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Beluga is pobably one the most influential reference/benchmarks for my final presentation.

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Beluga | Women's Clothing |Brand and Identity

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A branding and visual identity design for a clothing brand aimed at women who vacation. Collateral such as business cards, shopping bag, box packaging as well as social media content were designed to serve the brand.

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ABSUM is a sustainable and interchangeable clothing brand that fulfills the idea of "buying less but better" thoughtful and intellectual approach to consumerism and minimalist lifestyle.

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Pinko is an Italian women's fashion brand. It was founded in the early 1980s by Pietro Negra, the current CEO, and his wife Cristina Rubini. As of 2016, they have over 500 retail outlets worldwide.Pinko - итальянский бренд женской одежды. Он был основан...

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Visual Identity Design for Hurf, A fashion brand based out of Kolkata India, offering premium fashion clothing in affordable rates

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A Vislumbre é uma loja de roupas que busca

transformar/resgatar a autoestima das pessoas,

localizada em Minas Gerais.

O desafio era tornar a Vislumbre mais moderna e autêntica,

exaltando sua essência, através da criação de uma

nova marca e identidade visual.

A tipografia desmembrada faz alusão ao sentido da palvra Vislumbre,

como uma forma de aparência indistinta. O grafismo, traz a ideia dos pequenos

clarões de luz que vislumbramos, que por sua vez ao serem refletidos, trazem

um universo cheio de cores para a marca.

Client: Vislumbre Date: August 2019

Vislumbre is a clothing store that seeks transform / rescue

people's self-esteem, located in Minas Gerais.

The challenge was to make Vislumbre more modern and authentic,

extolling its essence by creating a new brand and visual identity.

The dismembered typography alludes to the meaning of the word Glimpse,

as a form of indistinct appearance. The graphics, brings the idea of ​​smallflashes

of light that we glimpse, which in turn, when reflected, bringa universe

full of colors for the brand.

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A Vislumbre é uma loja de roupas que busca transformar/resgatar a autoestima das pessoas, localizada em Minas Gerais. O desafio era tornar a Vislumbre mais moderna e autêntica, exaltando sua essência, através da criação de uma nova marca e identidade visual. A tipografia desmembrada faz alusão ao sentido da palvra Vislumbre, como uma forma de aparência indistinta.

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Welcome to a scientific resource on fonts.

Do you spend WAY too long looking for fonts? Do you have trouble finding fonts that "feel right" for your context?

Well, this article is for you.

I read 75+ academic articles on typefaces. And I compiled the actionable findings into this article. By the end, you'll know how to decipher the "personality" of any font, so that you can choose the best font in any context.

PDF Bonus: This article is 3,104 words. Click to download the PDF so that you can reference it moving forward.

PART 1: How We Subconsciously Evaluate Fonts

Let's play a game.

Among the fonts above, which is better for:

Like most people, you probably chose C, A, then B.

They felt right? Seemed fitting? Looked good?

Sure. But WHY did those fonts feel right? Most people can't articulate the reason because the mechanism occurs subconsciously.

So here's the answer...

If you follow my content, you've heard me explain your brain's associative network.

If you're a newb here, then watch my quirky video about spreading activation:

Your associative network plays a role in font perception. How? I summarized the steps in the following model:

Let's look at each step...

STEP 1: We perceive a font

You see a font...and that's it. Pretty straightforward. If you want a deeper understanding, Koch (2011) explains the biological components of font perception (see pgs 17-27).

STEP 2: We activate PERCEPTUAL associations

Fonts contain various components (e.g., line, weight, size, orientation). When you see a font, your brain disentangles those perceptual components:

Big whoop, right?

Well...yeah. It IS a big deal. To appreciate the importance, you need to understand a crucial concept.

Look at the traits from the previous image:

Notice something? Those traits are general adjectives. They describe stimuli outside of the font world. And that's crucial.

Fonts share visual characteristics from the real world. If you want to choose an appropriate font, then choose a font that visually resembles your context:

Here's an example.

Kang and Choi (2013) created ads for a cell phone. When ads emphasized the "slim" nature of the phone, condensed typefaces performed better:

However, some ads referenced the elegant nature of the phone. In those cases, the opposing font performed better:

In both cases, the font matched the visual qualities of the product.

However, font traits can also be metaphorical. Suppose the ad emphasized the phone's speed. Even though technological speed is intangible, we associate visual traits with general speed - such as a forward tilt:

"What artistic conventions are used to convey the motion of animate and inanimate items in still images, such as drawings and photographs? One graphic convention involves depicting items leaning forward into their movement, with greater leaning conveying greater speed." ( Walker, 2015, pp. 111)

Need to convey technological speed? Then tilt your font forward. Maybe add a slight blur. Incorporate traits that are visually related to speed.

