名称 : 都営地下鉄大江戸線 飯田橋駅 構内
設計者 : 渡辺誠
施工者 : 隈谷, 白石, 森, 酒田建設共同企業体
所在地 : 東京都文京区後楽1丁目9番5号
延床面積 : 11,697平方メートル
深さ : 32.1メートル
開業 : 2000年
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
Here’s a selection of decorative capitals filling rectangles. While I’ve not necessarily chosen the most beautiful of initials they do represent a range of styles. The sqaure shape provides a good structure for patterns and imagery while making it easy to compose blocks of text around them.
- Midolle, Silvestre and Others, Florid and Unusual Alphabets
- William Morris, Kelmscott Chaucer
- Owen Jones, 1001 Illuminated Capital Letters
- Taschen, A Visual History of Typefaces and Graphic Styles
Anglecia Pro is an exquisite and versatile system of three transitional serif typefaces designed to work together in editorial design. Sharing the same skeleton, vertical axis, and trapezoidal uncurved serifs, each of these faces bears different key dimensions and different contrast typical for three different type epochs.
Anglecia Pro Text is a typeface designed for general typesetting in average reading sizes. Although it features a vertical axis, its soft skeleton, relatively small x-height and prominent ascenders and descenders give the typesetting a traditional warm texture with a slight contemporary touch.
Anglecia Pro Title incorporates proportions of familiar transitional serif typefaces but exposes higher-than-average vertical contrast which makes it useful for setting captions, pull quotes or general purpose text in sizes of 12 pt and above.
Anglecia Pro Display, still having non-rectangular serifs and the same soft skeleton as the rest of Anglecia Pro system, features extreme contrast, much thinner serifs and exaggerated ball terminals typical for Didone modern serif families. Its large x-height and tighter letter spacing suggests larger text sizes e.g. in decorative headlines, extra large pull quotes or logos.
Get it here: http://myfonts.us/WZFlUx