Sounds like something Arsenio Hall’s announcer might have said back in the day
(just dated myself 10 years by saying that).

I think House Ind is the typography equivalent to Apple and all that they do. If you’ve ever seen or purchased their House Ten Year Book: it’s something to behold. Everything (and I do mean everything) about the book is over-the-top. The book is so over illustrated, so jam-packed with typefaces and designed in such a way that with any other company you’d say no way this will fly, it has to be changed, it won’t sell. But is works for House. The paper quality, the spot varnishes, the metallic inks, the layers upon layers of artistry, it goes on and on and as you flip through this decade masterpiece which houses their fonts, sketches, photographs, history and short stories and it’s a sight to behold.

What these guys do is create some of the most interesting typefaces on the planet that play homage to the the last 50 years of typography and make these fonts what we call “retro hip” to use again. Their fonts can be seen on everything from the cover of HOW magazine to posters only seen in Germany and trendy vintage neck-ties you’d might mind at Norstroms or in-store promotions for at your local trendy coffee shop.

We have several font families from House here at Effusion and they aren’t cheap. If you hit their FAQ section, you can see the humor and reality of purchasing their typefaces. Question #1 is: I can go to my local Walmart and get 3000 fonts for $19.95. Howe come your stuff is so pricey? A: You get what you pay for. Two popular example collections are below.

These aren’t cheap fonts, some collections will run you $350. But we have bought into a unique set of ascenders and descenders that really help to elevate our design projects.

The biggest obstacle we’ve come across however is when a client wants to create something in-house on-the-fly (without our design expertise) and want to use that same font in a flyer their nephew will design for them. Well. . .no that can’t happen for a couple of reasons. Typically the client is on a PC (we’re devout Mac users here) and second, the fonts can only be used at the firm that purchased them. Any other location, even a printer has to purchase the fonts in order to update or create new creative pieces. So every project we send out has to be converted to outlines. That’s fine for us, but tends to irritate some clients. A small price to pay for working with some of the best typefaces in the industry.

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