Salt & Summit – a Salt Lake City leather collection
From the Practice Log – an ongoing series of stamping studies on real-world logos.
An August study.
Salt Lake City sits in a bowl between two mountain ranges, with a dead sea at one edge and crystal hidden inside its plainest stones. This month we pressed that geography into leather – four stamps carried across the set, from luggage tags to a catchall tray. We call it Salt & Summit.
First, the trick every local uses without a thought: to get your bearings, look for the Wasatch. The mountains are east. We drew a compass dial that admits as much – three cardinal points keep their letters, and at east the ring breaks open for the ridge to stand in for the letter.
It looks genuinely beautiful.

On the luggage tags the dial stands upright – you find your bag, then you find your way. Golden tan and forest green take the stamp blind. The black tag carries it in gold foil.

Next, the Dugway geode, western Utah's favorite small fact – a lumpy gray stone that cracks open into a chamber of crystal. Our die halves one, rough rind around a burst of facets, with DUGWAY set beneath the stone.

On the keychains it becomes a pocket stone again – chestnut brown for the rind, pale sea-blue for the crystal light.

The journals carry the geode's whole argument: a plain cover, everything inside. One in warm gray, one in honeyed russet, the same amber as honeycomb calcite. Looks absolutely gorgeous when stamped onto the leather.

Then, the pair that names the collection. SUMMIT above, SALT below: the Wasatch rides over a dead-flat waterline while its reflection breaks apart into salt crystals – the lake handing the mountains back as mineral.

It sits in the corner of the toiletry bags, navy over deep espresso – lake water over evening stone.

And finally, the line locals read on the mountainsides every day. High across the Wasatch benches runs a level terrace: the shoreline of Lake Bonneville, the ice age sea that once filled this whole valley. Our stamp gives the ridge its old water line back.

We pressed it into the golden tan catchall tray – a small basin of its own, filling back up each evening with whatever the day's pockets carried home.

We made this out of love. Leatherius Woodman is on a mission to create and share artifacts of beauty, craft and love – this study is one of them, and we hope the feeling is mutual. Every image is a render – how we prototype before cutting a die.
If you'd like these made real, or anything here changed – say hello through our contact page.