It might sound far-fetched, but Lewis and Walker (1989) found that people identify "fast" related words more easily in slanted fonts.

STEP 3: We activate DIRECT associations

Conversely, direct associations refer to the aggregate combination of font traits - usually the font family.

"...[direct] associations refer to the influence of historical precedence on affective response to typography. The typeface Fraktur has many associations with Nazi Germany, and Helvetica is commonly associated with the U.S. government since it is used by the IRS on tax forms." ( Shaikh, 2007, pp. 21)

Those fonts acquire meaning through your semantic network. Whenever you see a font (e.g., Fraktur), you associate meaning - based on the context. That includes semantic meaning (e.g., Nazi Germany) and emotional meaning (e.g., disgust).

Whenever you encounter that font in a future context, you modify the original connections in your network:

If the context is SIMILAR, you'll STRENGTHEN the connections

If the context is DISSIMILAR, you'll WEAKEN the connections

If the context is NEW, you'll ADD new connections

That's how fonts acquire meaning (see Shaikh, 2007). It's a never-ending process that we've been performing our entire lives.

STEP 4: Activation spreads to related nodes

When you encounter a font, you activate the perceptual and direct associations in your network. In turn, the activation spreads to related nodes.

Suppose you see the logo for Avon - a women's beauty company:

You'll activate the node for that overall typeface and logo. Thanks to spreading activation, you'll activate direct associations:

Where have you seen it?

Which topics do you associate with it?

How was your experience - good or bad?

In addition, you'll disaggregate the perceptual font traits. Since the typeface is tall and thin, for example, you'll activate those nodes in your network.

But wait...tall and thin? Aren't those traits usually associated with beauty? Aha! Yes they are. When you see those perceptual traits, you'll trigger an extra wave of activation toward the node for beauty.

Good job, Avon.

However, don't jump the gun. At this point, you might be thinking: Well, if their node for beauty is activated, then people will perceive the font - or product - to be more beautiful.

It's tempting. And I used to believe that explanation. When I published my article on advertising, I said:

"Activation spreads toward your node for beauty. That activation gives you a new temporary lens. With your concept of beauty more prevalent, you perceive stimuli in the immediate environment to be more beautiful."

But that's wrong. My bad. I deserve a punch in the face.

Font evaluation is more nuanced. In a few steps, you'll see why that explanation is wrong.

Step 5: We combine the activation into a collective meaning

In the previous step, the font activated related nodes in your network. At this point, you combine those activated concepts into a collective meaning for the font.

The collective meaning is a combination of semantic concepts (e.g., beauty) and emotional feelings (e.g., pleasantness). Because of the concoction of meaning, you often can't articulate it. The font just "feels right" or it doesn't...which is the next step.

STEP 6: We compare the collective meaning to the context

Let's revisit the explanation from my advertising article.

I explained that we associate beauty with tall and thin traits. Because of that connection, tall and thin fonts activate the concept of beauty (which will cause you to perceive stimuli to be more beautiful).

So...why is that explanation wrong? Well, consider the font, Fraktur - which was used for Nazi propaganda:

With the previous explanation, you should NEVER use Fraktur. Since people associate it with Nazi Germany, spreading activation would trigger negative emotions. And those negative emotions would transfer to the immediate stimuli.

But it doesn't work that way. When you evaluate fonts, you consider the appropriateness of the font (see Doyle & Bottomley, 2004).

Once we generate the collective meaning, we compare that meaning to the context:

If the meaning is CONGRUENT, we develop a POSITIVE EVALUATION

If the meaning is INCONGRUENT, we develop a NEGATIVE EVALUATION

That's why you can use Fraktur in certain contexts (e.g., documentaries). It doesn't matter if people associate negative emotions with it. Those negative emotions won't tarnish their evaluation, as long as the font is appropriate for the context.

It sounds like common sense. And it is. But I needed to verbalize that step because the underlying mechanism is important.

So...what's the mechanism? Why does appropriateness lead to a positive or negative evaluation? That's our final step...

STEP 7: We form our evaluation based on the degree of fluency

We evaluate fonts -positively or negatively - through processing fluency.

When you process stimuli quickly and easily, it feels good. And you misattribute those positive emotions to the stimulus. And that's the answer.

Suppose that you see the logo for Avon. That exposure will activate beauty-related concepts in your network (due to the perceptual and direct associations).

