Daniel Pelavin is a New York City–based illustrator and typographic designer who works on a wide and varied range of projects, specializing in integrating illustration and lettering into effective and cogent communication.
In rebuilding this vintage brand, how much original material did you have to work from? And how much did you need to create from scratch?
daniel pelavin: There was no original material for this product except for the brand logo, which had been designed earlier from scratch. Much vintage material was researched and explored to get a feeling for the packaging, but the ultimate design came directly from the rough concept sketches.
You seem to be a master of myriad historical lettering styles. How much do you rely on reference, and how much do you just have in your head?
You can only rely on typographic reference up to a certain point. Most samples do not contain the full complement of characters, so you have to create new ones based upon the feeling of the characters you have on hand. I prefer to create original lettering that may have the “flavor” of a time period rather than copy or appropriate existing forms.
What were the particular challenges of working in this style?
As above, creating a homogeneous suite of letterforms from scarce reference is a challenge but, for me, an engaging and welcome one.
You have been lettering for a long time now. What’s your perspective on the current revival? What do you think of the more “casual” techniques some people favor?
I’ve been observing this “revival” for over forty years. The “casual” (what a nice euphemism for “bad”) lettering is rarely done by competent practitioners and mostly represents an ill-founded backlash against the art and craft of lettering, as well as the sterility of digital work produced by amateurs.
When doing historical style lettering, how do you preserve accuracy to the original? Do you alter designs to make them more functional for the modern market? How do modern materials and tools make it easier (or harder) to create an authentic look?
I’m not interested in accuracy or authenticity—I’m trying to solve contemporary problems using lettering that references a certain time period or genre with the goal of complementing and reinforcing the literal context. Contemporary tools are both incredibly useful and indispensible considering the time frame, pricing structure, and expectations engendered by their availability.
product: La Société Parisienne de Savons Crème mains traitante
client: Laboratoire HT26
art directors: Stéphane Ouaknine and Daniel Pelavin
designer/hand letterer: Daniel Pelavin
medium: Pencil and digital
country: United States
From an initial selection of soaps, face powders, and lip balms, the offerings at La Société Parisienne de Savons have expanded into a full line of fragranced products including candles, bath salts, scent diffusers, and hotel amenity packages.
Pelavin says, “My sketchbooks are work sketchbooks rather than display sketchbooks. They have to be that way so I can be free to not think while sketching. I just let the thoughts flow.”
