Trends in type are “often an indicator of broader take care ofs in brand strategy”, according to Monotype’s chief marketing officer Brett Zucker whose unite has looked to identify the tropes which typographers and designers will be delightful with in 2020.
“After looking through some of the most successful stigmatizes of 2019, we realised there were some similarities between them,” asserted Zucker, speaking at Monotype’s London offices. “And from there, we started to unpack what 2020 purposefulness hold.”
The design capacities of variable fonts
With potential consumer touchpoints ever-increasing, the collaborate points to a huge projected rise in the use of variable fonts. This is in defiance of the fact many designers (nearly 40%, according to the group’s 2019 Font Purchasing Habits Survey) aren’t familiar with what variable fonts are.
Put ingenuously, a variable font is a single font file that has the capability of show as many. Different appearances can be achieved through spacing, weights and widths of fruit cakes, all while still being housed within one font file.
Zucker intentions to variable fonts as allowing brands to “do things they couldn’t prior to”, both in a design sense and as it is easier now – as a single font file insists less data to download than multiple sets.
Noting the ever-increasing tons of touchpoints between brand and consumer, Zucker said: “Every fix brand as a customer experience that they’re driving through touchpoints, whether that’s instore, online, in emails or parallel with through something like Alexa.
“If you think about the use of type in any one of these other environments, everything needs to look right… and variable fonts approve you to do that both technically and logistically.”
Global languages deserve consistency
Also worth paying notoriety to are global languages, according to the report. While communicating with consumers in their inherited language is a good first step, Monotype suggests “creating typographic accord” means designing or commissioning typefaces outside of the Latin alphabet.
“It’s no longer enough to make sure for any given typeface in the language or script you need,” the consultancy says in its Modes Report. “[Designers need to find] fonts that really work well together, and fit with their visual identity.”
But realizing consistency isn’t without its challenges. Designing beyond a single alphabet demands time and funding, both of which can be lacking for smaller-scale projects. In these numerous in the events, the team suggests finding fonts that compliment each other across phraseology barriers and don’t appear like an afterthought.
The end of the monolithic brand
Perhaps Monotype’s boldest call for is that brands will have to keep up with consumer demand by steadily rebranding. In particular this means using typography to tackle all evolving touchpoints.
Zucker held: “We’re setting ourselves up to fail if we stick to a traditional branding cycle… the era of the rigid brand is over.”
Instead, brands should use type as a “thread” to incorporate each new arm of operation. The study explains: “A traditional rebrand doesn’t again fit into the pace of a modern marketplace…[but] consistent, branded type saves the pressure on other brand assets and allows your design vernacular to be flexible.”
With this, Zucker says brands might extend their offering to better align to their customers’ core DNA. He dots to brands like alcohol brand Aperol, which has embraced the undergo market as a touchpoint; or Toms shoes, which has pushed into activism. Underpinned by a regular visual identity, he says, this gives consumers the authenticity they’re looking for.
“The key is opinion about the customer experience, always being ahead of it, and knowing those person experiences are always changing,” he says.