You'll then compare that collective meaning to the context. Aha! Here, the context is beauty products. It's congruent with the activated nodes. Because the concept of beauty is already activated, you'll experience higher fluency:

In turn, that higher fluency will trigger positive emotions that you'll misattribute to the context. The font will "feel right."

Now, in that example, you processed the font and THEN the context. But the mechanism also works in reverse.

If you're watching a documentary on World War II, Nazi-related concepts are activated in your network. If you THEN see the font Fraktur, you'll process the font more easily because of the overlapping connections. That ease will make the font feel right.

And that's it. That's how we evaluate fonts. Still with me? Good.

Now that you understand the cognitive process, let's apply it...

PART 2: Which Font Traits Should You Choose?

Fonts differ in their perceptual traits. For example:

This section explains which traits perform better in certain contexts. If you want more detail, Henderson et al. (2004) and Li (2009) are helpful references.

Serif vs. Sans-Serif

Serifs are slight projections at the end of typefaces.

Designers love debating serifs vs. sans-serif fonts. Based on the research, though, it seems counterproductive. Other traits play a bigger role.

Nonetheless, here are some findings:

Serif Fonts Are More Readable Via Print

Well...supposedly. Some designers claim that serifs help guide the eye flow:

"Roman typefaces are more legible because the theory states that serifs assist in the horizontal flow of reading and eye movements." ( De Lange et al., 1993, pp. 246)

But I'm not convinced. We don't read text in smooth patterns. Our eyes jump across lines of text- in movements called saccades (see Becker & Fuchs, 1969).

Since the movement is jerky, the "eye flow" claim seems like a myth.

Sans-Serif Fonts Are More Readable Via Screens

This finding seems more plausible.

Computer screens display information through a pixelated grid. Due to that box-like structure, a serif may be less identifiable.

With today's technology, it shouldn't be an issue. But it might play a role if you're working with very small fonts.

Serif Fonts Convey Elegance and Rationale

Generally, serif fonts are more effective for formal or scientific contexts.

In one study, people evaluated scientific text more favorably when the font contained serifs ( Kaspar et al., 2015). Other research suggests that serif fonts seem more elegant and beautiful ( Tantillo, Lorenzo-Aiss, & Mathisen, 1995).

Sans-Serif Fonts Convey Informality and Innovation

Conversely, people perceive sans-serif fonts to be more informal and innovative ( Tantillo, Lorenzo-Aiss, & Mathisen, 1995).

Light vs. Bold

Light Fonts Convey Beauty and Femininity

I explained the reason in this section.

Medium Weight Fonts Are Most Readable

Luckiesh and Moss (1940) researched the optimal weight for readability. They displayed "Memphis" in different weights, and they found that medium weights were most readable:

Bold Fonts Convey Power and Masculinity

Researchers argue that bold fonts convey an extreme connotation:

"Bold can be made to mean 'daring', 'assertive', or 'solid' and 'substantial', for instance, and its opposite can be made to mean 'timid', or 'insubstantial'. But the values may also be reversed. Boldness may have a more negative meaning. It may be made to mean 'domineering', 'overbearing'." ( Van Leeuwen, 2006, pp. 148)

Lieven et al. (2015) also explain a connection between heavy typefaces and masculinity. Since people associate a bulky stature with men, bold fonts match that visual trait.

Rounded vs. Angular

Rounded Fonts Convey Comfort, Softness, & Femininity

Bar and Neta (2006) published a paper called, "Humans Prefer Visual Curved Objects." They found that...well...humans prefer visual curved objects. Angular shapes trigger an evolutionary threat:

"...sharp transitions in contour might convey a sense of threat, and therefore trigger a negative bias..." ( Bar & Neta, 2006, pp. 645)

Now, if context were irrelevant, then people would prefer rounded fonts over angular fonts. However, context DOES matter. As I explained, appropriateness is important.

That said, rounded fonts are more effective for domains related to:

Angular Fonts Convey Formality, Durability, & Masculinity

Conversely, angular fonts perform better for:

Simple vs. Complex

Simple Fonts Convey Directness

If your message is direct and straightforward, use a rigid typeface without any ornaments ( Li, 2009). The simplistic font will match the simplistic nature of the context - thus increasing fluency.

Complex Fonts Convey Uniqueness

Processing fluency conveys abundance and familiarity. Usually, those traits are beneficial. But not always.

With unique products, familiarity is detrimental. You want some disfluency because it'll reinforce the distinctiveness of your product.

In one study, people perceived more value in a gourmet cheese when the font was difficult to read ( Pocheptsova, Labroo, & Dhar, 2010). The complex font became a signal for uniqueness - which was congruent and appropriate with the context.

