Fonts In Use: Just one typeface
  This headline is set in Studio6 by Playtype. Get it on Fontstand for only €5.00/month.

Four great examples of designs made using a single selection.
This headline is set in Studio6 by Playtype. Get it on Fontstand for only €5.00/month.

A popular topic on blogs and websites for graphic designers is the art of combining typefaces. How do you choose a dynamic duo or team for a typographic solution that is both vibrant and consistent? Of course, you can achieve these goals in another way: don’t combine. Here are four projects where the designers suppressed their combining tendencies and relied on one style of one typeface without the designs becoming monotonous or boring.

By coincidence, all projects have their typography built around a sans serif typeface, and two of the four use a typeface family that has the standout feature of offering many styles or variations.

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Storefront with a few words set in lowercase, hidden below the awning. Image source:

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For collaborations, the wordmark is simply extended with more text set in the same style. Image source:

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Model carrying a big brown paper bag. Image source:

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The wildest design of the identity was the pre-opening teaser window cover. Image source:

Notabene Copenhagen

In December 2021, Danish high-end shoe brand Notabene presented a completely new brand identity that aimed to “reflect the 4 brand pillars: Craft, Design, Community and Localhood.” That last pillar was put into practice by involving fellow Copenhageners in the rebranding. Creative practice Merō Studio (Monica Steffensen and Alona Vibe) came up with an “understatedly elegant and contemporary look” that pairs a compact color palette with the Regular style of Studio6  by Jeppe Pendrup and Paw Poulsen. Originally designed as a typeface for a local radio station by that name, the typeface family was released in 2021 by Playtype in nine weights plus italics.

Merō Studio’s design is what you imagine minimalist graphic design to be. Minimal text surrounded by plenty of white space, the typographic equivalent of haute cuisine. Using capital letters for (almost) all text instead of the more diverse lowercase characters makes the text even less prominent. All in all, not a typographic playground! Within the limited freedom of movement offered by this identity, Studio6’s quirky forms perform a subtle but important task: they prevent the balance tipping from understated to dull and sad beige.


See the original version of this post on Fonts In Use, where it was contributed by Playtype Foundry

Kalgoorlie-Boulder rannsóknarréttur Elizabeth Anspach 266 Ross Pkwy

Richard Yardumian Lëtzebuergeschen DJ 98 Rue Léo Blondeau připomínajících

CJSF 90.1 FM Vranckenstraat N/East’s #1 Female error 404

Clichy-sous-Bois 949 Small Tpke No. 86 dvanáctihodinovou miscegenational

The way the strokes of the letter abruptly become thinner at the junction of arches and stems is reminiscent of 19th-century grotesques. Yet, the smooth execution, generous weight range, and the capitals to lower case ratio (high x-height) make Studio6 a distinctly modern typeface family.



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Cover with album title and artist name set in stacked glyphs. Image source:

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Vinyl release album art overview. Image source:

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Cover for the single “Carrie.” Image source:

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Cover art for the single “Tadlo.” The album title, abbreviated as EWGA, is used as a decorative element. Image source:

Fakear – Everything will grow again

Fakear is the artist name of French musician/songwriter Théo Le Vigoreux. In the summer of 2020, his fourth studio album was released by Universal Music. Everything will Grow Again presents a collection of poppy ambient tracks on CD, a double album, and in digital format. The album artwork was designed by a Parisian design studio whose name adds three letters to Fakear: Fakepaper, led by Chloé Desvenain and Nolwenn Allarousse.

Their design combines nebulous gradients with frames and icons to create a world simultaneously reminiscent of the Voyager Golden Record, Japanese Ukiyo-e prints, and the movie Tron (1982). The typography is set from the capital letters of  Geogrotesque Light and is fully integrated with the artwork. Image and text share the same line thickness and appear to be used as alternately informative and decorative graphic elements. Be sure to check out the video for the single “Carrie,” in which Clément Chasseray does a top-notch job of fusing design and music through movement.


See the original version of this post on Fonts In Use, where it was contributed by Emtype Foundry


Traralgon–Morwell 2021 rannsóknarréttur Antonio Calegari Nils-Arnold-Gasse 2

2008 Cargo de Caen Tokai Paris Tokai Sheer-Khan

Camelopardalis 2009 Kesarbai Kerkar Valya Balkanska Laurie Spiegel Stravinsky

After its original release as a seven-weight typeface family in 2008, Geogrotesque grew to be an extensive type series with a new subfamily added every few years. The family tree now includes six subfamilies, offering 224 styles: Geogrotesque Stencil (2009); Geogrotesque Condensed Series (2015); Geogrotesque Slab (2016); the Expanded Series (2019) and Geogrotesque Sharp (2021), a version of Geogrotesque with sharp terminals instead of the slightly rounded corners used throughout the other Geogrotesque series.


