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INDIE FONTS 2, A COMPENDIUM OF DIGITAL TYPE FROM INDEPENDENT FOUNDRIES.
Kegler, Richard, James Grieshaber and Tamye Riggs (editors)
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First edition. Foreword by Peter Bain. Book design by James Grieshaber. Text face is Alisal, designed by Carter & Cone. Indie Fonts provides a showcase collection of almost 1600 diverse fonts from 19 of today's hottest digital type foundries, creating an invaluable resource for designers, art directors and typographers. The book is organized by foundry so the user can get a feel for the work produced by each group. A visual font index is provided in the front for quick-scanning, with a fully cross-referenced index of font names, designers, and original designers. Contributing foundries include Atomic Media, Identikal, Jukebox, Storm Type Foundry, Terminal Design, and Union Fonts. Accompanying this book is a Bonus Fonts CD-ROM that contains representative 38 fonts. With a glossary of typographic terms and quick reference charts as appendixes. Designers looking for unique typefaces will find what they are looking for, whether historical revivals or futuristic techno faces.
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More On This Subject - -
> TYPE SPECIMENS, TWENTY-FIRST CENTURY
> TYPOGRAPHY
> UNITED STATES
> GRAPHIC DESIGN
> DIGITAL
> NEW
Books of related interests - -
> McGrew, Mac, AMERICAN METAL TYPEFACES OF THE TWENTIETH CENTURY.
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PORTMEIRION
by Gerry, Leslie and Robin Llywelyn
This deluxe edition contains a 23" x 33" foldout illustration, 8 loose 12" x 16" illustrations, and a custom clamshell box.
Portmeirion is the extraordinary Italianate village created by the architect and town-planner Clough Williams-Ellis on a remote peninsula in North Wales.
The double-spread images in Portmeirion brilliantly capture its architectural eccentricities in a pageant of colour created by the artist in the form of a series of seven original prints drawn on an electronic tablet, a technique he has exploited that is in many ways the successor to the Jean Berte and pochoir processes in that it achieves its effects by superimposing layers of flat colour on top of one another.
Clough's grandson, Robin Llywelyn, who spent much of his childhood at Portmeirion, provides a vivid and concise commentary on each scene, tracing the development of the village from its beginnings in 1925 and describes how Clough put 'fallen buildings', rescued from demolition before and after the war, to brilliantly creative use in his uniquely bizarre concept of Portmeirion.
The images are printed by the artist on Somerset mould-made paper, and the text, on alternate openings, is set in 24-point Caslon and printed on a heavyweight Zerkall chamois geglattet mould-made paper in a threadless zig-zag binding.
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