Case studies25 articles
In an innovative and dynamic approach to the new Variable font format, Fontsmith (now part of the Monotype Studio) and Dutch branding agency VBAT created a responsive logo font for Amsterdam’s new WPP campus — a logo which changes according to interaction and time, as people move throughout the space so do its letterforms.
See how we helped Duolingo find its voice (and its wings) with a custom brand font.
As it grew and expanded into new regions, Orange found that its font capabilities were not keeping up. Support for new languages was inconsistent, different teams were using different licenses and fonts, and there was concern about degrading brand recognition and license infringement.
The city of Dubai partnered with Microsoft and Monotype to create a typeface that reflects Dubai’s energetic nature in both Latin and Arabic.
Partnering with Interbrand and Monotype, Santander redesigned its brand to become more modern, more digital and more in tune with a new generation of consumers.
Corporate typeface helps a timeless railway company now and into the future.
A custom version of Proxima Nova will streamline Royal Caribbean’s digital presence for clear and confident communication with Chinese customers.
Monotype’s brand refresh needed to achieve the same consistency of communication that it champions for its customers. But what’s the answer when you’re a type foundry with literally tens of thousands of fonts to choose from, and multiple products and services to design for?
With their first site redesign in seven years, TED turned to Neue Helvetica as the perfect typeface for conveying ideas worth spreading.
Monotype’s Terrance Weinzierl helped software company SAP to develop a typeface for SAP Fiori, for which SAP won a Red Dot Award in 2015. It was important that the design of the typeface works well in text-based UI environments without compromising on personality. The new typeface, called 72, has won a 2017 Red Dot Award.
When your business is the printed word, your use of type is serious business. From the introduction of the Times New Roman® typeface in 1932 through to its Times Modern fonts today, The Times newspaper’s use of type has been a critical and iconic aspect of its brand.
The SST font tackles a central challenge of branding – universality. The SST superfamily supports more than 90 languages including Japanese, Thai and Arabic.
Monotype's Akira Kobayashi worked closely with Sony’s Chief Art Director Hiroshige Fukuhara to create an original typeface ready for nearly 100 languages.
Monotype worked with noted illustrator Sir Quentin Blake and his team to recreate his handwriting as a bespoke typeface.
Scotiabank has long used Frutiger as its brand font. But as they expanded to new digital channels and regions, font licensing became too complex. Until now.