Bold examples of typography in brochure layouts: 3 creative case studies

Let’s start with the soft-spoken show-off: a luxury spa brochure that whispers “you deserve this” before you even read a word.

In this first example of typography in brochure layouts, imagine a tri-fold brochure for an upscale day spa. The creative direction is calm, high-end, and a little bit indulgent. The typography has to match that mood without shouting.

How the type is built

The headline on the front panel uses a high-contrast serif typeface, something in the spirit of Playfair Display or Cormorant. Big, airy letters with delicate hairlines. The headline might say:

“Breathe. Restore. Unwind.”

The type is set in all lowercase, spaced out with generous letterspacing. That spacing is doing as much work as the words themselves. This is one of the best examples of typography in brochure layouts where restraint becomes the main design tool.

Inside, body copy switches to a clean humanist sans serif, similar to Source Sans Pro or Avenir, around 10–11 pt with 1.4–1.5 line spacing. The contrast between the elegant serif headlines and the friendly sans serif body creates a clear hierarchy:

• Headlines: high-contrast serif, large, lots of white space
• Subheads: same serif, smaller, maybe in small caps
• Body: sans serif, regular weight, left-aligned

No one is guessing what to read first. And that is the quiet power of good typography in brochure layouts.

Micro-details that sell the spa experience

This spa brochure sneaks in a few typographic moves that are worth stealing:

• Soft color palette for type: Dark charcoal instead of pure black, and a muted accent color (sage green or dusty rose) for subheads. This reduces visual tension and supports the relaxing vibe.
• Plenty of margins: Text blocks never touch the edges. Wide margins make the brochure feel more premium, like a magazine ad instead of a discount flyer.
• Short line lengths: Around 50–65 characters per line. Easy to read, easy to skim between treatments.

If you’re collecting examples of typography in brochure layouts, this spa tri-fold is a perfect reference for calm, editorial-style type. It proves you don’t need wild fonts to feel luxurious; you just need thoughtful hierarchy and breathing room.

Example of typography in brochure layouts #2: The music festival handout

Now for the opposite energy. The second of our 3 examples of typography in brochure layouts is loud, messy-on-purpose, and designed to be read while someone is standing in line for overpriced fries.

Picture a folded festival brochure that lists multiple stages, set times, and sponsors. Clarity matters, but so does attitude.

Organized chaos with type

This layout uses a bold condensed sans serif for headlines and stage names — think Anton, Impact, or League Spartan. The type is stacked, sometimes rotated, sometimes broken across lines. It’s not subtle. That’s the point.

But underneath the chaos, the typography is carefully structured:

• Stage names: Huge, uppercase, bold, sometimes with a textured or distressed style.
• Artist names: Medium weight, slightly smaller, using a more neutral sans serif for legibility.
• Times and locations: Smaller, lighter, often color-coded by stage.

This is a classic example of typography in brochure layouts where contrast in weight and size becomes a navigation system. Your eye can jump from stage to stage without getting lost.

Smart use of grids and alignment

Even when the layout looks wild, the designer is secretly following a grid. Columns keep set times aligned, so you can compare two stages at a glance. Headings snap to a baseline. Negative space is used to separate days or zones.

This brochure also uses:

• Color-coded type blocks for each stage
• All-caps for noisy info (like “MAIN STAGE TONIGHT”) and sentence case for details (like accessibility info)
• High contrast between background and text for outdoor readability

If you’re searching for real examples of typography in brochure layouts that feel modern and energetic in 2024–2025, this festival handout style is everywhere: music events, street food fairs, college open days. It’s expressive, but still readable when printed on not-so-great paper.

Example of typography in brochure layouts #3: The minimalist tech product brochure

The third of our 3 examples of typography in brochure layouts leans into that clean tech aesthetic: white space, neat grids, and type that looks like it could live inside a UI.

Imagine a bi-fold brochure for a new SaaS platform or smart device. The goal: make something complex feel simple and under control.

Type choices that feel “techy” without being cold

This brochure uses a geometric or neo-grotesque sans serif — think Inter, Roboto, or SF Pro style. Headlines are large, but not screaming. Something like:

“Smarter workflows. Fewer headaches.”

Hierarchy is built with:

• Weight: Bold for headlines, medium for subheads, regular for body
• Color: Primary brand color for key phrases, neutral gray for supporting text
• Scale: Big headline on the cover, medium subheads inside, compact captions near diagrams

One of the best examples of typography in brochure layouts for tech is when the brochure almost feels like an interface: consistent type sizes, clear labels, and logical grouping.

Information design meets typography

This tech brochure often includes feature lists, diagrams, or quick stats. Instead of cluttered bullet lists, designers use:

• Short, bold labels followed by lighter explanatory text
• Numbered steps set in a different weight or color to guide onboarding
• Data points in oversized type (e.g., “48% faster onboarding”) to create visual anchors

To keep everything readable, designers follow general readability guidance similar to what typography and legibility research suggests in academic design programs (for example, see resources from institutions like MIT OpenCourseWare or Harvard’s design-related materials).

This is a clean example of typography in brochure layouts where the fonts do double duty: they look modern and also help people understand complex information without effort.

More real examples of typography in brochure layouts you can borrow

Those 3 case studies are the backbone, but modern brochure work in 2024–2025 is full of smaller, interesting experiments. Here are a few more real-world patterns that show up again and again.

