Thursday, 14 March 2013

Gareth Hague

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 class things.
In 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.
Other typeface was designed by Gareth Hague.



I like these heavy feeling, bold type. One typeface can show application’s personality.

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