Great point, Pablo. You're thinking about the issue from the original poster’s perspective as a professional type designer. (Dave’s post was not.) Developing a new custom face under an SIL license is a real option that can benefit Michael and his client.
Thanks for posting this, Hrant. Three of the many reasons I’m sincerely stoked about this book:
It’s remarkable that a man who produced five or so lifetimes of work has yet to have a proper monograph or biography. On the other hand, I guess it’s understandable, given how difficult it is to cover the breadth of WAD’s output and its many intricate connections. Bruce did just that.
Most commercial publishers would not produce a book at this standard. Even the non-deluxe edition (printed with stochastic screens, Smyth-sewn, entirely US-made) contradicts the current trend for cheap printing and subpar reproduction. The images in this book are as real as you can get to the original material; and I know this because I’ve stood in the room with the fancy camera rig as Rob Saunders and the folks at Letterform Archive sweated over every capture.
This is the first test of the Archive’s nascent publications program. Their mission is to collect and preserve this stuff, but also to share it in a way that does it justice.
You could start with demonstrating why Avant Garde is a poor choice for body copy which will affect the brand’s communication. Type with strict geometry, extreme proportions, very small apertures, and various uniform/indistinguishable letter shapes does not make a pleasant or effective reading experience.