VIEWS: 12 PAGES: 3 CATEGORY: Business & Economics POSTED ON: 5/30/2010
Like all good subversives, House Industries hides in plain sight. As typeface designers, they operate in a niche typically reserved for highbrow gentlemen in handmade spectacles who spend their years deriving new fonts from the 10th-century French master Claude Garamond. Started by Rich Roat and Andy Cruz in 1993, the Wilmington, Delaware-based firm takes its cues from a different place. As devotees of the lowbrow cultures of hard-core metal and punk music, hot rods, skateboarding, and custom car pinstriping, House is like a mastiff-schnauzer mix dropped into the non-sporting group at Westminster. Through the unlikely vehicle of type, House has slipped its way into the zeitgeist. And by earning the admiration of the creative elite (120,000 design machers receive the company's mail-order catalogs), the House aesthetic consistently elbows its way into the broader commercial world. House has mounted a stubbornly analog defense by creating lush packages for their offerings that became collectible in themselves.
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