Finding the perfect typeface for your next project takes skill and know-how. Here we put together three different takes on type and why they work so well.
Type says a lot about a brand. Letters are a language in themselves, communicating personality traits like sophistication, simplicity, and whimsy. They can shout or they can whisper. It’s also very subjective, so knowing your audience is critical. With so many typefaces to choose from, it can be overwhelming—and nearly impossible—to make the right choice for your client. Read the rest of the article here.
So many eco-friendly packages are reminiscent of brown paper sacks—boring, colorless, no personality. The materials, themselves, can be difficult to navigate from a design perspective to make them more palatable, and avoid the use of harmful glues, inks, and bindings. Here, four firms have successfully navigated the eco terrain to come up with tactile and beautiful design solutions that meet the strict recycling, reusable, or biodegradable packaging standards. Read the rest here.
Although we’ve seen many huge retailers downsize (like the Gap) and some close altogether (Toys R Us), you’d be surprised to know that there was a 58% increase in store openings in 2017, according to a study by Fung Global Retail and Technology. Amazon even made the leap to brick and mortar through pop-up stores and by purchasing Whole Foods. Surprisingly, a lot of this has to do with Gen Z and millennials who prefer to shop in-store vs. online. Granted, they gather intel and find the items online, but then head to an actual store to make the purchase.
This is good news for brands and designers who are marketing to these segments. Direct mail, gift cards and packaging still play an indelible role in purchasing decisions at the store. According to Liz Burnett, principal at Matchbox Studio in Dallas, “As consumer behavior changes, brands are starting to design packaging and in-store experiences with social media in mind.” She cites a study by Contract Packaging Association that says, “Nearly 40% of consumers say they’ll regularly share product packaging that is ‘gifty’ or ‘interesting’ on social media.” With that in mind, she says, “Thoughtfully designed packaging and collateral pieces entice customers to share products with their followers on Instagram, which can boost brand awareness and word-of-mouth.” Read the rest here.
Graphic design is all about solving problems and making things functional and easy to understand, and wayfinding materials such as signs and maps aren’t the exception. In fact, they’re the rule. If the information is wrong or misunderstood, there can be deadly consequences. But not all maps are life and death. Some can be really fun while providing factual information, such as maps for parks, playgrounds, museums, and more.
One company that knows how to put the fun in mapmaking is Visual Maps based in Copenhagen, Denmark. They’ve designed colorful, richly detailed maps for parks all over the globe for the past 20 years. “It started with an illustration for a DUPLO universe on a LEGO package I did, which was spotted in Legoland, which then commissioned me to do their park map,” explains founder and creative director Mads Berg. Since then, they’ve designed all the Legoland parks worldwide, and have specialized in park maps since.
Here are five tips for creating successful map designs.
- Combine fact with fiction for emphasis
Designing wayfinding maps for parks isn’t so much scientific as it is illustrative. Sure, you need to help visitors find their way around the park, but it’s much more loose and playful than a city map. “There’s a mixture of reality and fantasy in each design,” he notes. “Google does the reality thing beyond compare. We love to do the fantasy part.” Of course, they do this without overriding the wayfinding purpose. (Read the rest of the article here.)
Beyond offering a selection of food and beverage items, a good menu design is an extension of the restaurant’s identity, it’s well organized and easy to read, and hopefully it’s appetizing. Here, we offer up several menu designs with decidedly different ethnic and cultural offerings.
Köksbordet is a family-style restaurant serving locally produced foods in a friendly, relaxed atmosphere. Designer Björn Berglund, who’s known for his hand-lettering, was tasked with creating the identity. Köksbordet literally means “kitchen table,” so he intentionally made the o’s look like a round table, and the wavy baseline for the word indicates the restaurant’s close proximity to the sea.
Once the logo was determined, Berglund focused on a color palette derived from the natural ingredients served at the restaurant, and he worked with illustrator Fanny Schultz, who drew the imagery. “I love to collaborate on larger projects, if you find the right partner. The overall quality is so much better,” he says. The illustrations are used on the menus, business cards, and on the website. Read the rest of the article here.
In the early ’90s, the graphic design landscape was undergoing a dramatic shift. Desktop publishing was in its infancy and everyone was making it up as they went along—some better than others—while trying to keep up with the new technology and software. Then in 2000, the dotcom bubble burst, and in 2008 the worst recession since the Great Depression hit. Many studios weathered the storm, while others simply closed shop.
Here, we talk with the survivors of the past few decades, many of whom have reimagined their careers, and in some cases, started new vocations altogether. Read the rest here. (Poster design by Modern Dog.)
