#typograthy

[faenet]

FAVORITE ACOTAR QUOTES AS VOTED BY OUR FOLLOWERS (5/11)

[emilypemily]

Unlike the similarities between the lettering used for, say, Chanel, Dolce & Gabbana, Marc Jacobs, and others, the Prada lettering is striking and specific to that company. In branding terms, where uniqueness and distinctness are primary concerns, a Prada typeface could be a powerful tool in presenting that message throughout its written communications.For the Candy fragrance, with its very un-Prada pink colour and illustration, the Candy word in the Prada typeface reconnected the branding to Prada. For various fashion films with very little graphic content, again the type in the Prada typeface adds an extra connection to the brand.

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 normalise the typeface, removes what makes it special and surprising. Normalising 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

Prada Candy Typeface by Gareth Hague [x]