Slanted vs. Straight

Slanted Fonts Convey Movement

Earlier, I explained why slanted fonts convey movement and speed (see Walker, 2015).

Straight Fonts Convey Stability

Likewise, straight fonts - with their rigid structure - convey stability and durability.

Lowercase vs. Uppercase

Lowercase Conveys Compassion and Innovation

Oosterhout (2013) examined branding and perceptual characteristics. She found that lowercase letters are particularly effective for "caregiver" brands that promote compassion and altruism. She also found that thin lowercase letters are congruent with "creator" brands that emphasize innovation.

Uppercase Conveys Power and Strength

Oosterhout (2013) also found that uppercase letters are effective for "hero" brands that convey qualities related to energy, courageousness, and focus:

"BWM, Diesel, Duracell, Nike and Sony are also using capitals in their word marks, to express their power and strength." (pp. 39)

Mixed Case Letters Are Most Readable

Garvey, Pietucha, and Meeker (1997) studied legibility in road signs. They found that mixed case letters are most readable.

They proposed two reasons:

EXPECTATION CONGRUENCE: People expect to see road signs in mixed case. Thus, they process words more easily when the format is congruent with their expectations.

GREATER DISTINCTION: Uppercase letters share the same height, thus creating a rectangular block of text. Because mixed case letters are different heights, people perceive more distinction between letters.

Separated vs. Connected

Separated Fonts Convey Fragmentation and Individuality

When letters are separated, fonts convey the perception of individuality:

"[connectivity] has its own metaphoric potential. External disconnection can suggest 'atomisation', or 'fragmentation', and external connection 'wholeness', or 'integration." ( Van Leeuwen, 2006, pp. 149)

Connected Fonts Convey Unity and Collectivism

Likewise, connected letters portray the perception of closeness

Connected fonts aren't necessarily cursive. The letters simply need to touch.

Condensed vs. Extended

Condensed Fonts Convey Tightness and Precision

Earlier, I mentioned that a condensed font performed better for an ad promoting a "slim" cell phone ( Kang & Choi, 2013). That's because of the perceptual overlap:

"Maximally condensed typefaces make maximal use of limited space. They are precise, economical, packing the page with content. Wide typefaces, by contrast, spread themselves around, using space as if it is in unlimited supply." (pp. 148)

Extended Fonts Convey Spaciousness and Relaxation

Conversely:

"Wide typefaces may also be seen in a positive light, as providing room to breathe, room to move, while condensed typefaces may, by contrast, be seen as cramped, overcrowded, restrictive of movement." ( Kang & Choi, 2013, pp. 148)

Short vs. Tall

Short Fonts Convey Heaviness and Stability

Font height resembles our metaphorical conception of gravity:

"The meaning potential of horizontality and verticality is ultimately based on our experience of gravity, and of walking upright. Horizontal orientation, for instance, could suggest 'heaviness', 'solidity', but also 'inertia', 'self-satisfaction'" ( Kang & Choi, 2013, pp. 149)

If you need to portray something as durable or immovable, a short font might work well.

Tall Fonts Convey Lightness and Luxury

Likewise, tall fonts convey lightness and quickness. The meaning can also extend to metaphorical associations of aspiration and ambition ( Kang & Choi, 2013).

Other research has linked verticality with luxury ( Van Rompay et al. 2012). If you need to portray a luxurious product, a tall font might be a good choice.

PART 3: Putting It All Together

I threw a ton of info at you. But you can use this article as a reference guide. Feel free to download the PDF so that you can reference it moving forward.

Or if you need to choose a font quickly, then use the table below (which I adapted from Henderson, Giese, & Cote, 2004). Just look for a group of traits that describe your context. Then choose a font with similar visual characteristics.

Want some more content? My other articles expand on the cognitive aspects of design and linguistics. You might enjoy:

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How to Choose the Right Font (According to Science)

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Welcome to a scientific resource on fonts. Do you spend WAY too long looking for fonts? Do you have trouble finding fonts that "feel right" for your context? Well, this article is for you. I read 75+ academic articles on typefaces. And I compiled the actionable findings into this article.

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Let's face it, communication is essential to everything we do.
Whether you're trying to create relationships with your audience as a budding brand, establish yourself within a growing industry, or simply connect with others on a personal level, communication is key. However, there's a lot more to communication than simply speech. In fact, the "Mehrabian" rule suggests that 93% of our contact with other people is non-verbal.
This is certainly true when it comes to brand and logo design, where creative experts attempt to convey multiple complicated messages, ideas and values in the simplest form possible.

