The online studio for students working in SDES2198 Advanced Typography and Publication Design - Semester 1 2013 , School of Design Studies, The College of Fine Arts (COFA), University of New South Wales
This typeface designed by
Gareth Hague. This typeface first attract me was letter A. It is a reversed A
and it gives a heavy feeling of this typeface. I think it suited on some high
terms of drawing, logos of course exist as themselves only, so the rules of
their drawing are narrowed to the extent of – usually – a very few letters.
From the letters supplied, there should be enough information to best-guess the
rules to complete the font – size/shape of serif, character width, and so on. For
the four letters in the Prada logo there are similarities with various
ornamental serif fonts from the late 19th – early 20th centuries, but with more
inconsistency of drawing than you would expect in a fully drawn typeface – the
round inner bowl of the P and R that is straight in the D, the wide difference
in thickness of line. When making an alphabet maintaining these differences of
drawing, this produces inconsistent but not necessarily unworkable letter
shapes. Removing these inconsistencies would make the typeface a different idea
to the logo. It would normalize the typeface, removes what makes it special and
surprising. Normalizing also means giving an extra usability, making the Prada
typeface in this work in progress version upper case only and most suitable for
headline, impact use.
typeface was designed by Gareth
I like these heavy
feeling, bold type. One typeface can show application’s personality.