THE WORD
44 Mixing many typefaces

TYPOGRAPHIC CACAPHONY CAN BE APPEALING when in the hands of a skilled designer (otherwise it can be a nightmare of conflicting forms). Mixing many typefaces works best when there are extreme differences in the type choices; this implies intent and control underlying the mishmash. When mixing typefaces within a document, bear in mind that, as always, each choice should serve a specific need. It is never a good idea to use different typefaces for no good reason.

Project
Poster

Company
Pentagram

Designer
Michael Bierut

Client
Yale University School of Architecture

Twenty-eight typefaces are numbered and keyed in the text below; each represents an event or info-bit in the yearly calendar of the architecture school. The design signifies the variety of events by using a variety of typefaces. Since each is encased in its own bricklike box, there is a unity to the design. The last, a Y representing Yale, is in a circle, serving as a period or end slug.

Project
Men of Letters & People of Substance

Creative Director, Designer
Roberto de Vicq de Cumptich

Client
David R. Godine, Publisher

The title, encapsulated within the silhouette of a head in profile, alludes to the content: this book contains portraits of literary figures made entirely from type characters, one font per portrait. A mosaic of dingbats surrounds the silhouette; these, too, are used for portraiture in the book.

Project
Acoustic Showcase poster

Designer
Lauren Panepinto

Client
Electric Plant

An irregular collection of pencils serves as text placeholders for an invitation; because each pencil is different in function and style, the typeface used on each pencil is different. The multiplicity of typefaces works because each is confined in its own space and shape.