Corporate Typeface

by Moritz Kleinsorge

Contents

Formgestalt 01

Great, you made it through a long bit of theory. Now, let’s focus on type-images and details instead. In the next section I present the various design parameters that I introduced in the previous chapter. They are visualized with the word “Formgestalt”.

The basic form of the word has no optical contrast in the stroke width, it has angled terminals as well as straight spurs and sharp corners. The connections between the stems and arches are harmonious and the letters tend to be of equal width. I personally find the typeface smooth, open and friendly, but not particularly spectacular.

Formgestalt (default)

The default design of the word Formgestalt

The comparison of the typefaces is done on two different levels. On the one hand, there are the “descriptive adjectives” (d), which compare the typeface only according to visual changes. On the other hand there are the “emotional adjectives” (e), which describe the resulting emotional effect of the font.

Have fun and click through the individual pictures, If you don’t agree with my adjectives, I am happy to receive your responses via mail.

Connection of Stem and Arch

The visual effect of a different connection

The typeface is more (e) cold, tough — (d) moving, constructed, dynamic, technical, composed than the default variant.

Reversed Contrast

The visual effect of a reversed contrast

The typeface is more (e) extraordinary, quirky, noisy, exceptional, heavy — (d) dynamic, modern, contemporary, livly than the default variant.

Low Contrast

The visual effect of a low contrast in stroke width

The typeface is more (e) elegant, retro, trustful, credible — (d) classic, balanced, light, curved, clean than the default variant.

High Contrast

The visual effect of high contrast in stroke width

The typeface is more (e) elegant, gentle, fashionable, attractive — (d) classic, light, fragile, delicate than the default variant.

Ink Traps

The visual effect of ink traps

The typeface is more (e) exciting, funky, fast, sportive, energetic — (d) dynamic, moving, active, lively/restless, instable, sweeping than the default variant.

Large x-Height

The visual effect of a large x-height

The typeface is more (e) loud, pushy — (d) big, wide, clear, space-filling, present, generous than the default variant.

Small x-Height

The visual effect of a small x-height

The typeface is more (e) elegant, shy, decent — (d) small, delicate, short than the default variant.

Round Terminals

The visual effect of round terminals

The typeface is more (e) friendly, childish, warm, optimistic, mellow, young — (d) soft, fluid, playful than the default variant.

Rounded Terminals

The visual effect of rounded terminals

The typeface is more (e) friendly, childish, warm, optimistic — (d) soft, blurred than the default variant.

Classic Proportions

The visual effect of classic proportions

The typeface is more (e) classic, humanistic, exciting, surprising — (d) lively, restless, active, jiggling, various, uneven

Bracket Spurs

The visual effect of bracket spurs

The typeface is more (e) dynamic, modern — (d) technical, sharp, pointy than the default variant.

Horizontal Terminals

The visual effect of horizontal terminals

The typeface is more (e) locked, reserved, chilled, structered — (d) constructed, solid, closed, calm, mechanic than the default variant.

Vertical Terminals

The visual effect of vertical terminals

The typeface is more (e) friendly, fast, fluid — (d) open, dynamic, cutting, sharp, pointy than the default variant.

Wide Letters

The visual effect of wide letters

The typeface is more (e) slow, safe — (d) wide, static, calm, stable, robust than the default variant.

Narrow Letters

The visual effect of narrow letters

The typeface is more (e) fast, constricted — (d) space saving, economic, tight, short, squeezed than the default variant.

Next Chapter: Type Characteristics / Formgestalt 02