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Sarah Hyndman

Sarah Hyndman is a graphic designer and author known for her interest in the psychology of typography. She is the founder of experiential type studio Type Tasting, and the author of the book Why Fonts Matter, which comes out in the US on June 1. As part of our series of conversations with thought leaders in the world of typography and type design, we spoke with Sarah about her work as a researcher and graphic designer, how she’s able to predict how you take your coffee, and more.

Thanks for being with us, Sarah! Let’s start by talking a bit about your history. How did you originally come up with your project Type Tasting?

At school I studied sciences, but my very first job when I left school was working for a sign-making company. I moved to London and after starting off as a Mac operator, and moved my way up to graphic designer. I ended up running my own design business for about ten years. Around that time I reached that point that I think a lot of designers do, where you need to just go and refresh your enthusiasm, refresh your skills and your knowledge a little bit. Originally it was my idea to do a year off, or a gap year, just to do something completely different—but it ended up lasting a bit longer.

Originally, Type Tasting was based on the idea of wine tastings. Within the design industry, obviously designers understand what typography is, but I was finding that the minute I talked to non-designers, or clients, or even friends, I would find that there was a disconnect between the language I was using and their general understanding. What kept coming to mind was: If only I could explain this to people, but in a fun way—in the same way that you might go to a wine tasting, as opposed to, say, a lecture.

One of the really early things I did was, to start conversations about type, I would ask people to start by describing a typeface as a food. So if Helvetica were a food, what kind of food would it be? If Comic Sans were edible, would it be sweet or would it be savory? This worked really well with the name Type Tasting—but it then opened up all these new and intriguing areas of interest. I discovered that there’s actually a whole science to this—crossmodalism, it’s called—which, once I started reading the research, I realized: ‘Ah, maybe I could look at typefaces and see how they actually influence your other senses.’

Can you say more about cross-modalism?

The term ‘cross-modal’ literally means that when you experience something with one of your sensory modalities, as the scientists call it, it then crosses over and has an effect on another one of your sensory modalities. And this happens incredibly instinctively. So if I say, ‘What would yellow taste like?’ What do you think it would taste like? Well, in fact, if you look at the shade of yellow, apparently you’re likely even to start salivating, because your brain automatically imagines the flavor of lemon.

This goes back to very, very primitive times. When we were hunter-gatherers certain associations were coded into us to keep us safe, and for our protection. If you saw something that was round and red, it was likely to be safe to eat, and in fact it would be nutritious. So now when you see round things, your brain assumes, ‘Oh, that’s sweet,’ whereas if you see something that’s angular or jagged, it’s likely to be dangerous, or unripe, or it may taste bitter. Our brains warn us very instinctively.

There are two very distinct levels to this, however. On an incredibly primitive level, we know to seek round shapes and avoid jagged shapes—but we learn very quickly to override these with other associations. An object is only neutral the first time you see it. Once you’ve seen it, you’ve learned a new set of associations, which you will then remember. With food these associations are quite powerful, because we’ve been taught certain responses through food packaging. With type, if you saw a typeface for the very first time, if you’d never seen that style before, you would make some very natural assumptions. But if you had seen something similar before, you’d match it intellectually to the other instances, the other contexts, you’ve seen, using your learned experiences.

Do you have an example of a font or a typeface that came out recently, the response to which you might have predicted?

The thing is, no font is ever seen out of context. The typeface will always take on the values of the brand, especially if it’s a really famous brand. When the new Google logo came out, for example, a lot of people had an opinion—as you might have noticed! To my mind, and to a lot of people I talked to, it looked quite childish, quite simplistic. If it hadn’t been Google, if it had been somebody that you’d never heard of before, then from the childish shapes of the logo you might have assumed it was a child’s toy company.

But you’d really never ever see the Google logo in isolation. You’d always know that it’s the Google brand—and they have such strong brand awareness, it will be applied to the logo in the minds of anyone who sees it. By now that logo has become almost invisible. It’s so much a part of the Google experience that it’s essentially assimilated. If the values are bigger than the associations you put on the typeface, the typeface will gain this whole new set of associations.

What are some other examples of fonts that effectively convey specific experiences?