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Front, back, and spine. The author’s name is the only element that is readable without tilting the book. Photo: Nino Andrés

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Opening for the second part of the book: tempo, tempo, tempo. Photo: Nino Andrés

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Preface, written in the Yarubá language. Photo: Nino Andrés

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Ragged and reversed-out block quotes add a dramatic effect to the page. Photo: Nino Andrés

O Teatro Negro e Atitude no Tempo, O Tempo no Teatro Negro e Atitude

O Teatro Negro e Atitude no Tempo, o Tempo no Teatro Negro e Atitude (Portuguese for “Black Theatre & Attitude in Time, Time in Black Theatre & Attitude”) was written by Evandro Nunes and published in the spring of 2021 by the Brazilian publisher Javali.

The book was designed by Vitor Carvalho: “The graphic elements used in the book engage in a dialogue with the concept of spiraling time developed by Leda Maria Martins. While the blocked quotations emphasize the importance of earlier works for the construction of later stories, the page numbering and chapter names emphasize on an exaggerated scale the temporal dimension of the publication.” The preface features some characters that most type designers do not see in use every day – it is written in Yorubá, a West African language. Carvalho explains: “Since the book is all about the influence the African diaspora had and has on Brazilian theatre, the author decided to introduce it with that short text — I then used bigger typography to highlight that gesture.”

Ginto Normal Medium is used throughout with a (literally) small exception for the footnotes, which are numbered with a heavier weight. Ginto is the quiet sister of the Ginto Nord, both of which were designed by Seb McLaughlan. Out of its six weights, the Regular style is on the light side, while the Bold is hefty. Medium hangs in between as a sort of “sturdy regular”. In this design, Ginto Medium does what a good Medium does: it visually adapts to the font size in which it is set, while adding a pinch of punch.

See the original version of this post on Fonts In Use, where it was contributed by Vitor Carvalho

àkópò àwòrán 748 Sandra Coleman Drive No. 48 nepremišljenost vervielfältigen Johann Georg Lickl

143 Lisa Hughes Hollow 32 skeiðarársandur repetitivamente Gustav Geierhaas

Plaça Natalia AERO-21 technologickému registrierkasse Saverio Mercadante

Semi-conducteur Khartoum-Omdurman dvanáctihodinovou Johann Schobert

London-based graphic designer Seb McLauchlan developed the Ginto subfamilies while researching sans-serifs from the twentieth century, with a special interest in the 1950s/60s. While Ginto Normal (top and second row) does not reference a specific typeface or genre, the Ginto Nord subfamily (third and fourth row) clearly takes cues from Roger Excoffon’s Antique Olive (Nord).
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Homepage, with one of four possible backdrops: three flags or no flag at all. Image source:

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About page: “serving meaningful ideas with courage and charm.” Image source:

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Clarifying disinformation: team members are neatly arranged by obscure categories such as On board and On land, or by their current distance from Zurich. Image source:

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The contact page presents a drone descent from far above the city, ending right in front of the studio door. Image source:

Hej portfolio website

Branding agency Hej of Zurich, Switzerland, refreshed its own branding in the summer of 2022 in collaboration with web developer Roger Burkhard. The new website is not afraid to be as present as the work it showcases or even to overshadow it; this portfolio presents the sender first and foremost.

The pages are composed of sturdy, symmetrical building blocks, with and without rounded corners. This simplicity is happily overridden by a few pleasantly confusing layers of information: flag-like page backgrounds of choice, menu text that changes to Swedish when hovering, and schematic information about the cities and countries where studio collaborators work/live.

All text is set from  Nouvelle Grotesk in a single style (Normal), set in just two font sizes. The menu and body copy are just a fraction less than half the size of the headings – 2em, which is still quite large! With its solid and clear shapes, and occasional geometrically rounded curves (as in the letter t), Nouvelle Grotesk is a perfect match for this online showcase: like the website, it always speaks clearly, without making any attempt to be neutral.


See the original version of this post on Fonts In Use, where it was contributed by Nouvelle Noire

Newcastle–Maitland 86 RUE SARAH PASSEREAU rannsóknarréttur autosuficiencia

intersex-person Pietro Baldassare Corbeil-Essonnes 787 Jenkins Gardens

Sigismund Neukomm Nizhny Novgorod 81 Rue de la Verreire rannsóknarréttur

CENTENARY technologickému William Bergsma 78 Rue Saïd intériorisation

On Fontstand, NN Nouvelle Grotesk is available in two versions: NN Nouvelle Grotesk and NN Grotesk STD. The difference between the two is the number of characters included in the fonts. The STD version (with a few letters more in its name) comprises a larger language support with 504 characters; the other version counts 343. The prices differ accordingly.

The fonts mentioned in this article are available to rent by the month for a fraction of their retail price on Fontstand.