The non-profit impact report brochure

Non-profits love a folded brochure that doubles as a mini impact report. Typography here has to balance empathy and credibility.

You’ll often see:

• Friendly serif for quotes and stories (to humanize the content)
• Straightforward sans serif for data and calls to action
• Oversized pull quotes in the middle of columns to break up walls of text

This is a subtle example of typography in brochure layouts where emotional storytelling and data visualization share the same page. Designers borrow principles from health communication and public information design — similar to what you’ll see in materials from organizations like CDC.gov or NIH.gov that prioritize clarity and trust.

The tourism brochure that sells a city in three panels

Tourism boards and hotels love tri-fold brochures. Typography has to fight for attention in busy racks, so designers often:

• Use big, handwritten-style or brush fonts for city names on the cover
• Pair them with clean sans serif body copy inside
• Use map labels in a highly legible condensed font so street names fit without shrinking to dust

This is one of the best examples of typography in brochure layouts where personality sits right next to pure legibility. The cover screams “Visit Portland,” while the inside quietly says, “Here’s how to not get lost.”

The healthcare services brochure

Healthcare brochures need to be extremely readable, especially for older audiences or people reading in stressful situations. Typography choices here are often guided by research on health literacy and readability (see resources from Mayo Clinic and NIH).

Common patterns include:

• Large body text (12–14 pt), high contrast, no fancy scripts
• Clear headings with lots of white space above and below
• Left-aligned paragraphs with short sentences and simple language

This is a practical example of typography in brochure layouts: 3 examples of stylistic flair might be toned down in favor of one big goal — making sure every reader understands the information.

2024–2025 typography trends shaping brochure layouts

If you’re designing now, you’re not working in a vacuum. Here are a few trends influencing the best examples of typography in brochure layouts in 2024–2025:

Variable fonts for print

Variable fonts aren’t just for the web anymore. Designers are using one variable font family to cover ultra-light to extra-bold weights, condensed to extended widths, all within a single file. That means:

• Super consistent typography
• Flexible hierarchy without juggling 10 different fonts

This shows up in brochures where weight and width changes guide the eye instead of constantly switching typefaces.

Big, brave display type on covers

Brochure covers in 2024 love oversized type. One or two words can dominate the front panel, sometimes bleeding off the edge. Inside, typography calms down. This contrast makes the brochure feel dynamic and modern.

Retro fonts, modern grids

You’ll see 70s and 90s-inspired display fonts paired with very strict, modern grids. It’s a fun example of typography in brochure layouts where nostalgia is contained by clean structure: wild headlines, disciplined body copy.

Accessibility-aware type choices

More designers are thinking about accessibility: color contrast, font size, and legibility. They’re checking contrast ratios and avoiding ultra-thin type on light backgrounds, influenced by accessibility guidelines similar to those discussed in public resources from institutions like Harvard and U.S. government digital standards.

How to apply these 3 examples of typography in brochure layouts to your own work

When you look at these examples of typography in brochure layouts, 3 examples in particular stand out as reusable templates:

• The luxury spa approach: High-contrast serif headlines, lots of white space, quiet colors. Great for premium brands, hospitality, beauty, and boutique services.
• The festival brochure approach: Bold condensed headlines, strong color coding, and clear time/location hierarchy. Perfect for events, conferences, and busy schedules.
• The tech brochure approach: Clean sans serif, interface-like hierarchy, and smart use of labels and data points. Ideal for software, hardware, and any offer that needs to feel organized and trustworthy.

Whichever style you borrow, keep asking:

• Can someone understand the structure of this brochure just by squinting at the shapes of the text blocks?
• Does the type reflect the personality of the brand, not just current trends?
• Is everything still readable at arm’s length, in average lighting, on average paper?

If the answer is yes, you’re on your way to joining the best examples of typography in brochure layouts, instead of adding one more forgettable flyer to the pile.

FAQ: examples of typography in brochure layouts

Q: What are some simple examples of typography changes that instantly improve a brochure layout?
A: Increase body text size to at least 10–11 pt, boost line spacing slightly, and use one serif and one sans serif instead of four random fonts. Add clear hierarchy: big bold headlines, medium subheads, and consistent body copy. These small shifts can take a brochure from amateur to polished fast.

Q: Can you give an example of pairing fonts for a professional services brochure?
A: For a law firm or consulting brochure, a classic pairing is a refined serif for headlines (like a Garamond-style or a modern transitional serif) with a neutral sans serif for body text. The serif signals authority, while the sans serif keeps long paragraphs easy to read.

Q: How many fonts should I use in a brochure layout?
A: Most strong examples of typography in brochure layouts use one or two font families, with different weights and styles to create variety. A third display font can work for accents, but more than that usually looks chaotic.

Q: Are script fonts a bad idea in brochure typography?
A: Script fonts can work for short, decorative elements like a single word on the cover or a signature-style quote. They usually fail when used for body text or long subheads. Keep scripts big, short, and high contrast against the background.

Q: How do I make sure my brochure typography is readable for older audiences?
A: Use larger type (12–14 pt for body), high contrast (dark text on a light background), and a clear, open font. Avoid tight letterspacing and long line lengths. Healthcare and government brochures aimed at broad populations often follow these principles, and they’re a good reference point.