What does the typeface say about your brand?


The role of typography is twofold:

To clearly connect with your customers and

Accurately reflect the character of your brand

Just as colours play an important role in the communication of your brand, so too does the typeface.

Using a default font on your logo, for example, could be seen as a lack of attention to detail or cutting corners on investment in your own business. Certainly not how you would want to be perceived by future customers.

Therefore, time should equally be taken to decide the correct typeface that will connect with your target audience.

Striking the correct tone

Different fonts express different tones. A care home would choose a font with a tone that expresses warmth and friendliness. A financial services company might choose a font that is more serious and professional. These tones affect the way your customers view your business.

The tone of a font has great power over how your brand is perceived. Remember when Google changed their typeface? The old logo design, created in 1999, was a serif typeface. The new logo is a colourful sans serif typeface called Product Sans. Much had changed within the business of Google and this is why they needed to change their logo.

Fonts express the tone of your business

     1.  Professional, luxury, knowledge or authority

A business that wishes to express these qualities will choose classic and traditional fonts such as serifs.

     2.  Straightforward and functional

A business that wishes to express these qualities will choose modern sans serifs that are trendy and simplistic.

     3.  Reliable and approachable

A business that wishes to express these qualities will choose elegant, thin or narrow fonts.

     4.  Warm, friendly or even dramatic

A business that wishes to express these qualities will choose bold fonts.

     5.  Fun, outgoing or emotional

A business that wishes to express these qualities will choose handwritten or scripted fonts. These are not used within text as the smaller the size of font the harder it is to read. You’ll notice many logos use these types of font.

Streamline the fonts you use

If too many fonts are used the outcome is generally messy and confusing. The rule when deciding the fonts to use within your marketing material is to choose just a few. This will ensure your brand image is honed and streamlined.

3 font categories

      1.  Logo

As previously mentioned this should never by a default font such as Arial or Times New Roman.

Your logo generally creates the first impression and is the long-lasting image that stays with your customers. It differentiates you from your competitors and sets the tone and customers’ expectation.

      2. Heading and strapline

Your logo may not use a font but many logos incorporate a strapline, either way, this secondary typeface should complement your logo.

The font chosen should be eye-catching, whilst remaining easy to read and can also be used for headlines and sub-headings.

   3.  Body text

The font for the body text of your marketing collateral is often taken from the same family as the main fonts. Again, this font should be easy to read as it’s likely to be small and used in larger blocks of text.

Readability is crucial, so a good tip is to choose a font that has generous spaces between the letters so the words can be read more fluidly.

Be consistent

When you consider it can take many encounters with your brand for potential customers to actually connect, you want to avoid making this task even harder through inconsistency of typeface between different channels or media.

Choosing your set of fonts carefully with their use in mind and using them consistently will allow your audience to become familiar with your brand more quickly and make a lasting impression.
Think before updating fonts

Having read this article, you may now feel that your fonts do not accurately reflect the qualities you wish your brand to portray. If you do update your logo font remember to also update the other categories of font so that they all work in harmony.

Typeface talk

If you would like to have a chat about your typeface feel free to send me an email or call on T: 01293 886805  or M: 07813 339789

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Font for March : Hoverage

If you’re looking to add a bit of vintage style to your designs, then Hoverage font, may be just what you’re looking for. Created by graphic designer Agga Swist’blnk of Swistblnk Designs, Hoverage includes two fonts; regular and vintage, both of which are currently available to download for free over on Creative Market.

Font for March

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Font for March : BoB

Here at Turquoise Creative, we’re big fans of typography and we’re constantly on the hunt for new and exciting typefaces. Every month we showcase the best fonts on the web. This month it’s BoB from Burma-based typographer Zarni, which is totally free to download.

BoB is inspired by the playful asethics of illustration, Zarni has created this cool and characterful font. This kind of typography is perfect for experimentation and will work wonders on posters and headlines. Coming in capital and lower case letters, BoB also includes numerical symbols as well as a variety of punctuation marks. As free fonts go it has plenty of uses – just be sure to show Zarni some love.

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Font for February : Streetwear

Here at Turquoise Creative, we’re big fans of typography and we’re constantly on the hunt for new and exciting typefaces. Every month we showcase the best fonts on the web. This month it’s Streetwear from Artimasa, which is totally free to download.


A bold and stylish retro-inspired script font, Streetwear is suitable for logos, posters, branding, packaging and much more. Available from Artimasa, the team comments on Behance: “Streetwear looks like the 1960s and 70s fashion and sport-related typeface, unique and fun at the same time.” Streetwear is free for both personal and commercial use.

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Font for January : Al Fresco

Here at Turquoise Creative, we’re big fans of typography and we’re constantly on the hunt for new and exciting typefaces.

Our New Years font choice is Al Fresco, which was created by designer Laura Worthington. “Al Fresco is a breezy, light, yet expressive typeface perfect for packaging products and titling work that call for a youthful, delectable flair,” Worthington says. “Its elegance carries a subtle earthiness; its beauty is unconventional, both stylish and exuberant.”

Al Fresco

Al Fresco2

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Font for December : Promesh

Every month we like to showcase the best fonts on the web. This month it’s Promesh by Paul Reis, which is free to download!

At Turquoise Creative, we’re big fans of typography and we’re constantly on the hunt for new and exciting typefaces – especially free fonts. So, if you’re in need of a font for your latest design or just like to keep a collection so you’re prepared, we may be able to help out.


This month our font of choice is Promesh by graphic designer Paul Reis . “Promesh puts a spin on your typical and boring athletic font,” Reis comments on Behance. “A distressed mesh look reminiscent of those old school basketball jerseys.”

New modern typography can lift a design concept. Turquoise Creative are always on the look out for a new and stylist font to add to their library.

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Typography tutorial

At Turquoise Creative we love typography and we thought you might be interested in learning some typography principles yourself.

When designing layouts and adjusting type, it is important to understand the basics of working with text, line spacing, and letter spacing. This article briefly covers leading, kerning, tracking for you to consider on your next piece of work.

When working with a paragraph, or just more than one line of type, leading is the distance between the baselines in the paragraph. A baseline is the imaginary guideline that type sits on. The standard proportion of leading to type size is typically 120%. So if the type size is 20 point, then the most standard leading would be 24 point.


Kerning is an adjustment of space between two specific letters. The idea of kerning is to create a consistent rhythm of space within a group of letters and to create an appearance of even spacing between letters. Fonts have exact amounts of spacing between letter combinations already built into it, which is called Metric Kerning. Type takes on Metric Kerning as a default. As type gets larger and closer to a headline size, those letter combinations, or kerning pairs, don’t work as well. If a selection of type is changed to Optical Kerning, InDesign (or whichever program is being used) will adjust the kerning automatically. However, most designers don’t find this is as useful as using Manual Kerning.

Manual Kerning – One helpful way to look at kerning is imagining that each space between kerning pairs is filled with liquid, and the same amount of liquid should put poured into each space.


Kerning should not be confused with tracking, which refers to uniform spacing between all of the letters in a group of text. By increasing tracking in a word, line of text, or paragraph, a designer can create a more open and airy element.


In blocks of text or paragraph, tracking is usually only increased by a small amount, because the legibility can become difficult. In that case it is used more subtly and sometimes to fill space. And using negative tracking can be used sparingly to help create a shorter line of text. In smaller amounts of text or single lines, tracking can be increased in greater amounts and can often help the font take on an entirely different design quality.

These typography principles of leading, kerning, and tracking can be seen in our portfolio. If you think your marketing material could benefit from a make-over please call Turquoise Creative.

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