Independence Day, the first custom typeface cuts the deepest.
Case study of a custom typeface looking at how it works for regional and national companies.
Almost eight years ago, when Jonathan was approached by what would be his first corporate client, he felt too humbled to accept the brief: instead, the Northern Block founder passed on names of other, more experienced type designers who, in his opinion, ‘were better suited.’ Costcutter, one of the nation’s biggest convenience chains, was embarking upon the development of their finer, ‘Independent’ product range.
Insistent that an up-and-coming British designer take on the challenge, Jonathan acquiesced. Now, in 2020, he can appreciate the avenues which the project opened to him, remembering the deal as his epochal initiation into the lucrative world of corporate design.
“Costcutter, one of the nation’s biggest convenience chains, was embarking upon the development of their finer, ‘Independent’ product range.”
Above everything, Jonathan considers his role within Costcutter’s brand identity as a privilege. Designing customised typefaces for hyper-local high–street retailers is a definite rarity in this industry. Recognising that Costcutter was breaking new ground by utilising a custom typeface for their speciality range, Jonathan explains that type and typography are normally the preserve of multi-national corporations. But Costcutter’s unique prudence, and their efforts to make type a priority, are proof of the benefits that independent type can bring to national and regional businesses.
Although the convenience chain agreed, as of 2018, to replace their Independent range with Co-op’s own brand produce – in an effort to drive up footfall – Jonathan hopes that his work with local retailers is not yet exhausted. ‘They really understood that independent typefaces make products stand out,’ he tells me. ‘Costcutter were pushing boundaries in a way that could compete with other supermarket’s quality ranges for a long period of time. It was genius.’
“Creative Director at Elmwood’s London office, wanted a serif design which demonstrated rustic craftsmanship”.
Considering that Jonathan was then working alone, and The Northern Block still in its infancy, he admits that he was stunned when Elmwood, a top branding consultancy acting on behalf of Costcutter, expressed an interest in his self-taught type design portfolio, however rudimentary. John Kubale, the Creative Director at Elmwood’s London office, wanted a serif design which demonstrated rustic craftsmanship: a big ask for someone who had never experimented with serif typefaces before (at which point Jonathan reminds me that geometric sans-serifs are decidedly ‘his thing’).
‘The original design I proposed was based on a contemporary serif model’, he explains, ‘with low contrast and chunky serif details. But John’s feedbacked shaped it towards a more transitional design: slightly calligraphic, with high contrast and ball terminals.’ Everything was pored over, down to the finest detail. This, of course, was reasonable preparation for a competitive, nationwide product-launch.
Transitional serif with calligraphic touches.
What was less obvious was Elmwood’s desire for raw, home-grown talent – and their willingness to patiently guide Jonathan’s unpolished strategy. This is now less surprising to Jonathan than it once was: his experience in building up The Northern Block has demanded its own kind of risk-taking. On numerous occasions, Jonathan has put faith in non-specialist or inexperienced graphic designers whose potential was too obvious to ignore. Clearly, that’s what Elmwood wanted: perseverance rather than perfection.
Both Elmwood and Costcutter’s belief in Jonathan’s ability surpassed his own, forcing a period of much-needed professionalisation upon The Northern Block. Because the prospect of corporate success was finally coming into focus, Jonathan would begin to expand his team and stylistic repertoire. Soon, the Block would become a fully-fledged foundry.
‘Independent – my first custom typeface – gave me a lot more than a taste of the corporate world,’
Of course, Jonathan didn’t learn everything in this one interaction, and national supermarkets have not suddenly taken an overwhelming interest in typographic customisation. This was only the beginning. But at least it had begun. ‘Independent – my first custom typeface – gave me a lot more than a taste of the corporate world,’ Jonathan says. ‘It gave me confidence, but also logistical experience. Mainly, I had to work out how licensing worked. For example, when a company says they want to ‘own’ a typeface, I discovered that what they really mean is they want a long and exclusive licence to use it.
I sought clarification from FontSmith on this and got a much better understanding of the value of intellectual property. Knowledge offered independence – and with that came better negotiating strength. Because of my interaction with Costcutter, I could pitch my ideas to other companies: I knew what worked and how type could make all the difference.’
"I hope businesses at every level also understand exactly what type can do for them."
Ultimately, however, ‘Independent’ isn’t aptly titled for this reason alone. Jonathan, perhaps more importantly, reflects on this moment as that which confirmed the validity of his own aspirations, freeing him from his self-doubt. ‘When I’d left college as a graphic designer, Elmwood was the kind of company I’d have handed my CV into – to get some experience, you know. But I almost never heard back from those places.
Once I realised my real interest was in type, and that I had potential to succeed as a type-designer, I was given opportunities like this one. All those ‘no’s’ became a single yes – and that was all I needed. I hope businesses at every level also understand exactly what type can do for them.’