We love typography. Always have, always will.
It’s a classic creative discipline that’s often overlooked in business. Choosing the right font for your brand and knowing how to apply it to your collateral can be a very powerful thing as long as you get it right. The dictionary definition reads; “Typography (noun.) the art or procedure of arranging type or processing data and printing from” but as technology and marketing channels evolve we believe it means much much more.
It’s important and it’s everywhere
Anything that includes text has an element of typography. Sometimes it’s good, more often than not it’s bad. Every element of your brand containing words is typographic so it’s critical you ensure your choices are considered and reflect your principles and goals. Typography is central to brand recognition. It’s your visual voice. It has meaning. It enhances experiences. It proves you care.
Without boring you senseless there is method in choosing the right typeface(s) to represent your organisation. We could write a book on the subject. Getting it right requires a combination of technical know-how, experience and the elusive ‘creative eye’ you sometimes hear people in our industry talking about. It’s a difficult skill to teach and there are many considerations;
Font type, font pairing, interpretation, trends, contrast, modulation, stress points, legibility, deployment platform, devices, counter balance, blah blah blah…
You’ll know it when you see it
One of the beautiful things about well executed typography is that the moment you hit the sweet spot you instantly know you’ve nailed it. When we work with clients on branding projects it never a back-and-forth process. It’s more like “no, no, no, no, no, no, no…. YES!” Set that in stone.
Man, we had better get this right. Truthfully we didn’t take very long to decide on how our typographical choices were going to roll. There were several contenders and we felt we owed it to ourselves to try them out but in hindsight we probably already knew who the winner was.
The brief we wrote ourselves was as follows; Versatile, familiar, trustable, razor-sharp, device-agnostic, san-serif, a future classic and something we would LOVE and (probably) never want to change.
The runners up were;
- ITC Johnston (Made famous by Transport for London) ★ View Font
- Din Next (A quintessential 20th-century design by Linotype) ★ View Font
- Gotham (By Hoefler&Co. This was our second choice) ★ View Font
- Depot New (By Moretype. A simple and clean option) ★ View Font
- Gilroy (Created by Randomir Tinkov. Used by Google and Channel 4) ★ View Font
- Avenir Next (A beautifully designed san serif classic by Linotype) ★ View Font
- Proxima Nova (Large family of modern fonts designed by Mark Simonson) ★ View Font
- TT Norms Pro (A indispensable universal modern geometric sans by TypeType) ★ View Font
- Brandon Grotesque (An uber-cool functional option by Hannes von Döhren) ★ View Font
- Univers (Rock-solid choice derived from Frutiger then updated by Linotype) ★ View Font
- Cera Pro (An elegant contemporary geometric typeface by Typemates) ★ View Font
There was only ever going to be one winner…
We fell in love with… HELVETICA NOW ★ View Font
Helvetica Now is a new chapter in the story of perhaps the best-known typeface of all time; Helvetica. We really appreciated the way Monotype have given design and technology equal billing with their latest creation. It is available in three optical sizes; Micro, Text, and Display. Every character in Helvetica Now has been redrawn and refit; with a variety of useful alternates added. It has everything we love about Helvetica and everything we need for typography today. It is not a revival. It is not a restoration. It is a statement.
It ticked every single box for us and when we learnt about it it took less than a minute for us to adopt it as the Yorkshire Agency typeface.
We took advantage of the sophisticated letter kerning to solve the age old problem of reducing the space between capital ‘Y’ and lowercase ‘o’ in the word Yorkshire. If you know a designer you’ll have probably seen how they recoil in abject horror at such things… It’s important!