<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Design Craft on BDMA.org</title><link>https://www.bdma.org/series/design-craft/</link><description>Recent content in Design Craft on BDMA.org</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>bdma.org</copyright><lastBuildDate>Tue, 02 Jun 2026 00:00:00 +0000</lastBuildDate><atom:link href="https://www.bdma.org/series/design-craft/index.xml" rel="self" type="application/rss+xml"/><item><title>Luxury vs. Value: Catalog Typography Conventions</title><link>https://www.bdma.org/post/luxury-vs-value-catalog-typography/</link><pubDate>Tue, 02 Jun 2026 00:00:00 +0000</pubDate><guid>https://www.bdma.org/post/luxury-vs-value-catalog-typography/</guid><description>
&lt;h2 id="price-you-can-read-before-you-see-a-number"&gt;Price You Can Read Before You See a Number&lt;/h2&gt;
&lt;p&gt;Set two catalogs on a table — a luxury home-goods book and a value-retail flyer — and cover every price with your thumb. You will still know, within a second, which one sells expensive things. The signal is the type. Luxury catalogs and value catalogs use typography to communicate price tier before the reader processes a single dollar figure, and the conventions are consistent enough across the industry to function as a visual grammar. Understanding that grammar is one of the most practical skills in direct-mail design, because the type is doing persuasive work whether the designer intends it or not.&lt;/p&gt;</description></item></channel></rss>