Less is more

This single page, from Esquire demonstrates both a smart concept and impeccable execution. The article starts by stating:

The list of things it’s truly impossible to live without is pretty short–air, water, food, the dimples on a woman’s back.

The editor then set the designer the limit of not using any photography or illustration. And so to illustrate the article all the designer had was typography.

The article is entitled Doing Without. So what better an idea than to remove those letters from a white page.

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Anything you can do

Dumser’s make fine ice cream and their banana split sundae is one of my favorites.

I’m fairly confident this diner uses more typefaces than any other shop along the Ocean City boardwalk.

Enough typefaces?

It must have been like this during the Industrial Revolution when the guiding principle appeared to be to use as many typefaces as possible in order to stand out from your competitors.

This sign is next to the one in the previous post. You can see that just to the right.

I was unaware of the word seamless when I took this photo. However it would not be the word I’d use to describe the design.

Just a sign

The boardwalk at Ocean City, Maryland. A typophile’s dream. This will be the first of several posts. I like this sign because the store owner dispensed with the traditional sign and had the entire sign painted with a brush, freehand. There are references to typefaces, the first line is a slab serif of some sort, and the last line has serifs with rounded brackets, but I don’t think this is any particular typeface.

Notice the third line: professional digital artistry.

type and chocolate: how bad can that be?

Dish is a food magazine published in New Zealand. The cover features the magazine’s name made from chocolate as those drizzled onto the photograph creating a dimensional and unique typographic solution.

The colors are beautiful. And the juxtaposition of the chocolate and the melon balls makes me want to run to the kitchen and eat.

Use as many typefaces as you need

In packaging design the notion of working with just two typefaces is the exception rather than the rule.

This series of wine labels uses a strong calligraphic theme to give the line a distinct look and the use of calligraphy reinforces the names of the wines: King’s Bastard, Kings Favor and so on. An appropriate typographic choice is key to the brand.

These words are drawn calligraphically, so don’t look for this typeface.

The website for this wine is magnificent and typography plays a major role. It’s certainly worth taking a look.

The images below are grabbed from the website to show the calligraphy large. And although they look like the actual labels, they are not. On the bottles the calligraphy is on a contrasting white background.

You should only use two typefaces

“Use only two typefaces,” is a typographic principle that many professional designers adopt. It’s a rule with which I agree.

To be accurate, if you include the magazine title, and count the calligraphy as a typeface, there are three typefaces in this design.

But the large calligraphic type acts like an image. It’s a dominant, contrasting and dynamic element that draws the eye. The use of the primary color palette adds to the boldness of the design.