Delights of Sweden
Bold colors and Rosewood Fill add flavor to a Scandinavian staple that is normally quite stale.
Contributed by Stephen Coles on Mar 16th, 2011.
16 Comments on “Delights of Sweden”
Well, now I know what a chromatic font is. Very cool.
Rosewood Fill looks great for the big, bold numbers. I can't help but feel that it starts to look just wrong (and not in an intentional way) when used for those notoriously long Scandinavian words. Letters like the A, E and V look like they're from a different typeface than the K and R. And that K looks a little awkward and top-heavy.
Weird, but "wrong" will often work. Thanks for the lovely article!
I love the color combinations and type when they are extra-large as numbers but the smaller type and similar hues in the palette get muddied and lost.
I love the Rosewood Fill asterisk. The small gaps are very subtle, but look great.
It’s not an asterisk and it’s not from Rosewood. Quote: "A-B-D created their own stencil octothorp." But I like it, too. Reminds me a bit of these stacks of bread.
Wow, I was a victim of naivete when using Rosewood. Then again, I am an amateur lover of typography, so that kind of makes sense. On the other hand, I know what a chromatic typeface is now, so I'm happy about that.
I'm one of those guys that likes the rough wrong-ness of Rosewood. But wtf is up with Snell Roundhand here? *That* is the real type crime going on in this packaging, as it's virtually illegible at small sizes in long blocks of text.
I'm gonna have to agree with Isaac. The colors and boldness with Rosewood are great, but Snell Roundhand is almost the antithesis of that feeling. It would have been better as something sturdier, like Miller or Sentinel. Or if they were limited to only using fonts that came bundled with other software (as their choices suggest), maybe Franklin or Clarendon.
I think a formal script was chosen for perhaps the same reasons as Garamond italic was used on the All About Tea packaging. It softens the starkness of the design, reinforces the idea that while this is a fresh, modern kind of product, it still has ties to traditional, handmade goods. Of course, like I say above, Snell falls apart here, and while there are heavier options (Ballantines, Tangier) they too have fairly thin hairlines because this style of script just doesn't work without stroke contrast.
But it's not completely fair to judge a box by a screen-res JPG. Need to see it in person to know if it works on the shelf. Any Swedes out there seen these in their local market?
Good bold elegant scripts are hard to find.
I admit it. I am ignorant. Had no idea about Chromatic typefaces and have always liked Rosewood Fill by itself.
Reminds me of the Dorset cereals boxes, great colours and strong type.
Thanks for the education on chromatic font - learned something new today
Wow, I always wondered why it was called "regular" and "fill." I just assumed it meant one was filled in, and they were sort of a mashup of different designs.
I agree the ugliness is what makes it so interesting. It looks more authentic as old fashioned hand set wood type since it's so awkward and weirdly spaced. The same people who use Grotesque and Farao would probably be drawn to this type.
But, what has been seen cannot be unseen. Whenever I see these fonts being used elsewhere I'm going to remember that it's being used wrong. Damn you, but thanks.
I also want to note that setting Rosewood on top of itself in both weights will line up if kerning is set to "auto" but adobe's "optical" kerning unaligns the letters. The font's native kerning must have been painstakingly worked out, which is why it lines up so perfectly
Well sure, consistent kerning between the two fonts is the only way to build them so they overlay reliably. "Optical" spacing in Adobe apps ignores everything else and just looks at each pair of glyphs in a single line. It's always a good idea to start with a font's built-in kerning anyway, especially if it's coming from a reputable foundry. "Optical" is really a last ditch method.
I would have never thought of these typefaces to go together as well as they do. Along with a nice color pallet. Excellent work!