Well, again, a font can never be separated from the way it’s used. So say you want you brand to look prestigious, luxurious, expensive. If I suggested you use, say, the typeface Didot, which is always associated with luxury, but then you went and printed it at 50 points in hot neon pink on a yellow shiny background, it’s not going to look prestige at all.



One example that, as a Londoner, springs to my mind, is the 2012 Olympic typeface, which was very angular. When it was reproduced on the boards that were all around London at the time—probably six foot, eight foot tall—these looked really, really powerful. A lot of people commented that they felt energetic, but they also felt quite aggressive. I think we were really lucky that the sun came out for the Olympics. That made London a really happy place, and we won a lot of medals. I think if it had rained the whole time, if it had been gray and gloomy, these large angular letters would actually not have improved the optimism of London at that time. I think they would have created a negative vibe.


Olympics 2012

You claim that you can predict how someone will take their coffee. Can we pull the curtain back a little, and ask you how you do that?

I do lots and lots of experiments and research. This is an experiment that’s really good fun to do live, but it’s also an online survey: I ask people to match different flavors and qualities of coffee to different typeface shapes. As the survey has now had quite a few thousand people do it, I have now got quite a comprehensive list of typeface shapes that I can match to the different ways you take your coffee. So I can say, ‘Pick one of these typefaces,’ and match that pick to the results.

There’s two levels to it. First, there’s texture and flavor. So if you like quite chunky, curvaceous writing, I’d guess you also like a quite rich, full-fat cappuccino. But then, if you say you like fairly light typeface, for example, I know those light typefaces are usually associated with quality, so I can say, ‘Ah, you like expensive coffee, do you?’ The funny thing is, when I do this, 85-90% of the time people say, ‘Yes! Wow! How did you guess?’ It looks like magic, but it’s not.

The big thing about type is that all of us have been type consumers all of our lives. It’s like art, or wine. You don’t necessarily have to be consciously aware of it. You don’t necessarily have to understand the language or intellectualize how it works. But the reason it does work is that all of us have been learning these associations, and responding to them, all of our lives.

Do you yourself have any favorite typefaces?

Type is like clothes: what face you use depends on the when and where. When I’m writing or doing a lot of my work, I will use faces that are quite neutral because I find, referring to so many different typefaces, I want what I use to be quite understated. A lot of what I write is in Franklin Gothic, because it’s a sans-serif, so it’s fairly neutral; it doesn’t clash with anything else; but it’s still got the double-story a’s and g’s so it still has that feeling of being a little bit intellectual.


Franklin Gothic

In terms of display typefaces, I like the chunky ones that have quite a lot of contrast, so things like Bodoni Poster Italic. There’s also a really nice one called Balega by Jürgen Weltin, which is kind of chunky and angular, so it looks really powerful, but it sort of reminds you that it might have a slight edge to it. It might ask you a question.


Bodoni Poster Italic



Can you talk a bit about the relationship between Type Tasting and the work you do as a graphic designer?

In an era when we’re asked more and more to bring data into the whole process, more of our responses are being measured than ever before. So being able to actually back up design decisions—never having design led by technology or research, but just having these extra tools, where you can explain, ‘This is why I did this,’ and put it into context—I think is really helpful. In other words, I use the research that I do both to inform and to back up my work.

But because I’ve been developing this work for the last two or three years, and I didn’t set out to define what I was going to do, it’s very much been an exploration. People think I can just recommend the miracle typefaces that will be a cure-all, and they can go away and use it for their branding. As a graphic designer, I know it’s the context of the whole thing that matters.

Sometimes I think being a graphic designer is like being a therapist or a business consultant. From the time we finish asking all the questions—‘What do you want to say?’ ‘How do you want to say it?’ ‘What do you want out of this project?’—to the time we are done with a design, the job can really change. A good graphic designer always has to play devil’s advocate, and ask questions—and also to know that it’s about what the client wants, not what they ask. Don’t ever just do the obvious when, actually, it’s worth exploring a little bit more.

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If you work on a design team that struggles with font synchronization issues, today we are
thrilled to announce a new product that will get your design workflow humming!

Drum roll please…

Introducing Suitcase TeamSync, our new font manager that allows you to share font libraries across teams using the familiar Suitcase Fusion application as the front end.