While most people are familiar with the concept of colour psychology, and how certain shades can make us think and behave differently, what you may not know, is that we're also affected by font psychology. Our associations with different inspirational typography trigger powerful ideas and emotions. For companies, this means that choosing the right typography in logo design could help you to fill the gaps in your brand personality.

Whether designing a logo with a typeface that's serious and sober to define a "formal" brand, or choosing something more upbeat and edgy, fonts can be key to effective brand recognition. Once you understand that each font has its own distinct characteristics, and you clarify what those are, you can choose the options that share the features that best represent your business.

So, let's get started on finding your "type".

Font psychology: What your "type" says about you

Thanks to something called the "picture superiority effect", human beings are more likely to recall visual stimuli than anything else. This means that if you want your brand to be remembered, you need to enhance its visual appeal, and that's where typography psychology comes in.

Before we dive into the details of typography in logo design, and graphic design, and how font psychology can impact your audience, it's worth exploring why certain typefaces have such a significant emotional appeal.

You've probably noticed the inherent influence of different fonts in the past. For instance, if you saw a financial company with a logo written in comic sans, you'd probably comment on just how unprofessional that business appeared to be. Yet, if you saw the same brand name written in a traditional Serif font, you'd instantly feel a greater level of trust.

According to the " Gestalt Theory ", people typically view different parts of something as a unified whole when possible. In other words, we deliberately try to find meaning in things, even when no obvious meaning is apparent. The Gestalt theory tells people in the design world that they can convey meaning by ensuring all parts of a unified whole work together.

In a logo, this means that the colours, shapes, and even the fonts need to work together and relate to each other in a harmonious way, while displaying the unique values of the company. Even if you get the brand name, colours, and even the iconography around your logo perfectly right - the wrong font could destroy the credibility of your brand.

The question is, which typography should you pick?

The simple answer, is that it depends on the brand identity you're trying to create. As we'll cover in just a moment, serif fonts can project a sense of tradition and respectability, while sans serif fonts feel crisp and friendly. Script fonts offer the beauty of handwriting, while modern fonts are futuristic.

It's all about finding the inspirational typography that works for you.

Typography psychology: The 6 different font styles

Just as people have certain feelings and associations that they link to specific colours, the same can be said when it comes to font psychology. We automatically react differently to the way that text is written. In other words, it's not just what you say, but how you say it.

For instance, if you're interested in conveying the idea that your business is respectable or traditional, then you'd choose a font style that's rooted in ideas of heritage. On the other hands, if you want people to see your business as stable and welcoming, then you might choose a less formal, sans-serif typeface.

Let's look at typography in logo design, and how each font can communicate different things.

1. Serif font psychology

Starting with the most traditional font option, serif fonts promote feelings of class and heritage, making them ideal when you want to create a company that feels "established". Due to their classical nature, serif fonts carry feelings of trust and respectability, making them perfect for brand identities that revolve around authority and grandeur.

Serif fonts work best in "formal" situations. They're perfect for companies who want to build brand awareness, while demonstrating their trustworthy nature. Often, serif types are ideal for financial companies, academics, broadsheets, and editorials. Some of the most popular options are:

2. Slab serif font psychology

Often regarded a "sub-set" of serif fonts, slab serif typefaces look like serifs, but have specific slab sections in them. They're associated most frequently with confidence, solidity, and a sense of bold attitude.

Generally, slab serif fonts are best used by companies who want to make an impact on the market, either with an innovative new idea, or an intuitive product. They're frequently used by car and technology brands who want to install confidence in their customers, while showing off some modern creativity. Favoured options include:

3. Sans serif font psychology

Sans serif fonts are clean, modern, and engaging. They're used by brands who want to demonstrate a straight-forward, simple, and no-nonsense attitude. When it comes to typography in logo design, sans serif solutions indicate a sense of honesty and sensibility. There are no decorative elements distracting the eye or clouding the message.

The simple, yet effective nature of sans serif fonts make them perfect for brands who want to put clarity first when designing their company logo. Often, you'll find these typefaces on clothing brands, technology companies, and businesses that are focused on "forward-thinking" ideals and brand purposes. A few of the best sans-serif fonts are:

4. Script font psychology

Script fonts are generally a lot fancier than their serif counterparts. They're intended to provoke ideas of femininity, elegance, and creativity, thanks to their hand-written nature. If you want to make your company feel more personal, and improve your chances of earning that all-important customer affinity, then script typefaces could be the perfect option. However, it's important to make sure that the script you choose is legible.

