30 Brilliant Typefaces for Corporate

Design
1. Bodoni Script Pro
Designed by Panos Vassillou, this typeface was
designed with connected characters and capitals with
calligraphic elements. Bodoni Script Pro is a 3-weight
family; each font comes with 725 glyphs, including a
large number of alternates, as well as 144 ornaments.

2. Geogrotesque
Geogrotesque is a semi-modular typeface with a subtle rounded finish. All
the characters are based on the same formal principle, with corresponding
optical adjustments to adapt the system to an alphabet for texts. Although
the type family has a geometric or technological construction, the rounded
finish lends a warm appearance, making the typefaces more accessible.

3. Museo and Museo Sans

Museo is a clean yet unconventional semi-serif, designed by Jos Buivenga.
This OpenType font family comes in five weights, and each weight comes
with support for CE languages, even Esperanto. Besides ligatures, contextual
alternatives, stylistic alternates, fractions and proportional/tabular figures,
Museo has a case feature for case-sensitive forms. The sans-serif version is
a sturdy, low-contrast, geometric, highly legible sans-serif typeface that is
well suited to any display and text use.

Both typefaces are lucid and versatile, great for cool-looking headlines but
also effective as medium-sized text.

4. Gotham Narrow
Gotham is new, economical and designed specifically for text. The typeface
can be used in publications, on websites, for branding and on book covers
and posters. The typeface includes four different widths, from regular to
condensed, and each style is paired with a matching italic. For tables and
charts,
Gothams core
styles include a
Numeric
range that
contains
tabular figures,
fractions and
extended
symbols.

5. Metroscript
With Metroscript, New York-based lettering artist Michael Doret has adapted
his trademark hand-lettering style to the computer, creating one of the most
sophisticated suites of script fonts on the market. Metroscript was successful
throughout 2008 and proudly holds the title of MyFonts Brush Script Font of
the Year.

6. Locator
Designed by Eric
Olson in 2002/2003,
Locator was originally
proposed as a custom
typeface for the
Design Institute at the
University of
Minnesota. Locator is
now a complete family
of 12 fonts with true
italic. Since its release
in the spring of 2003,
Locator has been used
for a range of projects,
including books,
signage, corporate
identity and even the
companys website.

7. Madawaska
Madawaska, a slab-serif family, has a bit of both: some of the ruggedness of
the creators display work, and the extensive structure of a text family. With
seven weights, including some very subtle hairline versions, its versatile and
widely usable. Madawaska comes with fractions, old-style numerals and
lining numerals. This typeface may not look as solid and professional as
others, but it gives your copy a modern, strong and original
appearance.

8. Olicana
A beautiful
typeface
script in
action.
There are
over 100
ligatures,
which, when
activated in
a layout program, introduce more
inconsistencies, making for a more
convincing handwritten
appearance. The typeface also has
a more ornate style (swash
feature), so the user has a choice
between old and new styles. There are also replacement
ligatures for double swashes appearing together.

As a final touch of authenticity, there are eight difference lengths of

strike-throughs. When inserted after a word, these special
characters cross out the mistake. There are also eight splats,
including ink blobs and even partial fingerprints. The typeface
comes in two weights, rough and smooth. Designed by Nick Cooke.

9. Ronnia
One of the most remarkable characteristics of this humanistic sansserif is its versatility. Ronnia has been engineered mainly for
newspaper and magazine applications, as evidenced by its
properties: economical in use, highly legible and friendly and
charming in character. Ronnia was part of the Tipos Latinos
exhibition 2008 and the 23rd Biennale of Graphic Design 2008 in
Brno.

10. Skolar
Skolar is a serifed typeface that has been designed specifically for
scholarly multilingual publications. The relatively large x-height puts
the typefaces proportions somewhere between a book and
newspapers typeface. The capitals are rather low compared to the
ascenders to give the typeface even more texture and space for

capital diacritical marks. These characteristics were introduced to

improve readability in smaller sizes. Skolar received international
recognition at the Ed-Awards competition 2008.

