The Making of Gone with the Wind by Steve Wilson
From the University of Texas Press:
Gone With The Wind is one of the most popular movies of all time. To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.
On the half-title and title pages, Medusa is used with swash initials and terminal forms, as well as flourishes from its Ornaments style. The italic caps are likewise from Medusa – these are provided as small caps. The author names use Ashbury in italic (Steve Wilson) and roman caps (Robert Osborne). The dust jacket features Finura, with Transat used for “Harry Ransom Center”.
Photos: Turner Classic Movies. See more images on Derek George’s portfolio website.
5 Comments on “The Making of Gone with the Wind by Steve Wilson”
Yes, Dieter is really good. A few months ago he offered me a free font for several bugs I could show him. I turned down because I think good designers consistently deserve the money they ask for. And Dieter’s prices are very moderate.
I currently have seventeen fonts by him. The Ashbury will be added soon.
Brian Willson studied at the University of Texas at Austin. The last I heard from him was that he probably won’t be able to finish any more fonts: he’s too old.
Greetings to Main!
I received four of his fonts from him free of charge – for a little help. I bought eight more. The same goes for Jeremy Dooley and many more.
I also have to put in one’s two pennies worth to Medusa: It is a beautiful font whose weakness unfortunately is that the transitions between the letters are suboptimal.
Too bad actually!
That doesn’t match my experience. Can you elaborate what exactly you find suboptimal about the transitions? Are you looking at the actual font, or the specimen pdf? I’m asking because the output of web type testers has to be taken with a grain of salt. Beware of rounding errors when when viewing pdfs on screen.
I suggested the font years ago to optimize the transitions. Of course I have the font as a print version. The thin strokes often catch the eye as small nodules in the transitions. It’s even worse with the Adagio Pro by Profonts, a subsidiary of URW. And that’s a real shame, because otherwise I would really like this font.