Ringside is our most ambitious typeface to date, our largest and most inclusive family ever, reflecting the handiwork of the entire type design team at Hoefler&Co. The Office of Barack and Michelle Obama, its website designed by Blue State Digital and premiering this morning, will be the first organization to use a new H&Co typeface named Ringside, which will launch later this week. A typographic chronology appears below, beginning with the moment in 2007 that Congressman Barack Obama announced his campaign for the presidency, with the call for change that resonated so powerfully with the American people… It is therefore especially meaningful to me that our typefaces will continue with the Obamas. There is a final ‘Truth Over Lies’ palette that has the most creatively named colours of all: ‘Unity Over Division’ (bright red, PMS Warm Red C), ‘Truth Over Lies’ (dark green, PMS 7735 C), ‘Hope Over Fear’ (gold, PMS 124 C) and ‘Science Over Fiction’ (muted mid-range blue, PMS 549 C).įinally, In a news release on Hoefler&Co.’s website from January 20, 2017, Jonathan Hoefler revealed that Hoefler&Co.’s long-held relationship with the former first family would continue: “We at Hoefler&Co have had the extraordinary privilege of seeing our typefaces accompany the Obamas on every step of their journey. Kamala Harris’ palette includes ‘True Red’ and ‘Union Blue’, among others. The brand colours are particularly interesting, including ‘Joe Navy’, ‘Biden Blue’ and ‘Climate Green’, among others, as well as Jill Biden’s palette that includes ‘Jill Navy’, ‘Lavender’ and ‘Glow Gold’. Here is an incredible PDF document you can check out that details the Biden Harris brand guidelines, including usage of the typefaces, brand colours and logos. What’s really special is that Joe Binden & Kamala Harris’ presidential campaign is rooted in two typefaces also designed by Hoefler & Co.: sans serif Decimal (watch the process of designing that typeface unfold in the Netflix Abstract Season 2 documentary) and serif Mercury Text. Typefaces, in conjunction with other design decisions, can be used to help politicians shape how people will perceive an individual and their message. While these findings aren’t revolutionary (it makes sense that typefaces that look more traditional align with more traditional viewpoints), what I think is more interesting is that the study found that people rated the typefaces they liked as being more aligned with their own political ideologies. They found that serif faces were rated as more conservative and sans serif more liberal. Participants were then asked to rate how conservative or liberal the typeface or the person was. Assistant Professors of Communication from Virginia Tech, Daniel Tamul and Katherine Haenschen, conducted a study where they showed a person’s name written in a variety of different typefaces. In a 2020 article for The Conversation entitled Typefaces have personality - and can be political, describes the ways in which research demonstrates that typefaces do, in fact, influence the way we think about politics and political candidates. In the world of big data and trackable click counts this allows foundries to make extra money when the companies licencing their fonts are (presumably) making more money, while saving companies money whose impressions aren’t as high. For example, one of the world’s largest font foundries, Linotype, offers digital font licencing packages for 1, 4, or 10 million ad impressions. This is similar to pay-per-click advertising that the giants Google and Facebook have pioneered. He also noted that many foundries are moving towards an impression-based licensing model for their typefaces in digital spaces. Netflix’s brand design lead, Noah Nathan, explained that creating their own typeface provided an opportunity to add an ownable piece that contributes positively to their brand aesthetic. So they created their own using the talents of an in-house design team at Netflix, in collaboration with Dalton Maag font foundry. According to, Netflix was paying literally millions of dollars each year to license the typeface at such a scale. Streaming giant, Netflix, used the typeface up until 2018, when in an effort to reduce its font licensing costs, they created their own custom typeface: Netflix Sans.
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