Product / ServiceFONTS
CategoryB01. Publications & Brand Collateral


Name Company Position
Jennifer Hu Ogilvy & Mather Taiwan Chief Creative Officer
Liching Cheng OgilvyOne Taipei Executive Creative Director
Dustin Yang OgilvyOne Taipei Group Head
Amber Chang OgilvyOne Taipei Group Head
Ivy Lee OgilvyOne Taipei Group Account Director
Ming Yu OgilvyOne Taipei Associate Account Director
Lucy Huang OgilvyOne Taipei Account Executive
Alan Leung H&O Head of Broadcast
Joy Chiang H&O Producer & Editor
Amy Shih Ogilvy & Mather Taiwan Planning Partner
Shawn Lowe Freelance Director

The Campaign

King Gothic was specifically designed for digital displays. Every stroke was carefully designed and consideration taken for the refinement in every detail. Clean design with a simple and balanced framework, the counter was adjusted appropriately to present a clear sense of space. With its symmetrical design, broad letter width, and soft calligraphic curves, King Gothic makes reading as natural as breathing, in any medium. The key visuals and video centered on brushstrokes moving around in mid-air, revealing moments when Chinese characters breathe in and out. On printed materials, we used thermo-printing to achieve a semi-transparent effect, manifesting King Gothic’s feeling of open space. Both the design and the choice of materials were meant to express the distinct layers and breathability of the font, so that everyone could experience King Gothic as it was breathing.

Creative Execution

1.Key Visual / Film The key visual for King Gothic is strokes of calligraphy floating in mid-air, conveying a sense that the font is breathing in and out every moment. In our film we extended this sense of breathing, with animated brush strokes and a pace delivering an artistic feel, underscoring King Gothic’s product positioning as the font of the future. 2.Brochure Moving beyond conventional product brochures, we used thermo-printing to achieve a semi-transparent effect, manifesting King Gothic’s feeling of open space. 3.Other Marketing Materials As Chinese characters for “King Gothic” can also mean “King Kong,” we created a King Gothic mascot that looks like a little gorilla, turning the mascot into a bookmark. A stencil design allows for empty space in the middle of the dark black bookmark, creating a “lightly floating” feel. The gorilla face is drawn with six lines, highlighting the font’s full range of six weights.

Indication of how successful the outcome was in the market

This is the very first time for a font product to be promoted with such a complete communication plan. After King Gothic was introduced, its distinctive creative expression generated a high level of inquiries about this font set, and gave the public a completely new viewpoint of font products. As soon as the launch of King Gothic in Japan, it caused a sensation not only in the local market, but also in many other areas with high use rate of screen fonts like China, Hong Kong, Taiwan, etc. We have attracted attention worldwide. It’s no doubt that King Gothic brings the communication of font products to a brand new level, enhancing DynaFont’s position as the leading font company.

Through continuous innovation, DynaFont delivers the beauty of fonts with unique technology to provide users with complete font solutions in the digital world. King Gothic was particularly designed for digital displays. Therefore, we placed our target on vendors with the demand for screen fonts, approaching our target audience through attending 2017 ESEC (Embedded System Expo), where gathered a significant number of designers and developers looking for software solutions to their embedded systems, including fonts that can be perfectly displayed on the interface of the systems. We presented our powerful film to attract attention from the attendees and impress them with our delicate sales kits to deliver further information. Moreover, we designed folders and bookmarks with King Gothic mascot to penetrate their office life, impressing our potential buyers with integrated communication design.


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