One of life’s pleasures is a decent glass of wine.
And during the second glass, I like to do what people do to cornflake packets.
Read the label on the bottle.
Except in this case:
The front label was clear white with a star; while the back was a strange orange and green with lots of words in French and English.
But in small point and yes – you’ve guessed it – white type.
Aagh, the dreaded reverse.
Now this was a modern ‘blend of several grapes’-type wine so presumably the maker wanted a hip designer-type label.
No objection to that, in itself, but why load it with words I couldn’t read – in any language?
For information on this very wine, I was forced to turn to my mini bible – Hugh Johnson’s Pocket Wine Book – where it merited its own entry.
Now the type in this so-handy little book was the same size as on the label.
With one important difference.
Yep, black on a white page.
So I could read it in the same light and even under increasing alcohol…
Now lest you are thinking I’m flogging this baby too much, I’m not anti-reverse.
It’s a striking and impressive design tool for headlines; and to make a point elsewhere – but only when in large-enough type to enable you to read it.
Why produce anything that a customer can’t read? It’s not only a waste of effort in the writing and production but, far worse, annoying and alienating. One exception may be on food labels – when listing the dodgy ingredients that few will read closely if at all…
So why not take a hard look at your own stuff? Ask for an objective response and find out if it’s fit for human eyes. If not, how about a word with your designer..
Ps: the wine was ‘Clos de los Siete’ from Argentina. A Bordeaux-inspired creation from Michel Rolland, a wine guru who advises on the production of these modern ‘international’-type wines.
It was certainly enjoyable – big, opulent and jam-packed with fruit. But a little manufactured and artificial. And earning 91 points on the Parker Scale. Just the kind of initially impressive but soulless wine Robert Junior advocates.