- A unified typographic style
and typeface are as important as the color palette.
A brand that employs many different typefaces
on its communications will appear confused
or worse, sloppy and unprofessional.
It is amazing how well a simple
and unified typographic palette can create a cohesive brand.
There are two schools of thought regarding typefaces
and the logo.
One group believes that the primary typeface
should be the same custom typeface as the logo.
This provides unity and reinforces visual consistency.
Westinghouse's logo by Paul Rand
is an icon and custom letterform wordmark.
The corporate typeface is the same as the word mark.
Westinghouse has a custom font.
SeaRanch utilizes a modified Helvetica
for the logo and all typography.
The other approach resists this.
The argument is that using the same typeface
on everything diminishes the logo's unique properties
and damages its equity.
In other words, when seen too often,
it recedes into the background.
I believe that the primary typeface
should complement the logo
but not match it exactly.
I look for a typeface that utilizes the same forms
and ideas as the logo.
If my logo is based on geometric shapes,
such as circles and straight lines,
I might try Futura, Gotham or Avenir.
All of these have perfect circles and straight lines.
I stay away from anything too trendy or unique.
Like a bad hairstyle you choose in high school
but is now deeply embarrassing,
these fonts will look dated very soon
or be difficult to apply to every situation.
To try different typefaces,
I use a possible application as the place
to explore the options.
I set one line as a headline
and create a block of text copy.
Then I test several options.
I may decide that the headline font works perfectly
but is hard to read as body copy.
In that case, I'll add a typeface,
perhaps a serif font.
Again, I look for a typeface
that has similar attributes to the headline font.
Sabon is a great match in this instance.
I want to find a typeface or two
that is unique enough to become associated with the brand,
such as Firmin Didot and Vogue.
At the same time,
I don't want a font that is too generic,
such as Times Roman.
Without a massive campaign and huge financial investment,
these generic fonts will never connect only
to your brand.
I understand the fine line here
between unique and generic
and the issues of typographic knowledge.
You're finding a typeface
that meets the brand attributes,
is well crafted, legible, and timeless.
But at the same time,
it requires enough personality
to be associated with your brand
by civilians, not graphic designers.
There are tens of thousands of typefaces in the world.
Some are spectacular and others are well,
less that spectacular or worse.
I've managed to work as a designer
for three decades working with about a dozen or so.
Stay with the classic and well-drawn typefaces
and you'll do fine.