11. Capsa
Capsa was inspired by the work of mid-18th-century Parisian printer Claude
Lamesle. It is an original design with classical flair, expert typesetting
features and full, contemporary character sets. The Capsa family is an ideal
book type: highly legible with beautifully fluid swash and italic styles. The
Patterns and Vignettes fonts comprise a useful collection of decorative
borders and ornaments. OpenType features include small caps, ligatures,

alternates, old-style figures, lining figures, tabular figures, fractions, scientific

inferiors, superscript, swashes, numerators, denominators and ordinals.

12. FF Meta Serif

The OpenType version of FF Meta Serif offers Book, Medium, Bold and Black,
each including italics and, of course, small caps, OSF, LF, TF and a range of
arrows and other symbols. While it stands on its own in a wide range of
applications, the extra benefit is its close relationship to the original FF Meta,
its sans serif sister.

13. Buffet Script

Buffet Script is based on calligraphy by Alf Becker, arguably the
greatest American sign-lettering artist of all time. Buffet Scripts
OpenType programming contains discretionary ligatures and stylistic
and contextual alternates, all interacting with each other to allow
the composition of just the right typographic look and feel. This font
is best used where lush elegance is a design requirement.

14. Opal
Opal is a text face with noble aspirations, yearning for luxury and still
delivering. Because of the long ascenders that rise clearly above the capital
letters, Opal should be set with generous line spacing. The typefaces design
has the attributes of the old-style Renaissance serifs, yet Opal is not based
on any specific predecessors.

15. Akagi
Akasi is a legible sans-serif family with modern, crisp, clean and legible
glyphs for corporate designs and magazines. Designed by Neil Summerour.

16. Encore Sans Pro

This typeface is supposed to be a

perfect alternative to any overused
classic sans typeface. Encore Sans
Pro is a humanistic sans-serif that
projects an image of reliability,
authority and competence, making
it ideal for corporate applications. A
functional typeface that combines
utility, simplicity, clarity and style.
Contemporary and elegant. Coming
in OpenType, the family consists of
22 fonts (also available as separate
weights).

17. Stag
A new slab-serif for bold,
forceful headlines, with a
very large x-height,
extremely short
ascenders and
descenders, and tight
spacing, for a compact,
contemporary look. In
2008, three new weights
were added in order to
match the full range of
weights offered in Stags
sans-serif companion,
Stag Sans, in the hope of
adding more flexibility to
this eccentric family.
Designed by Christan
Schwartz.

18. Comenia

Comenia, a school typeface system, was developed as a typographic

system for use at all levels of schools and universities. It introduces
new aesthetic standards
aimed to improve reading
and writing skills and
enhance the appeal of texts
for pupils, students, teachers
and office and IT staff at
schools. It offers a clear,
understandable and
universal graphic tool for
electronic typography,
information systems and
laying out primers, textbooks
and educational texts and
materials. The family
consists of 19 fonts.

19. Router
Router is located at the intersection of mechanical and organic.
Unlike other rounded sans-serifs with simple rounded terminals,
Router flexes outward, mimicking the physical process of carving
letters into plastic or metal. These details function exceptionally at
display size, and disappear to satisfying effect in text, creating a
legible, organic and evenly colored body copy.

20. Paz
Paz, a squarish 4-weight
industrial family, ranging from
extreme hairline to black, is
ideal for editorial headlines in
which type plays a major role
the overall design. The fonts
were designed by Ariel Di Lisio
and digitized by Alejandro
Paul.

in

21. Kewl Script

Kewl Script is ideal for food
packaging, book and music
covers, magazines and
window splashes. The idea
was to go on the heavier
and more playful side, but
with a South American
sign-letterers twist, rather
than just good handwriting.
did some sketching, took
some notes, then got busy
with other projects. Some
that stuff eventually
seeped into Candy Script
and, to a lesser extent, the
Whomp font. But it was
only a matter of time
before I got back to the
original concept and
finished it.

22. Tisa

I
of

Designed by Mitja Miklavcic

and initially created in 2006
to fulfill the requirements of
an MA in Typeface Design,
Tisa was primarily created for
use in various magazines
that are printed by either
web-fed offset or gravure
printing techniques.
Nevertheless, the typeface
can also be successfully used
in other printed media, such
as newspapers, annual
reports, etc. Selected by the
TDC judges for the Certificate
of Excellence in Type Design,
it was released in 2008.