When it comes to typography psychology, script fonts are probably the ones most likely to inspire emotional and creative ideas. They're perfect for when you want to convey feeling, history, or experience, and can be particularly useful for "visual" brands who want to show off their creative side. The key is to use script fonts with caution. While they look artful and fancy, they can also be difficult to read in certain contexts. A couple of options to try might be:

5. Modern font psychology

"Modern" typography sounds like it should be the most futuristic of the bunch. However, the truth is that it's been around since the eighteenth century. Designed to be simple and legible, modern fonts come with thin and thick transitions in the strokes between letters, and they can also have thin horizontal serifs.

When using typography in design for logos, modern fonts are used to convey feelings of exclusivity, intelligence, and style. If you're hoping to showcase your brand name in a way that's easy to read, and brimming with modern flare, then this font type could be just right for your brand. It's fantastic at attracting the attention of millennials, thanks in part to its association with Facebook. Here are some modern fonts to explore:

6. Display and decorative fonts

Finally, if you're looking for typography logo design inspiration, you can't get more creative than display or decorative fonts. These are unique, and sometimes customised typefaces that are far removed from the norm, and used most frequently in logos. Highly unique and stylised, these fonts add personality to your business, but it's important to consider the emotional response your audience will have to them carefully before you commit to a specific choice.

Decorative or display fonts can be ideal for almost any business logo, because you can easily convey whatever personality is right for you. By tweaking, twisting, and fine-tuning your fonts, you can demonstrate your business as being casual, direct, fun, or unique. Some of the most common display fonts include:

However, decorative fonts can easily be designed from scratch, meaning that you can produce your very own custom typeface.

Incredible typography: Logo design inspiration

Understanding font psychology, and how different typefaces can provoke different emotions, is key to figuring out which typography you need to use to communicate the right things about your brand. In fact, the font you use for your logo could even be a part of your differentiation strategy.

Of course, choosing the perfect font isn't always as simple as it seems. Not only do you have to find something that will help you to stand out in the marketplace, but you also need to browse through thousands of potential pre-existing fonts before you can begin to consider whether choosing a custom option is right for you.

One of the simplest ways to get started when using typography in logo design, is with a little inspiration from some of the biggest brands in the world. By checking out some of the major competitors in the marketplace, you can see how other companies have used inspirational typography to their advantage.

1. Innocent Smoothies

When it comes to typography logo design inspiration, Innocent Smoothies are a perfect example of a company who have used the friendly nature of "sans serif" font to their advantage. Promoting themselves as creators of drinks that are healthy and environmentally conscious, Innocent have chosen a smooth, simple, and effective typeface that portrays a straight-forward sense of goodness.

2. Tropicana

Another beverage-based brand, Tropicana have chosen a decorative font to portray themselves as being fun and interesting, as well as healthy. The combination of the green colouring in their logo, the leaf accent, and the bouncy, unique typography helps Tropicana to showcase a natural, but engaging brand to their customers.

A perfect insight into how simple typography in logo design can be combined with custom flairs, Pepsi's typeface and logo are instantly recognisable. The subtle wavy cross on the "e", evokes thoughts of a glass of refreshing Pepsi, while showing off the company's fun personality. It's no wonder that Pepsi have changed their logo very little over the years.

For their foray into the world of typography psychology, TUI (formally known as Thomson) chose a sans-serif font in bright bold red. The font is authentic, and simple with chunky letters that convey the fun behind the idea of travel. The smiley-faced graphic beside the name reminds customers of the joy that comes with family holidays, while the bold typography indicates a sense of stability and safety - reassuring clients that TUI can keep you safe on your adventures.

5. MailChimp

The handwritten script logo of MailChimp reflects the informal and friendly nature of the brand, which works perfectly alongside the adorable monkey mascot that they often include in their logo. MailChimp is a great example of typography logo design inspiration, because it shows how a simple piece of text can be used to convey fun, creativity, and community - everything that MailChimp represents.

Finally, it's hard to create a list of typographic logos without paying some attention to the "FedEx" icon. Designed in 1994, the FedEx logo has remained largely unchanged throughout the years, acting as proof that clever, yet simple type-based logos can continue to be just as effective as the decades pass. One of the most appealing parts of this use of font psychology, is the arrow shape in the white space between the E and the X, which demonstrates the company's commitment to speedy delivery.

How to choose typography in logo design

By this point, you should have plenty of typography inspiration, and background into font psychology that you can use to help you design the perfect logo. However, there may be a little more that you need to think about before you can rest assured that you've chosen the ideal font.