Marika Maijala, based in Helsinki, Finland, has always loved books. In fact, she says that reading helped her survive her “tough teenage years.” It wasn’t until later, though, that she discovered that she could make a living illustrating stories. Fortunately, her love of reading has helped her succeed in her career as an illustrator, because it’s one of the most important functions of the job—getting a feel for the characters and their thoughts and actions. “I usually read the manuscript a few times and then let it live in my head a while, before starting to sketch the images,” Maijala explains. “I trust my intuition, so oftentimes the number of the spreads and the outline of the story come quite naturally. I somehow see the story like a film inside my head.” She often tries different adaptations and approaches when it comes to composition, color, and even characters, but finds that the first iteration is usually the way to go. Read the rest here.
Whether you’re designing for a print or online publication, many rules are the same with the goal being legibility. If users can’t read it or don’t understand the hierarchy, you’re going to lose them. Trends in editorial design have run the gamut from over-the-top imagery and graphics, to sparsely inhabited pages of floating type in a sea of white space. And what works for one publication doesn’t work for another, so it’s completely subjective.
Designers Xavier Schoebel and Amélie Lecocq have plenty of experience working in publication design in France for cultural institutions like the Louvre and Pompidou Center. Both teach graphic design—Xavier at LISAA, Institute of Applied Arts in Strasbourg, and Amelie at the Fine Arts of the University of Strasbourg. “Much of our work in editorial design revolves around cultural subjects, where we use illustrated charts and graphs to depict the information. For instance, what works for a children’s book, will not work in a fashion magazine,” Xavier explains.
Here, the duo, who also run their studio Collectif Ça va 2 Paire, share their predictions for five editorial design trends to watch for in 2018—many of which are tried and true. Read the rest of the interview here.
Herman Miller is the master modern furniture maker with eclectic, ergonometric products for home and office. For more than 100 years, the company has enjoyed economic highs and weathered economic lows. No one better captured these highs and lows than Steve Frykholm, former vice president of creative design, who for three decades told the tale of Herman Miller through stunning annual reports.
Among the finest ever made, Steve Frykholm’s annual reports for Herman Miller are far more than summaries of financial data; they are stories of people and the products they make. Frykholm demonstrated his love for the men and women of Herman Miller with annual reports that swept awards and became collectible. Today, these books stand as text book examples of design at its best: human connection through creative courage, audacity, ingenuity, and flawless execution. “It was never just about me,” he reminds, “I was surrounded by talented men and women who brought these books to life.” Humility is perhaps the least acknowledged secret to success—and longevity.
Now (sort of) retired, bearded, and bespectacled, Frykholm contracts with Herman Miller as spokesman for the company’s design and culture. Speaking at the the 2017 Hopscotch Design Festival in Raleigh, NC, he did what he has done his entire career: he left the audience wanting more. Afterwards, we contacted him to ask him if he’d share more detail that time in Raleigh did not permit. Below, more of Steve Frykholm’s fantastic stories. Read the rest of the story here.
Packing a Punch —
Hand-Lettered Letterpress Cocktail Cards
Designer Maria Montes is a lifelong learner when it comes to lettering and typography. Splitting her time between Barcelona and Melbourne, she works on custom lettering projects, illustrations, and type design, and once a year travels to the remote village of Cabanabona (about 75 miles from Barcelona) to study lettering and calligraphy under the tutelage of Keith and Amanda Adams. There she immerses herself in historic manuscripts, studying lettering techniques from the masters to improve her skills. She shares her knowledge by teaching calligraphy workshops in Melbourne and speaking at design conferences.
“I have a strong graphic design background and I am very passionate about all kinds of letterforms, from calligraphy, to lettering, to typography. I am daily training my eye to become a better designer. Calligraphy and typeface design are extremely technical; attention to detail is key. When I draw organic forms, I loosen up and look for energy instead of technical proficiency. I never looked actively for this style of illustration, but I am personally drawn to details.”
Not long ago, Montes was invited by designer Carla Hackett and letterpress printer Amy Constable (Saint Gertrude Fine Printing) to design a series of four letterpress cards for the Ladies of Letterpress series Flourish Together. “At the time, I was in the middle of putting together my first solo exhibition in Melbourne, Breaking the Ice,” she remembers. “It consisted of a series of eight full-color illustrated cocktail artworks and pattern prints, so I offered to convert four of my full-color pieces into two-color letterpress cards, and they agreed.” Below, the cards and descriptions Montes created. Read the rest of the interview here.