Release Date: September 2018
Back story: When Stockholm design studio Bedow was tasked with creating the name and visual identity for a photo booth company, it gave it quite an unexpected name, Omelett. Founded by two local photographers who bought an old analog photo booth and rented it out for events and nightclubs, they wanted to recreate that experience with more machines, and so built their own digital versions, in an analog style.
The identity and its various applications (animations, illustrations, merchandise, posters, and clothing) created by Bedow revolves around a bespoke typeface (also called Omelett) that comes in four different versions, or “poses,” instead of different weights. “Modern branding doesn’t really have a logotype, it’s more of a system,” says Bedow founder Perniclas Bedow. “So this typeface acts as a logotype as well, and instead of having four weights or additional italics, it changes with different poses.”
Why is it called Omelett? The name derives from “Say Omelett,” the Swedish version of “Say Cheese.”
What are its distinguishing characteristics? Each glyph has a frame and has four different “poses.” According to Bedow, it’s a “vain” typeface, and “intentionally a bit ugly,” he says. “It looks a bit strange, so that’s the fun thing about it.
“Ugly is the embryo of beautiful—if something is ugly or beautiful, that’s just a temporary individual condition. The more you look at something, the more you start to like it. The first time you see something, you’re afraid of it; the second time you might think it’s ugly; the third time you might think it’s interesting, then you might hate it again. So we aim forward, aim for the ugly, then you adapt to it.”
The typeface was created in black-and-white, just like old photo booths. “We were working with “playful” as a key word, but not “playful” as in bright with lots of colors,” says Bedow. “It’s more the identity itself that’s playful, and you can execute that in lots of different ways.”
What should I use it for? Bedow is currently working on creating Omelett as a full typeface, but it isn’t available for public use just yet. Its strangeness makes it a great display typeface, but not ideal for longer passages of text. “It’s more a branding thing, it works very well on the T-shirts for example,” says Bedow. “It’s not so practical.”
What other typefaces does it work well with? Throughout the Omelett branding, the eponymous typeface is used alongside Swiss foundry Luzi Type’s Faro Smile font.“We like that it has details that make the letters smile,” says Bedow, who adds that the sans serif fits well alongside Omelett both aesthetically, and in terms of aligning with the wider brand narrative. Other similarly simple, characterful sans serifs would also be a good counterpoint to the spiky, impactful poser font Omelett.