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Typography is an integral part of an identity system. Choosing and then consistently using a type family for all printed communications helps establish the brand personality and generates
familiarity with the brand.
Normally, two type families are selected - a serif face for text and a contrasting san-serif face for headlines, subheads and contrasting text. A third face may be selected for tabular
applications, captions and callouts, although a condensed san-serif from the headline face may be used. In some systems, the san-serif may be the predominant text face and the serif used for headlines
and display type, but this is not highly recommended because the serif text is easier to read.
Often a third face may be selected, or sometimes specifically created, for display
type for specific and restricted usage, i.e., for a positioning statement, a set of display headlines, exhibits, presentations, packaging or website-specific applications.
Typography for logos: There needs to be a balance in selecting a type for a logo: It probably wants to be unique, but it also needs to be readily readable. In addition, it should help convey the personality of the brand. Quite an assignment for a mundane element such as type seems to be.
Yet, often a familiar type face such as Baskerville or Jensen are used because they are legible and also classic in look. They come with a history and elegance that can be associated with
the brand. A san serif type face like Helvetica can be strong and modern even after many years of high popularity in logos.
There are also type fads and traditions. Many fragrances and other high fashion products use Optima as their logo type choice. Today, type that looks to have been burnt, battered,
scratched and otherwise distressed is being used, particularly for products directed toward Generation Y. Other faces denote certain characteristics: Machine looks industrial, Brush is casual, Parisian
is Art Deco, Bernhard Modern is feminine.
Specially designed fonts: Quite often a type face is designed specifically for a client. Signature Strategies has designed several fonts of this nature. In the process, we have also designed several other fonts, some experimental, some for a specific kind of application, and some just for the fun of it. We have posted some of those fonts on this site, and you can download them FREE OF CHARGE. There are three types of fonts, all caps, display faces, and dingbats. Several of the dingbat alphabets were designed with the
thought of incorporating them into logo designs. Enjoy.
There are many resources available concerning type since it is the oldest and most important graphics design element. I’ve listed here several books and websites that are representative
and fine introductions to the subject.
Recommended Books:
- Terry Jeavons & Michael Beamont, An Introduction to Typography
(Chartwell Books, 1990) Addresses type styles, terminology, copy fitting, design guidelines and choosing
appropriate faces for your subject.
- Jaspert, Berry & Johnson, Encyclopedia of Type Faces
(Cassell & Company, 2001) This is the fourth edition of this British publication. It displays 100s of “older” type faces (i.e., no grunge or speedo fonts here)
together with descriptive and historical notations for the most popular.
- Rogener, Pool & Packhauser, Branding With Type: How Type Sells (Adobe Press, 1995) Though a small volume, it enlightens and entertains us concerning the power of type in
branding. Not just logos, but in headlines and body copy.
- Friedl, Ott & Stein, Typography, An Encyclopedic Survey of
Type Design and Techniques Throughout History (Black Dog & Leventhal Publishers, 1998) Almost 600 large-format pages of text and 2,000 illustrations make this a coffee table book as well as a reference work. Designers, institutions, fonts and styles are alphabetically listed and described. Multi-lingual. Also a fine gift for a designer or wordsmith.
- Roger Walton, ed., Typographics 1, Typographics 2, Typographics 3, Typographics 4 (Hearst Book International, 1995 through 2000). The four volumes comprise a cross-section of “the most original and provocative” graphic design from around the world. This project reflects the newest type faces and uses of type by the most avant-garde designers. Some wonderful, some atrocious work.
Recommended Websites:
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