“To distort the letters of the alphabet in “the style of” Chinese calligraphy (sometimes referred to as chop suey lettering), because the subject happens to deal with the Orient is to create the typographic equivalent of a corny illustration. To mimic a woodcut style of type to “go with” a woodcut; to use bold type to “harmonize with” heavy machinery, etc., is cliché-thinking. The designer is unaware of the exciting possibilities inherent in the contrast of picture and type matter. Thus, instead of combining a woodcut with a “woodcut style” of type (Neuland), a happier choice would be a more classical design (Caslon, Bodoni, or Helvetica) to achieve the element of surprise and to accentuate by contrast the form and character of both text and picture.”