About Sabre Font Family
I generally refer to our typefaces as ‘graphic’ rather than typographic. By that I mean their starting points are usually ways of constructing shapes and systems of shapes.
As with other Alias typefaces, Sabre has stone and wood cut letterforms as a starting point. What is interesting about lettercutting is the connection between shape and material. These beautifully crafted letterforms have a particular sharpness which reflects, of course, how they were made.
The idea of constructing letters from a kit of parts we first explored in early fonts Elephant and Factory. These are different in that they were very much grid-based, with a geometric structure. For Sabre I also had Fred Smeijers’ stencil construction drawings in mind. These show how a set of components can be the basis for a crafted, elegant typeface. Sabre is quite a loose interpretation of this idea.
Sabre’s graphic shape means it works well at large sizes, with a dramatic, angular impact. Its aim is to be typographic enough to function for blocks of small-size text too.
is a trademark of Alias.
Alias was formed in 1996 by Gareth Hague and David James initially to develop into typefaces the bespoke lettering designs produced for their record cover and book projects.
As well as typeface design, Alias has produced logotype designs for clients including Ghost, L.K.Bennett, MCQ, Jennifer Lopez for Kohl's, Lane Crawford, Calvin Klein Beauty fragrance and Prada Candy fragrance. For Prada Candy this included the development of the Prada logo into a full typeface.
Typeface designs include headline typefaces for the 2012 Olympic Games and Sunday Times Magazine, and typeface and layout design for Another and Another Man magazines. Alias also works with design agencies and advertising agencies on typefaces for corporate clients and advertising campaigns. Graphic design includes music and arts related projects and book design for clients including Phaidon, Jake and Dinos Chapman and Tate Modern.