Here’s how it works:

  1. Purchase a Suitcase TeamSync annual subscription ($8/month per person) for a minimum of two people
  2. Assign users to your account, which will include a copy of Suitcase Fusion 7 for all subscribers (updates included for free!)
  3. Begin sharing font libraries via the cloud – you can designate which font collections get shared with each individual designer.

Yep, it’s that easy!

font manager for teams

Why Suitcase TeamSync?

Any design team that uses fonts is undoubtedly going to benefit from a font management system. Teams often run into issues when using different versions of the same font. Text reflows, missing fonts and even missing glyphs can derail a project, creating setbacks designers simply don’t have time for. To work together as a well-oiled machine, everyone must have access to the same, precise fonts.

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Today marks the only Friday the 13th in all of 2016. Let’s get spooky! Join us as we revisit some of our favorite typography—of the icky, yucky, spooky, scary, grisly, gruesome, and creepy-crawly varieties!

Here are 13 spooky typefaces that you can download 100% free for commercial use—no matter what sick sad scenario you may be suffering!

1. When you need an R that cuts like a dagger…
Use Orchidee Light

2. When the skeletons have come out to dance…
Use Tango Macabre

3. If the beasts are clawing at the door…
Use Bearpaw

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Suitcase Fusion 7 Takes Fonts to the Cloud & Brings Font Management to Adobe After Effects

Attention fellow font nerds! Today we have released Suitcase Fusion 7, our professional font manager which takes the effort out of managing your fonts so you can reclaim more time for design.



What’s New?

For those of you who are long-time Suitcase Fusion users, the big advancement in Suitcase Fusion 7 is cloud synchronization. That’s right! With Suitcase Fusion 7, you can sync your entire font collection to the cloud using our TypeSync technology. This allows for no-touch backup and synchronization of your font collection to any machine. If you are on the move or working off two machines, Suitcase Fusion 7 has your entire collection at the ready. And you won’t have to lose sleep over worrying about ever losing your fonts- TypeSync will keep them safe and sound.



Motion Graphic Designers Rejoice!

We’re also thrilled to report we’re extending reliable font management to motion graphics artists with the industry’s first font plug-in for Adobe After Effects. Fonts play an integral role in motion design, and until today, it has been a laborious process to search for and activate fonts. Suitcase Fusion’s Font auto-activation ensures that fonts will always be immediately accessible directly within After Effects.

Adobe After Effects font plug-in and auto-activation


Adobe After Effects joins our collection of auto-activation plug-ins for Adobe Creative Cloud 2015 applications – Adobe Photoshop, Adobe InDesign, Adobe Illustrator, Adobe InCopy – and QuarkXPress.

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Ever see a font you like and wonder what it is? Or need to find a font that’s similar to one you have already? Great news! Font identification apps, software, games, and videos are available to relieve your fontstipation (yeah, I said it).

Got a picture or image you want to match?

Here are a few easy-to-use online resources if you already have a scanned image or a photo of the font you’d like to identify:

 FontSprint MatcheratorScreen Shot 2016-05-09 at 3.06.26 PM

Simply upload your image and the Matcherator will tell you what font it is and find others that match. It even allows you to match Open Type features.


Screen Shot 2016-05-09 at 3.08.40 PM

This search tool by MyFont also finds and identifies fonts based on an uploaded image. WhatTheFont offers helpful advice, like “use characters that have a distinct shape” and “make sure letters aren’t touching.” If WhatTheFont’s tool can’t identify it, you can post your font to the forum and interact with other humans.

FontGenius 2.0


This desktop app features a handy tool for capturing images from sites and documents. Unlike free online services that only identify fonts sold on THEIR sites, FontGenius is a universal source that directs you to any site where the font you seek is available.

No picture/image? No problem.

IdentifontScreen Shot 2016-05-09 at 3.11.43 PMIdentifont helps you identify a typeface by answering questions about key appearance features. For instance, “Do the characters have serifs?” You can also search by font name, similarity, picture/symbol, and designer. Identifont claims to be the “largest independent directory of digital fonts on the internet.”

Rather watch a video than read more articles?