23. Montague Script

An incredible contemporary script by

Stephen Rapp.

24. Karmina Sans

Karmina Sans follows in the footsteps of its successful cousin. While
they share stylistic features, Karmina Sans was specifically designed
to be a versatile tool for editorial designers. It comes in six weights
with matching italics. Each of the OpenType fonts includes nearly
900 characters per weight, with small caps, multiple numeral styles,
scientific superior and inferior figures and a set of symbols and
arrows. Karmina Sans heavy variant delivers one of the darkest and
most powerful text styles available, while the text weights are a
perfect companion to Karmina Serif.

25. Newzald

Newzald is a modern serif

designed for the international
editorial environment.
Newzalds large x-height and
slightly condensed forms allow
many words to the column
without looking cramped or
ungainly. Newzald has four
weights, ranging from the brisk
Book to Black. Its character set includes a wide array of accents,
seven numeral sets and small caps across all styles. Designed in
2008 by Kris Sowersby.

26. Gloriola
Gloriola is a mono-linear sansserif, whose extremely broad
range of nine cuts offers endless
creative possibilities. Gloriola Std
cuts and corresponding italics are
suited to common typesetting
needs thanks to the open
character of its letters, the
sufficient x-height and clear
forms, as well as the full
possibilities of OpenType, such as
small caps, ligatures, tabular
figures and alternating
characters. Four extreme Display
cuts are perfect for display use.
Their reduced ascenders and
descenders and strong forms are
perfect for creating distinct yet
harmonious effects when
combined with other cuts of the
same typeface.

27. Haptic
The Haptic family is a sans-serif typeface
optimized for use in small-sized text. It
serves well in attention-seeking
headlines and comes in roman and italic
with seven weights each. Through its
versatile character traits, Haptic emits
visual warmth and draws sympathy,
without sacrificing readability.
The rounded, slightly broadened stemheads emphasize the x-height and were
adopted from the common ink bleed when
writing with ink and pen. The Haptic family
has true italic forms available, as well as
descenders for f and . Designed by
Henning Skibbe.

28. Mrs. Eaves XL

This is a revised design of the classic Mrs. Eaves, a transitional serif
typeface designed by Zuzana Licko in
1996. The main distinguishing features
of
Mrs Eaves XL are its larger x-height,
shorter ascenders and descenders and
overall tighter spacing. These
additional fonts expand the Mrs. Eaves
family to a larger variety of uses,
specifically those requiring economy of
space. The larger x-height also allows
a
smaller point size to be used while
maintaining readability. Mrs Eaves XL
also has a narrow counterpart to the
regular, with a set width of about 92%,
which allows for even more compact
uses.

29. DIN Next

DIN Next is a typeface family

inspired by the classic industrial
German engineering designs. Each
the seven weights of DIN Next ships
three varieties: Regular, Italic, and
Condensed. The typeface family
also includes a set of four
rounded fonts (DIN Next
Rounded), bringing the total
number of fonts in the family to 25.

of
in

The typeface can be used

particularly for industrial
signage. It has been tailored
especially for graphic designers,
but its industrial heritage makes it surprisingly functional for just about any
application. The only drawback of the typeface is the simple fact that it is
way too expensive.

30. Susa
This playful typeface is ideal for corporate designs that need a friendlier, less
formal look. The typeface is also perfect for educational projects because it
imitates blackboard handwriting perfectly. Every connection between letters
looks perfect without any alternate glyphs. The weights from light to heavy
serve well in text and display.

Bonus: Klavika
Klavika is a flexible family of sans serifs
for editorial and identity design.
Features like small caps, true italics,
multiple language support and several
numeral styles make it an ideal
workhorse typeface. Since Klavika was
designed with identity programs and
editorial design in mind, emphasis has
been given to alternate numeral styles
and typographic details like small caps
and ligatures.

By Vitaly Friedman
April 15th, 2009
Accessed 18 October 2016

https://www.smashingmagazine.com/2009/04/
30-brilliant-typefaces-for-corporate-design/