House Industries Does It Well: Eames Century Modern

Written by in Inspire


Leave it to House Industries, when it comes to paying homage to the Masters (in Design, not Augusta), they never disappoint.  The men and women from Yorklyn Delaware (a rural village not far from Wilmington, DE, a small city not far from Philadelphia, PA, a major sports city not far from New York, where nothing important seems to happen any more (just kidding Gotham!)) got its valentine to all things Eames right on the mark with its latest hit, Eames Century Modern.


Font catalogs on Eames™ Paper Collection.

Reading House Industries text (mostly written by its bard Rich Roat) is like reading Barnum & Bailey adverts from the 20s. You simply can never have enough superlatives. And that’s okay — because few in design are as capable as House in building entire worlds around font families. Feel the excitement:

“Eames Century Modern is a typographic workhorse with unparalleled practical elegance minted in the spirit of Charles and Ray Eames. Refined curves join a symphony of illustrative elements to complement layouts without overpowering them. With 16 serif fonts, two stencil cuts, four number sets, a “smart” frames font and countless ornament, Eames Century Modern will deliver an exceptional design experience. …House tapped type designer Erik van Blokland to conceptualize and produce the Eames Century Modern family. His unique drawing style combined with his unparalleled technical knowledge of typography made him a perfect fit for such an ambitious and reverential project. … The Eames Century Roman family has eight different weights, from a distinctively delicate thin to a bombastic extra black.”

Feel it? Hear it? Smell it? We do! Neenah’s been there with our own inspiring Eames™ Paper Collection technology, functionality and aesthetic also inspired by the work and working philosophy of Charles and Ray.


Eames House Builiding Blocks for the Little Eames in you available from House Industries.

Under Eames Demetrios, grandson of Charles and Ray Eames, the Eames Office is charged with communicating, preserving and extending the legacy and work of the great design duo. Working with the Eames Office is both an honor and an education: it is they who protect the family name and tradition, allowing few to develop and market product underneath the Eames name and reputation unless exacting standards are met. Those that do are awarded with great access to one of the finest archives in the history of design.


Above: Catalog Spread

House Industries worked with the Eames Office and Eames Foundation for many years before launching this new package.  House designers visited the foundation in Santa Monica to review archives and pouring through the couple’s personal collection at the Library of Congress and finally, working with the Eames team in Santa Monica on the development of the 26 fonts of Eames Century Modern and enjoyable, useful objects.


Above: Catalog Spread

Said Eames in a House Industries press release: “Design is a willingness to surrender to a journey. You often hear about ‘design driven’ companies, but most of them that want to license the Eames name are thinking of it as an acquisition for their collection of brands. Every once in a while you encounter a company like House Industries who is willing to go on that journey and grow our brand as well as theirs.”

We encourage Against the Grain readers to take their on Eames journey, printing on Eames™ Paper Collection pages and using the new Eames Modern Century font. You will enjoy the ride.


Beautifully printed on EAMES™ Canvas Finish.

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    Interesting to read about Eames’ Century Modern, although I’d have like to see a full display of the font, particularly the italic numerals. The old linotype and later ITC Century Light ital (and better yet the Century Expanded ital) numerals were extremely flowing and elegant figures, particularly when co-joined as two-digit numbers. I remember using them in large 60 point as a repetitive cover design motif for the transcript of a yearly lecture series, contrasting them with the actual title in perhaps 36 point Roman. The 2, 3, 4, and 7 were especially artful and decorative. Together with using a text coverstock in a different color each time, after a few years this typographic device lent the booklets an immediate recognition factor, making the series somewhat a collectors item. We were fortunate in maintaining the account and printing the booklets from inception through to #39, therein reflecting the technological advances from hand-type to ludlow to photolettering and finally to computer typesetting.
    Similarly, there will never be another display font like the ludlow Garamond Ital with swash caps and enders. But don’t get me started on that

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    […] the legendary designers, Ray and Charles Eames, this paper is the result of collaboration between Neenah and the Eames Office and reflects the textures, patterns and opacities found in the Eames’s work. […]