Adrift Font
Favio Cassidy
Immediately I sensed I was in new territory. The copy editor knew Italian and had checked my work against the original. There were suggestions, occasionally objections. In the past, since Calasso had excellent English, I could appeal to him to support this or that stylistic choice, if it seemed important. Now this authority was gone. The text was what it was, independent of its author, at the mercy of its readers. A ship had slipped its anchor and was adrift on the high seas, unmanned. Anyone could board it.
following hot on the recent cell width tunings for the serifless capital I and lower case l, comes the adrift font with cell width adjustments for the lower case hooked glyphs..
as an advocate of monospaced fonts for the uniform visual cadence they provide for reading, glyph set combinations have largely settled down in this exploration of high readability fonts using non-mirrored asymmetric glyph shapes.
This culminated in the base set of fonts drift, draft, stria and patio. With glyph sets combinations having possibly come to an end(!), attention has returned to the visual density of these (largely) monospaced fonts.
With the subtle refinement offered by the extended width upper and lower case M W and the narrowed width of serifless capital I and serifless lower case l, serifless and hooked glyph spacing for combinations of the lower case i and l began to stand out more. Thus, the following cell width adjustment for the above fonts..
These subtle cell width adjustments render a more uniform visual density while maintaining the overall visual cadence afforded monospaced fonts (perhaps marking the conclusion of this font journey! :)
The proportions are derived purely from visual experimentation at the very small font sizes i happen to read at. Future eye sight requirements for reading at larger font sizes may necessitate revisiting the values applied.
ADRIFT is a handsomely hand-lettered font family inspired by the hopeless wanderer inside of all of us. It includes 4 weights (regular, medium, bold, and roughened). Each of these come in otf, ttf, and a webfont. This sans serif is perfect for logos, typography, prints, and t's. Keep it classic or add some flair to your project with one of the 17 alternate letters included!
9 x 12"; 4 pages. Colophon: "Layout & printing in InDesign by Gramma Robyn Johnson. Concept, text & mechanics by Peter Newland aka Grampa Peanut. Illustrations by Grandson: Flynn Elde-Sylvester, at age 8. Digitally printed on an Epson SC900 on Moab Lasal Matte paper. Four unique folio copies numbered 1-4 and four unique hard cover versions lettered A-D were produced. The hard cover versions are contained in a protective cover of Cave Paper and include two of Elde-Sylvester's original drawings" Signed on the colophon by the three collaborators.
"Adrift on the Pandemic Sea" was produced at Tarboo Studio for the 2023 Puget Sound Book Artists annual member exhibit themed "Collaboration". "Adrift" was created through the efforts of two grandparents and their grandson.
Custom wood box with paper title label on lid, metal clasp closure. Contains 24 white oak blocks covered with marble papers. Includes 12 page explanatory booklet, printed on an Epson 3880 by Robyn Johnson with wrapper of Kraft-Tone cover weight from French Paper in Niles, MI. Signed and numbered by the artist.
The object of 'Marble Math Blocks' is to just start playing and see where it leads you. The wrapper for this booklet is the 'Play Board.' Unfold it and start with some of the suggested exercises. As you begin to manipulate the blocks you'll likely have your own ideas and questions.
3.75 x 5.5"; 20 pages. Includes a scorecard, press clipping, digital stamp collage and 10 original stamps adhered as illustration. Digitally printed on Revere Book ivory paper. Case bound in brown cloth boards with paper title label on front board and original stamp as illustration. In paper slipcase with slip and slot closure. Numbered and signed by the artist.
Peter Newland: "Philatelic Riddles is a nod to the postal service for their faithful recording of U. S. history and a lighthearted reminder of the people, places, and events that have touched our lives."
Standard:
5.5 x 4.5"; 16 pages. Flutter book construction. Printed digitally on an Epson Stylus Pro 3880 onto archival Moab Entrada Rag Natural 190 paper. Bound with paper covered boards and bookcloth spine. In a paper slipcase with window to reveal the title from the front board.
Deluxe: (Sold - Out of Print)
8.5 x 4.75 x 2.5" custom-made box with book, vintage lead figures, and fold out circus ring. Book: Moonlight Circus bound in cloth and has marbled end papers. Fold out: 8.5 x 4.75" closed, 8.5 x 9.5" open, with display of circus ring in red and yellow cloth. Figures: three antique lead figures fitted in bottom of box. There are seven acts in this circus, each with 3 figures. [For example, the "Boxing Kangaroo" is made up of the kangaroo and two clowns; the "Clown Riding Elephants" of one clown and two elephants. See the "Moonlight Circus Deluxe Box Configurations" for the available acts.] Only one set of each act available; hence, each deluxe is unique. Box covered in black and gold bookcloth with illustration tipped on lid. Each box custom-made to accommodate the specific lead figures.
Peter Newland: "The images were created photographing my Britain's Mammoth Circus lead figures using shadow puppet theatre techniques. It is a short story about a small troupe travelling the back roads of early America and their encounter with a full moon."
Bui-Doi / Did You See What I Saw?
By Peter Newland
Quilcene, Washington: Pied Typer Press, 2014 / 2016. Open Numbered / Edition of 13.
Set of two Books:
Bui-Doi: Open numbered edition. 7.5 x 6"; 14 pages. Photos and text by the artist. Photo negatives scanned and processed by Robyn Johnson. Digitally printed in Atilla font. Bound in glossy white boards. Signed and numbered by the artist.
Did You See What I Saw? Edition of 13. 7.5 x 10" double-sided lightweight sheet with pocket containing 15 postcards (4 x 6"). Front side design to look like soldier's uniform pocket with magnet button closure and title on name bar. Back side image of "Commander's Monthly Review."
(SOLD/Out of Print)
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2020 was the deadliest year on record for refugee journeys in the Bay of Bengal and Andaman Sea. Governments and leaders across Asia Pacific have been confronted with the question of whether we have collectively learned from history. Even more critically, we must ask ourselves whether we can sit by and repeat past tragic mistakes.
These past twelve months call to mind the events of 2015, another harrowing, landmark year for refugees and migrants at sea. The world was shocked by not one but two major, almost simultaneous humanitarian emergencies: the Andaman Sea crisis followed swiftly by the desperate journeys of more than a million men, women and children by sea to Europe.
Here in the Asia Pacific, the abandonment at sea of some 5,000 men, women and children by people- smugglers, with no government willing to bring them ashore, was a moment of reckoning. We watched in horror as human beings who had fled discrimination and persecution were left adrift, starving and sick, for months. Hundreds died. Not long afterwards, on the other side of the globe, the body of the young Syrian refugee, Alan Kurdi, washed ashore in Turkey. The collective tide of emotion was not only one of grief, but shame that such tragedies could happen.
In South East Asia, governments resolved to prevent collective inaction and its fatal consequences. Through the 2016 Bali Declaration, States acknowledged the need for a reliable and concerted response to this genuinely regional challenge. In establishing the ASEAN Trust Fund, member states also committed in 2015 to provide financial support to emergency and humanitarian relief efforts during similar movements of people, so that such vessels are never denied entry for fear of carrying the responsibility for reception and solutions alone.
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