In use: The Reflex Group wise choice of AW Conqueror for their Seat Maybelline ads

Seat Maybelline AW Conqueror font inuse at typofonderie

In recent years, bespoke typefaces help companies to express their identity through all the communication materials. Many designers and art directors are confident that these unique fonts reinforce the company’s branding. Seat, like many automakers, has its own bespoke typeface and all design agencies, advertising companies must to use it without limit. But there always are special cases where the good and beautiful corporate typeface does not work perfectly.

In use: Modern Art Club

Apolline in use by Amélie Lebleu. Modern Art Club

Amélie Lebleu is a graphic designer in love with typography. On her portfolio we can find quite good exhibit catalogs and exhibit identities. For Musée du Luxembourg she opted for a real typographical bias: rather than designing a catalog including reproductions of paintings, she deliberately and solely focused on typography, a unique typeface, a unique Apolline weight but two colors.

Mislab, a new design by Xavier Dupré

Mislab by Xavier Dupré for Typofonderie

Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions.

Costa, a mediterranean style sanserif

Costa, a mediterranean style sanserif

The original idea of Costa was to create a contemporary mediterranean typeface style. Costa is a synthesis of the purity, as found on Greek capitals, and softness, found in Renaissance scripts. First thing was the design concept that take its roots on the Chancery script. Such writing style appeared during Italian Renaissance. Later few typefaces have been developed from such cursive models. Today most serifed typeface italic take their roots on such triangular structure we can find on gylphs like the n, p, or d.