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More I'm available for work no matter where in the world you are. If you're interested in having me work for you, just drop me a note
Debra Segal Ollivier is an American writer and translator living in Paris. I designed this first card for her professional work--something classic yet modern and very professional. The typefaces are Rubino Serif from ImageClub and Bank Gothic from Bitstream. Debra loved everything about it, and then proceeded to ask me to change every single element--the type, the layout--then we added graphics:
The result is an informal, personal card that she felt better represented her personality. So now she has two cards--one formal, and one informal--depending on the client--and her mood. She also has a new baby son, Maxwell Sinclair. Typefaces: Scribble from Epiphany Design Studio in Santa Monica, and ITC Highlander.
I designed this logo and card for a film critic. I liked the simple, abstract, fun shape that implied a film projector, projecting her initial. She opted for an even more abstract design, which I liked, too (I never let a client have anything I don't like myself!). The typeface is Berhard Gothic, a little known but quite beautiful art deco sans serif face from fonthaus – it uses the alternate version for the E's so that they're rounded.
This is the card she chose, which uses EmmaScript from Mark Van Bronkhorst. The “sb” creates an interesting, almost abstract shape.
Susan Hayes is a weaver whose work is elegant and unusual, so I designed a logo that looks and feels like it was woven. It was printed using Thermography, a printing process I like because the printing becomes raised (like engraving, only inexpensive), so you can actually "feel" the threads in her logo. Typeface: Lithos (again--what can I say, it's a beautiful face).
It takes me forever to choose a pair of glasses. Not only do I have to like them, but Toni has to like them. Sharon has been incredibly patient while we've tried on every single pair of glasses in her shop, and honest about how good or bad they look. When you get glasses from her they always turn out right the first time--maybe not in an hour, but in a day or two (I don't know about you, but my vision is worth more than one hour's wait). Sharon's old cards were so blurry and unattractive I joked that she did it on purpose to make people think they needed new lenses. But, in fact, they were just printed locally without much thought--the way many people's cards are. This modern, asymmetrical design uses several weights of Zurich (Univers) from Bitstream. The glasses I got from her are symmetrical, wireframes, that look like, well, just the way I look on my own card
Sandra Piscedda is an Italian architect who raises Rhodesian Ridgebacks, so I combined her two pursuits into a single, blueprint inspired design. The two variations are for variety. The typeface is, understandably, Monotype's Blueprint.
Rachel's painting's are dreams filled with electric color. I couldn't imagine her card being anything but full-color. I started with photos of the artist--and her artwork. If you look carefully you'll see the artist merged into her own painting in the upper right corner. Typeface: Pablo from Letraset. |
