completed the design, typesetting, woodblock illustration, presswork and binding for the project.

File consists of copies of articles about Rimmer’s work from various media sources, including “aq, the magazine of SFU”, “Inkings”, “Print Action”, and “The Printer”.

File consists of records related to Rimmer’s typeface design of Quill, first designed in 1985, but not cut until 2005. Records include an explanatory note from Rimmer explaining the design and typeface creation process, sample prints, photocopies, transfer paper, and drawings, as well as two master pattern cards for the letters “o” and “p”.

File consists of records related to the printing of “Being Five or Six”, created for Wayzgoose 84. Records include a copy of the text, a preliminary mockup with corrections, and a copy of the final product. The book is printed on mulberry paper, and handset in Juliana Old Style. Lino block illustrations were also completed by Rimmer.

File consists of numerous large-sized prints created by Rimmer, including portraits and still life.

File consists of fifteen black-ink prints on manila paper. Images are from Rimmer’s work on The Adventures of Tom Sawyer. All prints are signed by the artist.

File consists of records related to Rimmer’s typeface design of Albertan, named after his wife. Records include ink, pencil and digital sketches in ink and pencil, mounted sketches, doodles, and samples. Sketches are of Albertan, Albertan Bold, and Albertan Italic.

File consists of a copy of Amphora 76, the journal of the Alcuin Society, and whose cover Rimmer designed and printed, and a separate copy of the cover. The journal also features an article written by Rimmer, and is set in his Kaatskill typeface. File also consists of the blocks used to print the cover illustration.

File consists of records documenting Rimmer’s trial setting of The Adventures of Tom Sawyer in 18-point Juliana Old Style type. Records include sample pages of text and accompanying linocut illustration prints. File also includes original sketch of featured print.

File consists of records related to the design of the “Albertan Bold” typeface, named after Rimmer’s wife, Alberta. Records include pencil sketches, and a cover used for a book of design samples featuring the Lancelot Titling and Garamond types.

File consists of records related to the design of the Albertan typeface, named after Rimmer’s wife, Alberta. Records include pencil and ink sketches on tracing paper and sketching paper, a printout of all types available from Rimmer, transfers of the type, and a keepsake printed for the American Typecasting Fellowship 1990 conference, held in Nevada City, California, explaining the design process and availability of the type.

File consists of Rimmer’s second attempt to print The Adventures of Tom Sawyer and records illustrating the creation of a book discussing Rimmer’s work. Records include 12 pages of galley proofs set in 18 point Cloister, mock-ups of both texts, with edits, sketches, and notes concerning costs and materials.

File consists of a sketchbook containing eight pages of pencil sketches for the characters in The Adventures of Tom Sawyer.

File consists of records related to the design of the Posh and Credo typefaces. Records include large pencil and ink sketches of the former, and sketches and digitally-printed samples of the latter using the Ikarus program.

File consists of two copies of a proof for The Adventures of Tom Sawyer. The proof shows the “Hannibal Oldstyle” typeface and includes a linocut print. Proofs were created for students of Linda Coe’s typography class at the Emily Carr Institute of Art & Design, March 2004. Both proofs are initialed by Rimmer.

File consists of records related to the design of the Fellowship typeface, designed by Rimmer subsequent to his attendance of the American Typecasting Fellowship conference in 1984. Records include sketches on transparency paper, ink drawings, and photocopies made from drawings in two larger sizes; several include edits and notes. Sketches include lower and upper case letters, numbers, and accents. A page printed with samples of the typeface is also included.

File consists of a single print from Shadow River: the Selected Poems of Pauline Johnson, with instructions for colour along the bottom, and a set of prints that appeared in the book, in colour.

File consists of records related to the design of the Kaatskill typeface, including digitally-printed samples and various sketches. Records also include a set of notes relating Rimmer’s process in reviving this typeface, referring to attached samples, portions of finished art ready for digitization, linear drawings, and initial drawings. These notes are numbered in the order in which each step is carried out. Also includes a sample of Goudy’s use of Kaatskill in Rip Van Winkle.

File consists of a single broadside for Leaves from the Pie Tree, Rimmer’s forthcoming autobiographical work. Record is noted to be page 1 of the publication, and the text introduces Rimmer’s work.

File consists of a mounted print of a typeface designed by Rimmer.

File consists of potential bindings to be used for A Christmas Carol, including measurement information, decorative options, and sample fabrics, including leather and suede. Records also include two sheets of paper printed with a decorative pattern.

File consists of records related to the design of the Lapis Light and Nefertiti typefaces. Records include pencil sketches on tracing paper and ink sketches.

File consists of a dummy of A Christmas Carol demonstrating the publication process. Dummy includes samples binding options, preliminary sketches, optional designs and lettering and printed text.

File consists of records related to the design of the Cotillion typeface. Records include ink and pencil sketches on both paper and tracing paper and digitally-printed samples using the Ikarus program.

Series consists of records related to specific projects and topics, including Rimmer’s participation in the design of the Burgess Italic typeface and the debate concerning its origins. Other records include photographs relating to printing in Vancouver’s Chinatown, taken for inclusion in an American Typecasting Fellowship article; photographs of Rimmer’s foundry and jazz band; articles written by and about Rimmer; notes explaining his work process; awards; miscellaneous prints; and material relating to Frederic W. Goudy and Cobblestone Press.

File consists of correspondence concerning two articles featured in “Printing History” related to the design of an italic type to accompany Time 54. Records include correspondence from typographers and typographic historians John Dreyfus, Harold Berliner, Paul Duensing, and Walter Tracey. Records also include letters from Mike Parker, the author of “W. Starling Burgess, Type Designer?” which sparked the controversy, and an explanatory note written by Rimmer.