Many businesses are tempted to jump head-first into choosing a typeface that's unique and fun, but differentiation is just one of the qualities that you need to keep in mind. A font needs to be more than just beautiful in your logo, it also has to be readable, and meaningful too.

Many experts agree that selecting the right font is key to creating a beautiful logo. With the amount of options available reaching somewhere in the hundreds of thousands, it's a good idea to have a few tips in mind when you're narrowing down your options. Let us get you started.

Step 1: Clarify the identity of your brand

Before you can begin browsing through font options, you need to make sure that you fully understand your brand identity, and the image you're trying to portray. Ask yourself what you want your customers to feel and think when they're looking at the imagery around your company. What thoughts do you want to elicit with nothing more than your name and logo?

Even a basic understanding of your brand identity should be enough to help you decide which fonts simply aren't appropriate for your company. For instance, a corporate law firm won't choose the same font as a fashion company for young women. Defining your image is the first step to making logo design much simpler.

Step 2: Identify your target audience

If you want to choose and create the perfect logo, then you need a thorough understanding of your customers, and their preferences in terms of shapes, styles, and colours. One of the easiest ways to make sure that you're going to have the right impression on the right audience, is to look at your existing fans, or consider creating a user persona.

A close examination of your target market should help you to choose a few words that describe them best. This might seem like hard work, but remember that most successful branding comes from appealing to your target market and your own personal sense of style at the same time.

Step 3: Consider what your competitors are doing

Generally, it's a good idea to be aware of what your competitors are doing - regardless of whether you're designing a new website, or creating a logo. This isn't because you should be stealing their ideas, but because you want to make sure that you're setting yourself apart from them in the market.

Analysing your competitors can also help you to learn more about what they've done right, or wrong in the market, so you can take advantage of their missed opportunities. Try looking at some of the major people in your industry, and ask yourself what you can learn from their use of font psychology.

Step 4: Keep your choices simple and timeless

Typography psychology might be complicated, but your font shouldn't be. In fact, readability or "legibility" is essential when designing your logo. After all, if your customers don't have any idea what the name of your business is, they might decide to avoid doing business with you entirely. While you want your logo to look beautiful, readability should always come first.

Make sure that you don't get caught up in any passing fads either. Some of us will remember the "disco" fonts of the late 70s that looked more like balloon animals than letters. They were all the rage for a couple of years, but they also disappeared without a trace. You want your logo to be as timeless as possible, so keep that in mind when looking for typography inspiration.

Step 5: Think about how your logo will look in different media

Finally, once you've narrowed your options down as much as possible, you'll need to see how they look when displayed in different formats. Inspirational typography doesn't just appear as part of your online presence, it will also be printed on brand communications and brochures, stationery, across your advertising campaigns and even billboards in some scenarios.

Certain fonts won't look as attractive when they're plastered across a building as they do when they're narrowed down into a tiny icon. Ideally, you should play around with different options, and ask the design agency you work with to consider how your logo will appear on different media to limit your risk of long-term problems.

Inspirational typography: Finding your font

Designing a beautiful, recognisable brand logo that resonates with multiple audiences across various platforms and media is an incredibly daunting task. With so many different decisions to make, it's easy to overlook one of the most important details in your design: the font that will convey your unique brand identity.

Though typography might not be considered as often as colour and shape when it comes to logo design, the truth is that it can be just as important. Just look at Coca-Cola, for instance, a company that's managed to transform simple sweeping script into the perfect representation of one of the world's favourite carbonated drinks.

If you want your name to stand out on your logo, then it's crucial to remember that the appearance of the text is almost as important as the word itself. While your name has a part to play in brand awareness, if the style and shape of your letters can't pique your customer's interest, then you might lose out on the brand recognition you crave.

In a world where your logo is often the first point of contact you'll have with your audience, you can't afford to miss out on choosing the perfect font. Understanding typography psychology, the personality that different styles convey, and how you can impact customer feeling with your choice of text could mean that you instantly outshine your competitors. Choose your type wisely.
If you enjoyed this article, you might enjoy these too: - Get your brand in shape: The psychology of logo shapes - Show your colours: The psychology of colour in branding - Passion for the past: Why we love nostalgia marketing - How to choose an unbeatable unique selling point

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Font Psychology And Typography Inspiration In Logo Design

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Let's face it, communication is essential to everything we do. Whether you're trying to create relationships with your audience as a budding brand, establish yourself within a growing industry, or simply connect with others on a personal level, communication is key. However, there's a lot more to communication than simply speech.

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Discover the best font pairings for harmonious typography.

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Ended up choosing one in the list above.

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Color Psychology in Logo Design & Branding Explained

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Learn how to choose the right colour scheme for your logo design or brand by understanding the psychology and meaning behind colours.

