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Contrast is also accomplished through color.
I.D.
has an
affinity for the use of straightforward white and black
interrupted by sudden outbreaks of digital ecstasy—
hot pinks and bright blue-greens, fluorescent greens
and oranges. For the most part, though, articles stick to
black text on white or pale-colored backgrounds, with
frequent reversed white on black pages for variation.
The modernistic and digital feel created in the layout
of images is perpetuated in the choice of typefaces.
Type usage also continues the magazine’s goal of let-
ting the images of products prevail. “
I.D.
is deliberately
sparse in its font usage, almost exclusively sticking
with the Scala and Meta families throughout each
issue,” Wohlfarth says. “Diversions are rare, but pur-
poseful. This strict adhesion to two classic font fami-
lies helps preserve the magazine’s overall design
mission: to be beautifully unobtrusive.”
In this way,
I.D.
achieves what good design is about—
putting function before form. The magazine’s design
establishes a mindset and acts as inspiration while
never failing to remember that the featured designer’s
work is the star of the show.
left Designers could
have gotten carried away
with an article about Las
Vegas (specifically, about
magician Penn Jillette),
but in this restrained
layout, a jigsaw of old-
fashioned postcards
faces a headline of tiny,
tasteful “lights.”
below Illustrators who
take their cue from street
culture are the focus of
this colorful feature.
Heavily outlined type in
the headline plays off
the dark, resolute lines
of Maxine Law’s fashion
ad illustrations.
right Reflecting on what
digital imaging can do, a
colorized negative of
game designer Peter
Molyneux sits alongside
photos of the scenarios he
creates, complete with an
electric blue background.
Digital Color and Typefaces
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