HYPE HOUSE LOGO FONT TV

When Chobani undertook its 2017 rebrand, it wanted to stand out on grocery shelves, which had become crowded by competitors in recent years. To capture the softness, fluffiness, and comfort of BuffyвЂ™s product, Jen suggested Cooper Black, one of a small number of fonts that was вЂњpuffy, round, kind of quirky, confident.вЂќ Her modifications to the shape of the letters made the original Cooper Black feel lighter and more elegant, Shaked says. By that logic, it makes perfect sense that a company dedicated to sleep products would seize on the вЂ™70s.) (Goodspeed believes that the ties between todayвЂ™s wellness movement and 1970s approaches to health food and alternative medicine have partly led to the revived interest in the eraвЂ™s design sensibility. Tapping into that aesthetic wasnвЂ™t about buying into a design trend, says Paul Shaked, BuffyвЂ™s brand vice president: With its mission to make вЂњbetter products for the earth and for usвЂќ - its comforters are made of eucalyptus - the company has something of a вЂњhippie product development lens.вЂќ When the Buffy team was working on its brand identity, it looked at references like Whole Earth Catalog and the Ant Farm design groupвЂ™s вЂњInflatocookbook,вЂќ also published in the early 1970s. вЂњIt doesnвЂ™t seem surprising that when people are trying to find something comforting, we donвЂ™t want something that feels Swiss, which can bleed into fascism,вЂќ says Goodspeed. Elizabeth Goodspeed, a graphic designer who works at the branding agency RoAndCo, believes that for many consumers, вЂ™70s-esque fonts represent a safe retreat into the past - a safer retreat, importantly, than the one currently offered by midcentury Swiss Style, which inspired all of those minimalist startup logos with its grid layouts and sans serif fonts.

HYPE HOUSE LOGO FONT TV

TodayвЂ™s movement toward fonts reminiscent of the вЂ™70s is partly a matter of advancing technology, Jen says: As phone and TV screens have improved, designers donвЂ™t have to worry as much about pixelation when working with curves. It wasnвЂ™t all psychedelia and bubbly fonts: Herb Lubalin, a titan of 1970s graphic design, made looping, thick typefaces, but he also produced Avant Garde, a sharp, angular style recently used as the title card in NetflixвЂ™s Master of None.ДЄ post shared by Glossier Play on at 11:38am PDT вЂњStylistically, the вЂ™70s were really exuberant and free, and also extremely diverse,вЂќ says Natasha Jen, a partner at the design firm Pentagram and the creator of BuffyвЂ™s custom logotype. Cooper Black was released in 1922, but in the вЂ™60s and вЂ™70s it made notable appearances on album covers from The Doors, Curtis Mayfield, and The Beatles. It was famously used on the cover of the counterculture magazine the Whole Earth Catalog and in Woody AllenвЂ™s film titles, including 1977вЂ™s Annie Hall. Consider the typeface Windsor, which was crafted in 1905 and, according to the Font Review Journal, had its heyday between the 1960s and вЂ™80s. Many of the typefaces that we associate with the вЂ™60s and вЂ™70s were actually created decades before, though theyвЂ™re informing the present-day design landscape because of how they were used in the вЂ™70s. Now that the simple, utilitarian look has run its course, companies and branding agencies are turning to fonts with a more expressive, human feel. Particularly in the startup space, the early 2010s were absolutely dominated by sans serifs and minimalist design, a trend that was itself a reaction to the chaotic typography of the 1990s. Why youвЂ™re seeing it everywhere: Branding trends always exist in relation to what came immediately before aesthetics are a powerful way for a company to stand out from its competitors, and once a particular look reaches oversaturation, itвЂ™s time to move on.

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