NINE REASONS WHY YOU NEED TO INVEST IN A GOOD FONT

Imagine this, you finally get in front of the powers that be to pitch your stellar design presentation, complete with first-class fonts and a design you’re proud of. You’ve been working up to this for months. As you look around at all the faces in front of you, they are full of excitement, they’ve bought your concept and you’re about to hit the home stretch.

And then comes the question… “But why should we pay for fonts?”.

Your face falls flat and you’re crushed. All the hours of work you’ve put into this and it comes down to a question of cost.

Don’t worry we’ve been there and we’ve got your back. We know how deflating it can be when you have to justify paying for fonts, so we’ve put together nine killer arguments to help you refute any questions or pushback.

From helping show your bosses the true value of fonts and actual cost per day to getting into the nitty gritty of what a “Free” font really costs, from explaining why you really need a font to help your brand stand out to sharing scientific studies about the invisible yet essential power of typography and its often overlooked and added value, we have all the tools and arguments you need to help you persuade and convince your team.

Earlier this year, the great and the good from the film industry descended upon Berlin for the 76th Berlinale. This year’s festival was very memorable and made the headlines in many ways. But rather than gossip, we wanted to take a moment to shine a little spotlight on one of the more invisible yet essential stars of the show, our very own Tausend, a new sans-serif family from Fontwerk, designed by Christoph Koeberlin in collaboration with Gabriel Richter. Tausend became an integral part of the visual identity which included the Berlinale Bear and a beautiful and colourful particle-based key visual identity that was designed by Claudia Schramke.

Tausend follows in the tradition of German sans-serif typefaces, but with an anarchic core: the slight overhang, the gentle top-heaviness, the smile and wink in the curves. It was used across the festival visuals, appearing as a wordmark and festival font.

Koeberlin describes Tausand’s personality as: “Brutally honest, self-assured, and confident.” Not a bad choice for a festival that has had to weather a lot of headwinds. In particular the optical size Tausend Medium, which is dense, compact and with unpolished forms, leaves a strong and lasting impression on the branding.

“Visually, Tausend stands out with its clear, concise design and unmistakable Berlin flair: minimalist, self-assured, and subtly distinctive. It remains understated enough not to dominate, yet possesses enough character to lend depth to the visual identity. Providing an ideal complement to the expressive yet delicate, particle-based key visual,” noted Claudia Schramke.

For Fontwerk, the 2026 Berlinale appearance is more than just another case study. For the second year in a row, Claudia Schramke has chosen a typeface from our library for the globally renowned film festival (in 2025, she chose Pangea).

The Design Made In Germany awards recognize outstanding achievements in the design industry in Germany. We were absolutely over the moon to hear that not one, not two but three of our Fontwerk members of the family have made the list, making it an award hat trick for us.

Pangea, Neue DIN and Sukoon have all been awarded Silver in the Type Design category.

Congratulations to our incredible designers, Christoph Koeberlin, Andreas Frohloff, Hendrik Weber, Olli Meier and Yanone!