I grew up loving old posters. Big shapes. Bold type. Simple color. So I spent a month making real work with that old-school style. I used real tools, real fonts, and real paper. I even messed up a few prints. You know what? It felt good. For the blow-by-blow journal of that month, check out the full project log I kept right here.
What I actually used
I didn’t guess. I used things I could touch and test.
- Books I leaned on: The Vignelli Canon, Grid Systems in Graphic Design, and a Saul Bass film book I found secondhand (for the uninitiated, Saul Bass was a renowned American graphic designer and filmmaker, celebrated for his innovative film title sequences and corporate logos).
- Fonts: Helvetica, Futura, Cooper Black, and a bit of Clarendon.
- Tools: Adobe Illustrator and InDesign. A cheap Riso printer at a local studio. Pantone chips for color picks. Mohawk Superfine paper, eggshell finish.
- Extras: A bone folder, rubber cement, and some tape for mockups. Old habits.
Earlier in the process I went nostalgic on the software side too, dusting off vintage design apps—my candid notes on that detour live in this separate piece.
Let me explain the goal. I wanted posters and packaging that felt like the 50s to 70s. Clean grids, brave color, smart type. Less fluff. More punch. If you're curious how a pure 1950s palette and layout behave in the wild, I also road-tested them on a separate project over in this write-up.
Real projects I made (the fun part)
I made four things. All real. All used in my town.
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Movie Night Poster
A small art house asked me for a “classic look.” I went full Saul Bass. I cut paper shapes by hand. I scanned them. I used two colors only: a bright red and black. Big title set in Helvetica Bold. Small credits in a neat stack at the bottom. The torn paper edge sold it. People took photos by the poster. That felt nice. -
Coffee Shop Menu
My local cafe had a messy menu. I built a strict grid in InDesign. Four columns. Even gutters. Headings in Futura Bold. Prices in Futura Book. Two colors: a rich brown and cream. I printed on thick Mohawk, so it felt warm. The owner said folks ordered faster. Less noise. More coffee sold. Win. -
Hot Sauce Labels for a Summer Market
I went mid-century friendly. Cooper Black for the name. A simple sunburst halftone in mustard yellow. A deep green for the text. One tiny pepper icon set dead center. I used kiss-cut labels and kept the layout simple. People picked it up because it looked “old but new.” Their words, not mine. -
5K Wayfinding Signs
I borrowed from Otl Aicher’s icon style (in case you need a refresher, Otl Aicher was a German graphic designer and typographer, best known for leading the design team for the 1972 Munich Olympics). Simple runners. Clean arrows. Helvetica Medium. Bright blue and white only. The city taped them to light poles. No one asked “where do I go?” That’s the point, right?
I also tried one more thing: a school play poster for Little Shop of Horrors. Lettering tight like Herb Lubalin. I tucked letters close, but not kissing. Deep green, poppy pink, and white. The chorus kids kept the poster after the show. I’m not crying. You’re crying.
Want to see how a modern studio pushes these mid-century tricks even further? Browse the showcase at Moon & Back Graphics for a quick visual tour.
What worked great
- The grid did the heavy lifting. I spent time up front, then layout came fast.
- Two-color prints looked rich, not cheap. Limiting color helped me focus.
- Helvetica and Futura still slap. Clean, honest, and easy to read.
- Paper choice mattered. Mohawk eggshell made ink look calm and steady.
- Riso added soft texture. That tiny grain felt human.
If you’re more drawn to the sharper, international modernist current that grew out of these grids, you’ll like the field notes I kept after falling for that movement in this article.
What bugged me
- Restraint is hard. I kept wanting to add one more color. Or a shape. Or a drop shadow. I had to walk away and come back with fresh eyes.
- Tight letter spacing gets risky. Go too tight and it looks clumsy. I reprinted the play poster once. My wallet sighed.
- Riso can shift registration. A bit off can look cool. A lot off looks wrong. I had to test first.
A small side note on color
I tried Pantone 185 red with black for the movie poster. It hit like a drum. For the cafe, I picked a warm brown close to Pantone 4695 and a soft cream. Food looked cozy. For the hot sauce, mustard yellow and green felt sunny and fresh. Seasons matter. Summer likes happy color. For a totally different vibe—think buzzing neon and retro nightlife—I experimented with a glowing palette in this hands-on review.
Who this style helps
- Small shops that need clear signs and menus.
- Events that want a smart, bold poster on a budget.
- Brands with a friendly vibe and a short name. Cooper Black loves short names.
- Teachers and students. The rules teach you craft. Fast.
One surprising brief came from an independent adult entertainer who needed a clean, vintage-inspired business card. To get a sense of how professionals in that industry communicate visually, I skimmed through FuckLocal’s escorts listings—the real-world photos and profile layouts there quickly illustrate which type choices, color contrasts, and information hierarchies help clients connect with confidence. Along the way I also peeked at how regional lifestyle circles present themselves; for instance, the Barberton swingers community on One Night Affair offers a straightforward profile grid and bold, high-contrast color cues—worth a browse if you want to see how clear hierarchy helps visitors scan events and connect quickly.
Tips I wish I had first
- Set a grid before you pick type. It keeps you honest.
- Start with two colors. Add a third only if it earns its seat.
- Print a cheap proof at real size. Tape it to a wall. Step back.
- Try one strong shape or icon. Not five.
- Keep margins generous. White space is not empty. It’s air.
A quick tangent: the smell of old books
I know, we’re talking design. But that paper smell from old design books? It made me slow down. I read the captions. I traced layouts with my finger. It changed my pace. And pace changes taste.
The verdict
This “golden era” style still works today. It’s not about old for old’s sake. It’s about clear ideas, brave type, and simple form. It made my work cleaner. It made clients calm. It made me a better editor of my own taste.
Would I keep using it? Yes. Not for everything. But for the right job, it sings.
Quick scores (because we all like numbers)
- Ease of use: 8/10 (the rules help you move fast)
- Flexibility: 6/10 (great lane, not every lane)
- Print friendliness: 9/10 (two colors save money and look sharp)
- Client smiles: 9/10 (they get it right away)
Final note
If you try this, pick one font, one grid, and two colors. Make one strong move. Then stop. Let the work breathe. Honestly, that’s the magic.