It has become rather challenging for type users to understand the differences between these commercial models and how best to compare them to make the right choice. In retrospect, it was probably unavoidable that this new technology would require the typography market to apply different commercial models, and that the (not so) old digital font EULAs would not be a good match for them. For the delight of font developers, graphic designers, and for readers mostly, webfonts are here to stay. Now, just 10 years later, it is hard to imagine the Internet without webfonts. But it was only in 2008 that webfonts appeared and browsers started to slowly support them. A collection of his logo designs, “Logo a Gogo”, was released in 2018 by Korero Press He has a collection of Thunderbirds memorabilia, a fridge full of vodka, and a stack of easy listening albums which he plays very quietly.Thinking of the World Wide Web functioning with only eight web-safe fonts is like thinking of black and white TV: It seems like ancient history. Recent books include "Custom Lettering of the 20s and 30s", and the all-ages wordless graphic novel "I Am A Number", "Soho Dives, Soho Divas" collects his burlesque drawings, and he sets out his memetics manifesto in Cult-Ure: Ideas Can Be Dangerous. A retrospective monograph, “Art, Commercial” was published in 2002, and "Ten Year Itch", a celebration of the first ten years of Device Fonts, was published in 2005. He has contributed to numerous international exhibitions, lectured widely both in the UK and internationally, and a one-man show of his work was held in 2003 the Conningsby Gallery, London. More recently he wrote and drew a ‘Batman: Black and White’ tale, contributed to ‘Vertigo: Magenta’, designed the map of the DC Multiverse and was reunited with Morrison for two stories for ‘Heavy Metal’ magazine. His strips from the Galaxy’s Greatest have been collected in ‘Yesterday’s Tomorrows’ (‘Dare’, ‘Really and Truly’ plus others) and ‘Tales from Beyond Science’ (written by Mark Millar, John Smith and Alan McKenzie). This was followed by ‘Dare’ for IPC’s short-lived ‘Revolver’, an “iconoclastic revamp of the ’50s comic hero Dan Dare”, written by Grant Morrison. Long connected with the world of comics, Rian Hughes' first graphic novel was ‘The Science Service’ for Belgian publisher Magic Strip. He has designed many logos for DC, Marvel, Valiant, Image and other comic book companies for such titles as Batman, the X-Men, James Bond, The Avengers and Spider-Man. He has designed posters for Tokyo fashion company Jun Co.’s Yellow Boots chain, the animated on-board safety film for Virgin Airlines, Eurostar’s poster campaign, a collection of Hawaiian shirts, a range of watches for Swatch, the brochure for MTV Europe’s Music Awards, and numerous book jacket illustrations and CD covers. Under the studio banner Device, he provides design, custom type and illustration for advertising campaigns, record sleeves, book jackets, graphic novels and television. Rian studied at the London College of Communication in London before working for an advertising agency, Smash Hits, i-D magazine and a series of record sleeve design companies. It has released over 200 original typefaces covering more than 1000 individual weights, including custom designs for clients as diverse as Mac User, 2000AD and The Teenage Mutant Ninja Turtles. An early contributor to FontShop’s FontFont range, Device Fonts was launched in 1997 to carry Hughes’ growing library. Device Fonts is the font arm of Rian Hughes’ Device studio, operating out of Kew Gardens, London.
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