So when director Cengiz Ercan approached us to craft the title for his new feature documentary, Why We Fight, we jumped in with both feet (and probably a grappling stance or two).

The film follows MMA fighters at different stages of their careers, some rising, some rebuilding, some redefining what fighting even means to them. It’s raw, emotional, and human, but also full of grit and physical power. Our job was to translate all of that into a set of letters, the kind that hit like a punch.

We started, as we often do, by diving into references, not just current fight brands, but decades of classic fight posters, pay-per-view graphics, gym signage, and those unmistakable bold title cards that have become part of combat sports culture. There’s a visual language in fighting, thick strokes, condensed forms, heavy weights – that signals strength, resilience, and presence long before a punch is thrown.

What struck us most was how consistently these designs rely on typography that feels almost immovable. The letters aren’t just text; they’re part of the spectacle. They feel carved, stamped, or slammed into place. We knew Why We Fight needed that same confidence, but with its own character.

We got to work on bespoke type crafted specifically for the film, every stroke and curve was shaped to feel strong, grounded, and unapologetically physical. The design needed to mirror the fighters themselves: disciplined, powerful, and carrying a sense of lived experience. We pushed toward something bold and compact, something that feels like it could hold its own in the ring.

But strength alone wasn’t enough. MMA is a sport defined by contact, mat burns, sweat, chalk. It’s tactile. There’s texture everywhere. So we started experimenting: smudges, dusting, grit, uneven surfaces. Eventually, we found the perfect direction – letters that look like they’ve been punched into chalk, the same way fighters chalk their hands before a match.

It brought a subtle realism to the title, as if the letters existed in the same physical space as the fighters. Not polished. Not pristine. Something that looks like it’s been used.

From there, we layered in motion. When the title lands on-screen, it doesn’t just fade in. It hits, arriving with weight, like someone clapped their hands just outside the frame. It’s a moment that introduces the film atmospherically. Before an image appears, before a word is spoken, you already feel the tone: raw, honest, intense.

Creating film titles is a genuinely joyful part of what we do. It’s branding, but for a narrative world instead of a company. You’re essentially helping define a story’s identity – its “logo” its personality, the first impression. Just like with brand work, we need to understand the subject deeply: What’s its voice? What emotions should it carry? How should people feel when they see it?

Working on Why We Fight gave us the chance to build something that felt not just visually strong, but emotionally aligned with the film’s heart. It’s a stamp and statement. A reminder of the power behind the stories that Cengiz brings to the screen.

And honestly? Projects like this are why we love typography so much. Letters aren’t just shapes – they’re storytelling tools. And when they land with impact, especially in a film like this, it feels like its own kind of victory.