This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
See more details here: http://amzn.to/1ilsz2z
Now is near
The work of Georgia Hill, Australian typographer and illustrator working from Sidney. Her practice has developed from an initial fascination with art to what is now a consuming passion for custom and experimental typography. Working in a range of mediums, her focus is not necessarily on typefaces and trends but rather on generating truly creative, high impact visuals for branding, installations, animations, murals and exhibitions. Some of them seem maybe strange but we think they are revolutionary and new. It’s sometimes the situationism in her works that says now is near.
Follow Typostrate on:
He describe his own font in this way:
One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks.
With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century.
Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now.
Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals.
The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look.
The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable.
Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure.
The font works great in small, middle and big sizes and can be a great election for magazines, wedding invitations, perfumes, and posters.
Close your eyes, and Dream with me…
See the lovely details here: http://myfonts.us/zgI4h4
“There are professional thrills and there are professional thrills, but I am extra especially thrilled to report that FSG is going to be publishing John Darnielle’s novel, Wolf in White Van, this fall. John is famous for his work with the Mountain Goats, and I suspect that none of the many fans who know his lyrics and have heard his stories will be surprised by the revelation that his is a genuinely literary mind. And it’s true—Wolf in White Van emphatically proves that his imagination and voice are at least as at home on the page as they are in song.
There are many things worth singling out for praise in Wolf in White Van:the unforgettable main character, Sean Phillips, who has been isolated by a disfiguring injury since age seventeen; Trace Italian, the intricate game within the novel that Sean created and runs; the interplay of real and imagined worlds, which is both complex and heartbreaking; the structure of the storytelling—audacious, brilliant, and never anything but convincing and unreasonably suspenseful; the prose itself, which is precise and beautiful and (forgive me) lyrical.”
Read more from editor Sean McDonald about Wolf in White Van here.