Style combination · Pairs well
Northwest Coast Formline Design × International Typographic Style
For institutional and bilingual work, let a commissioned formline crest carry identity and set all text in a neutral grotesque on a grid, well clear of the figure.
Mix them and make something Northwest Coast Formline Design International Typographic Style
01
What each style brings
Each part of the design comes from the style with the stronger say in it, and each style gives at least two.
Northwest Coast Formline Design International Typographic Style
- Type from International Typographic Style
- Colour from International Typographic Style
- Form from Northwest Coast Formline Design
- Composition from Northwest Coast Formline Design
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International Typographic Style avoids central symmetry and horror vacui: this is where the two pull against each other.
- Surface from Northwest Coast Formline Design
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Text · Northwest Coast Formline Design
The two-dimensional design system of the northern Northwest Coast nations, painted, carved and woven onto boxes, house fronts, robes and hats, and printed as serigraphs since the 1960s. A continuous black primary formline that swells and tapers joins ovoids, U-forms and S-forms into hereditary crest beings, with red secondary lines and blue-green tertiary areas. The figure is split, splayed and compressed until it fills its field.
Archivo; Northwest Coast Formline Design used Hand-lettered captions and titling in Yahgulanaas's Haida Manga and Latin faces with full Lingít and X̱aad Kíl orthographic support (x̱, g̱, ḵ), e.g. Noto Sans, for accompanying text
03
The colours
The ground and leading colours come from International Typographic Style, with a counter-accent from Northwest Coast Formline Design. The ink reads on the ground at 4.5:1 or more.
Northwest Coast Formline Design International Typographic Style
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#f2f0e9ground · 36% -
#111111ink · 14% -
#e1251baccent · 18% -
#a8261daccent · 14% -
#1f4e9caccent · 10% -
#b98a5eaccent · 8%
As CSS
:root {
--ground: #f2f0e9;
--ink: #111111;
--accent-1: #e1251b;
--accent-2: #a8261d;
--accent-3: #1f4e9c;
--accent-4: #b98a5e;
--font-display: "Inter Tight", sans-serif;
--font-text: "Archivo", sans-serif;
}Use it with care
Northwest Coast Formline Design: Formline images are hereditary crests: the raven, eagle, killer whale, bear, beaver and other beings belong to particular clans, houses and lineages, their display is tied to rights validated at potlatches and feasts, and some designs and stories are restricted. The tradition belongs to the Haida, Tlingit, Tsimshian and Heiltsuk nations, not to a generic 'Pacific Northwest' style. Commission or license work from artists of those nations, credit them by name and nation, and never redraw crests or assemble pseudo-formline from ovoids and U-forms.
04
The two styles
05
More combinations
With Northwest Coast Formline Design
- Art Nouveau Contrasts · Art Nouveau's free whiplash shows by contrast how codified formline is: every swell, taper and ovoid follows rules, so study Holm's analysis before drawing a single curve.
- Kōwhaiwhai & Toi Māori Design Contrasts · Both are Indigenous red, black and white systems of positive and negative shape, but formline is figurative and modular while kōwhaiwhai is abstract and banded; never merge them into generic 'tribal' pattern.
- Generative-AI Image Aesthetic Contrasts · Generated 'Northwest Coast' imagery breaks both the formline grammar and crest ownership; when a project needs this language, commission a Northwest Coast artist instead of prompting a model.
- Mixteca-Puebla Codex Painting Contrasts · Both are Indigenous American sign systems of contour and flat colour, but formline swells and tapers its line into ovoids and U-forms in symmetric crests, while the codex keeps an even, unmodulated contour around profile figures strung along a guided reading path; do not merge them as generic 'Native' art.
- Torres Strait Islander Linocut Contrasts · Both translate carved crest and totemic art into prints, but formline builds beings from swelling ovoids and U-forms in flat red and black, while Torres Strait linocut builds them from fields of fine hatching; study the difference and never blend two nations' visual languages.
- Diné (Navajo) Weaving Design Contrasts · Both are North American Indigenous systems. Formline is figurative, curvilinear and built on crests, and Diné weaving is abstract, angular and terraced. Never merge them into a generic 'Native' pattern.
- Kamon (Japanese Family Crests) Contrasts · Both are hereditary crest systems, but formline fills a red-and-black field with split, swelling creatures while a mon is a tiny symmetric silhouette in emptiness; compare them to decide between abundance and reduction.
- Kinngait (Cape Dorset) Inuit Printmaking Contrasts · Both are Indigenous North American arts with their own protocols, but formline compresses a crest being until it fills its field, while Kinngait leaves open paper around a free silhouette; never blend the two into a generic 'Native' look.
With International Typographic Style
- Art Nouveau Contrasts · Ornamental curves against an orthogonal grid make a strong deliberate tension.
- Brutalist Web Design Pairs well · Strip the grid to raw HTML defaults to get a rawer, contemporary take on Swiss honesty.
- Psychedelic Poster Contrasts · Its exact opposite on legibility; borrow one swirling element to break a too-cold Swiss layout.
- Japanese Postwar Modernism Pairs well · Add Japanese restraint and emblematic colour fields to the grid for warmth without losing order.
- American Traditional Tattoo Flash Contrasts · Rational grid and sans-serif against sentimental, hand-lettered emblems: one flash motif on a Swiss layout makes a sharp contrast.
- Graffiti & Hip-Hop Graphics Contrasts · Put a single tag or throw-up over a strict Swiss grid to stage the clash between institutional order and a street voice.
- Pop Art Graphics Contrasts · Set one loud appropriated Pop image inside a strict grid with a neutral grotesque so the irony reads as deliberate rather than chaotic.
- Italian Painted Film Poster (Rome Studios) Contrasts · Grid, restraint and photographic objectivity are the opposite of a crowded painted montage.