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Trend forecasting service WGSN has revealed that a pastel shade of green, coined "neo mint", will dominate the worlds of fashion and interiors in 2020.

According to the trend forecaster, which is headquartered in London, neo mint is a gender-neutral colour with "an oxygenating, fresh tone that aligns science and technology with nature".

The colour was picked by WGSN's team of forecasters following extensive research that included observing street fashion, big data, current affairs and social media.

"What is becoming clear is the importance of neo mint - a shade that succinctly aligns futuristic development with nature," WGSN's colour director Jane Monnington Boddy told Dezeen.

Events slated to take place in 2020 - including the completion of the world's tallest building in Saudi Arabia; the start of NASA's Mars 2020 Rover mission; and the introduction of Uber's flying taxis - helped the team to pinpoint neo mint as an important colour for the dawn of the next decade.

Telling Dezeen about the process of composing a colour forecast, Monnington Boddy explained how data harvested from online retailers is used in tandem with images posted on social media.

"Our retail analytics division, WGSN Instock, can track the sales of online retailers and analyse which colours are selling well," she explained to Dezeen.

"We're also trying to use social media as a vehicle to find out what's happening in colour. In the past we used to go out on the street and look at what people are wearing, which we still do, but now we also look at influencers on Instagram."

Colour trends, Monnington Boddy said, have a trickle-down effect. What is seen at an interior during the Salone del Mobile in Milan, or on the catwalk during global fashion weeks may not hit the high street for another couple of years.

Similarly, WGSN believes that the current political climate and images seen on the news can influence the colours we wear, with the popularity of the colour red on the autumn and winter catwalks in 2017 a result of the 2017 Women's March.

"I've already seen neo mint popping up in younger fashion-forward brands, and in a few more years time it will start to filter into high street stores. Like all trends, it will evolve and grow," she continued.

Colour of the moment "millennial pink" dominates at Milan design week

"For example I first started spotting millennial pink back in 2011. I'd seen it in a Céline collection and it really resonated," she added.

"Now it's everywhere, especially in interiors. People still really love it - when we put it on the cover of our reports at WGSN the click rates go up."

Monnington Boddy believes that millennial pink changed how colours are now seen at a mass market level.

"It seemed to open the doors for any colour to be popular among both genders, and neo mint has the softness that millennial pink had," she said. "It can be translated into any type of design."

Neo mint is joined by four other soft colours in WGSN's forecast for spring and summer 2020. They are purist blue, cassis - a deep fusion of pink and purple, cantaloupe - described as a milky subdued tone with broad appeal, and an earthy baked hue called mellow yellow.

WGSN was set up in 1997 by British brothers Julian and Marc Worth, who set out to take trend forecasting - traditionally a print-based business, online. In October 2005, the company was sold to business to business publisher Ascential, formerly known as Emap, for £140m.

Other companies promoting colour forecasts for 2020 include Pantone, who predict that colours for autumn and winter in 2019 and 2020 will radiate intensity.

Pantone names Ultra Violet as colour of the year for 2018

"From a new level of flat, painterly primaries to pastels that are more active than romantic, we embrace colour that generates multi-dimensional visual perspectives as well as down to earth utility shades, recycled hues and core essentials," said the brand in a description of its Autumn/Winter 2019/20 Colour Planner book.

"With the desire for personalized statements continuing, there is less unity and more market fragmentation."

For 2018, Pantone selected a vibrant purple shade, named ultra violet, as its colour of the year, while paint brand Dulux elected heart wood - a millennial pink shade.

Main image is courtesy of WGSN.

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"Neo mint" will be the colour of 2020 says forecaster WGSN

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Trend forecasting service WGSN has revealed that a pastel shade of green, coined "neo mint", will dominate the worlds of fashion and interiors in 2020. According to the trend forecaster, which is headquartered in London, neo mint is a gender-neutral colour with "an oxygenating, fresh tone that aligns science and technology with nature".

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We are proud partners of Thread Together, an Australian non-profit organisation. Thread Together redistributes new clothing to communities in need, whilst cementing itself as a sustainable solution for the textile waste problem in Australia.

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DISSH | Explore The New Collection Online & In Store

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Make effortless style an everyday habit with our timeless collection of women's clothing. Free Shipping* & Easy Returns.

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Client likes their use of colors and
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showpo seems to have a similar target audience as my client

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Showpo is a fun & forward Australian online fashion clothing store, shipping to Europe & the world. We feature the best in dresses, playsuits, skirts & more!

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Showpo's instagram

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