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I believe good typography should feel effortless. The right typeface, spacing, and hierarchy can turn a simple design into something clear, memorable, and full of character.
I focus on typography that supports the brand rather than overpowering it—keeping things clean, intentional, and human.
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Related posts
What did ads look like before typograhy was a file you could have in your computer and replicate multiple times?
Another little tour through The History of Design 1890–1959, this time looking specifically at how designers were treating type as an image rather than simply information. Previous post here.
Eugène Grasset, 1893 — beautifully controlled lettering and organic forms.
Toulouse-Lautrec, 1903 — expressive lettering becoming part of the energy of the poster.
Ernst Klimt, 1892 — decorative type working alongside illustration.
Louis Rhead, Harper's Bazar, 1892 — type, image, and ornament interacting as one visual system.
What I love about these references is that the type is part of the image.
Show me one historical typographic composition you’d steal inspiration from today. 👀
The Beggarstaffs' cut-paper posters from the late 1890s — the lettering sits in the gaps the shapes leave rather than on top of them. I still think about that when a wordmark has to live inside a busy pack layout: let the silhouette decide where the type goes instead of the grid.
This is such a clever way to turn familiar client feedback into a visual language. The concept and typography make the message really memorable. 👏
Are clients always right? 😀
I created a lettering system where every letterform represents one of the things designers routinely hear from clients.
The typeface becomes a visual dictionary of bad creative feedback, that proves the statement wrong.
Give me your worst client...
Design Direction Poll!
Two versions of the same Endure logo concept; same aggressive italic letterforms, same racing DNA. One detail changes the entire read.
Which version hits harder? 👇
14 voted
78%
4 voted
22%
18 votes
Closed