Some dude named Typography Guru made a video tutorial called 5 Best Tricks to Find a Font that’s clear, concise, and easy-to-follow.

 Streamline your workflow

Font Sense™ is an innovative font identification technology that ensures a smooth workflow by identifying, locating, and activating the exact fonts used in documents.

Font Sense works by building a complete font specification that contains information such as the name, type, foundry, and version number.

Fun and (font) games!

Mashable curated a List of Addictive Font Games that’s pretty entertaining and this I Love Typography Font Game is a fun way for iPhone users to test their font knowledge.

Happy hunting, type nerds!

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Extensis Gets Fit

There’s nothing better than helping people live happier, healthier lives.

In April, Extensis employees biked, walked, ran, swam, danced, hiked, and wheel posed (ouch!) their way to maintaining health and wellness by participating in Extensis’s annual Fit Challenge. So far, employees have participated in 102,943 minutes of activity. That’s 1,715 hours of fitness! Employees split up into nine teams and tracked their workout routines by using a clever app called Lucky Steps developed by Extensis’s very own font developer, Ryan Tinker. Lucky Steps works by syncing up to a Fit Bit or allowing participants to enter their activity manually and rewarding them for their efforts. Employers can choose how they want to incentivize their teams via Lucky Steps.


Extensis Team Culture

Font Developer, Ryan Tinker, hiking in PDX.

There’s nothing more rewarding than a reward.

Besides the obvious benefits of getting fit, Extensis gave raffle tickets to participants for every 30 minutes of activity. The more you work out, the more chances you have to win. The raffle winner (a winner was chosen for April and another winner will be chosen for May) wins 125 dollars. Bernardine Lim, Accountant, was the lucky drawing winner this month. She tracked nearly 1,007 minutes of activity- exceeding her goal of 275 minutes.


Healthy Workplace = Happy Employees

Extensis in Portland, Oregon

Extensis gets fit in Hood River, Oregon.

It’s not easy maintaining a healthy lifestyle, especially in Portland, Oregon. We live in beer capital USA where happy hour is plentiful and the food is actually really, really good. However, nothing compares to being active in the beautiful Pacific Northwest. We’ll enjoy our beer, wine and happy hour and stay active while doing it.

In an upward movement to build a culture based on health and wellness, Extensis will continue to encourage employees to maintain their active lifestyle by offering similar challenges. The Fit Challenge has had a positive response with over 50% employee participation. Go team!

Here, at Extensis, we develop font management and digital asset management software and we have a blast doing it. To learn more about what we do and our company culture, follow us on Twitter and Facebook. Interested in joining our team? Check out our careers page.

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It’s Cinco de Mayo, amigos! Today we’re partying with Chunk Five and Aleo fonts from 1001 Fonts. Download them here. Put an H—or five—in your Tequilaahhhhh.


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Choosing the right font style can be a time-consuming and difficult challenge. Typography experts estimate that there are over 30,000 font families to choose from. Yikes!




So…how do you find the RIGHT font/typeface in an endless sea of options? Some basic guidelines might help.


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If you’re evaluating digital asset management (DAM) solutions, learning about customer experiences is an important step in the process.

We sat down with Les Barker, a seasoned Digital Strategist, to get his unique perspective on the value of digital asset management, best practices, work/life balance, and more! See what he has to say in this brief video.

If you’re interested in exploring digital asset management solutions further, our 45-day free trial is a great place to get started.

To learn more about digital asset management and its benefits, hop over to our Portfolio page.

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You may know that here at Extensis we recently conducted an in-depth survey of our users. Maybe you even were one of the 1,900 people who participated! We called it the Type Trends Report, and you can download it here.

We learned a lot during this process. We learned about the lives you lead, your main font faves, and—of course—your most hated typefaces. Below, please enjoy what we think will be a type designer’s most beloved hate read: your 6 most loathed font trends, ranked in order from meh… to ugh… to hell no!

6. High-Contrast Script


Responders to the Type Trends survey felt that although high-contrast script fonts—like Whomp, by Alejandro Paul from the awesome foundry Sudtipos—may be trendy, but can also be hard to read. While a few of you got into this style’s retro, love child groove, the majority of people felt that love for the ‘60s and ‘70s is fading.

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