hexagon shape call-to-action triangle button small triangle smalll vertical triangle
Miscellaneous Categories > 17.1 Original Typeface

Bague Type System

by Parachute
Bronze

The objective of the Bague type system was to offer designers a comprehensive set of related typefaces which could be used in a diverse array of contemporary projects. This is a set of related styles which can be used in anything from branding to intense editorial design.  First published in 2013, Bague was later upgraded and offered for commercial use at the end of the year, evolving into a type system with six related superfamilies which support simultaneously Latin, Cyrillic and Greek. The Sans version is a versatile monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. Despite that, Bague Sans’ most remarkable feature is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. From classic to modern, from excessive to neutral, Bague Sans is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. Each style consists of 1063 glyphs with more that 330 alternates and ligatures and an extended set of characters which support simultaneously Latin, Cyrillic and Greek. Bague Slab draws its inspiration from early 20th century slabs and was designed as a companion to Bague Sans. Following its predecessor’s design guidelines, it overcomes the monotonous and mechanical rigidity of early geometrics by introducing subtle variations in stroke width and semi-wedge serifs rather than square slabs. These striking serifs, along with a mixture of attractive letterforms, exude a strong, modern and energetic personality at display sizes. On the other hand, at small sizes these distinct characteristics become subtle and the simplistic geometric personality of the typeface comes in place to offer a highly readable text. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. The italics are slightly narrower than the romans with cursive characteristics. Each style consists of 718 glyphs with 13 opentype features and an extended set of characters which supports simultaneously Latin, Cyrillic and Greek. Bague Universal follows the same design guidelines as Bague Sans but introduces minimal forms to several letters, drawing its inspiration from the works of designers such as Herbert Bayer and Jan Tschichold. The result is a very clean and legible typeface which looks warmer than the Sans version. The personal character of the rounded fonts has become popular again with the internet. The construction of a rounded font though becomes problematic especially at heavy weights because they tend to look fat and cartoonish. Bague Rounded avoids this by slowly becoming softer as you move to heavier weights. The round effect is not visible at very thin weights so Bague Rounded comes without Hairline and Extra Thin weights.  Finally the Bague type system is complemented by the Inline and Stencil version.

Agency
Credits
  • Creative Directors
  • Art Directors
  • Designers Panos Vassiliou
  • Illustrators
  • Photographers
  • Editors
  • Copywriters
share this