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I designed a full suite of graphics for Ken’s B4&After Renovation Design company. Because many remodels are done by contractors without well-conceived architectural plans, the design is inspired by a blueprint, to quickly communicate the fact that he’s an architectural designer. See the matching blueprint-style letterhead. The typefaces are several weights of Rubino, ITC Galliard, Penumbra and the architectural lettering, Looseprint, which you can buy here. It’s rare to use so many typefaces in a single project, especially one as small as a business card, but it really only looks like two typefaces, the serif and hand-lettering. So in this case, each different typeface serves a specific purpose that couldn’t have been filled with only two.

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, wire frames, that look like, well, just the way I  look on my own card

Ted Fields is not just a dental surgeon, he’s an artist who helps reconstruct not just smiles--but faces. So I designed his logo to integrate his initials with a face. The green was chosen to create a calm, positive feeling. The body typeface is ITC Johnston (notice the lovely old-style figures), and the TF initials are hand-edited from Futura Extra Black.

I designed this logo and card for a well-known film critic. I liked the simple, abstract, fun shape that implied a film projector, projecting her initial. The typeface is Bernhard 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.

She opted for the even more abstract design, above, which I liked, too (I never let a client have anything I don't like myself!). This features EmmaScript from Mark Van Bronkhorst (one of my favorite living type designers). The “sb” creates an interesting, almost abstract shape that people don’t immediately see as “sb” but when they do, it’s a pleasant surprise.

Bruce Eckel is one of the leading authorities on object oriented programming, such as C++ and Java. I created this “path” logo to signify movement from disorder (on the left) to order (on the right). The path is animated in Flash on his site, and is the basis for all his corporate graphics, right down to the Danish “Floaty” pens (you know, the kind you tilt back and forth to make something move--in this case, the little figure moves from side to side).

Since Bruce only wanted his e-mail address on the card, it left plenty of space to include four lines that describe the work he does. The typeface is Rockwell / aka Bitstream Geoslab 703. The floaty pen has been a bit hit as a promotional item--people not only want them, they keep them, which is just what you want people to do--so they’re reminded of you.

Dr. Fred Mednick is the closest person I know to a saint and his organization, Teachers Without Borders, is a wonderful group that helps train teachers around the world. The logo is a compass rose that signifies direction--with a person at its heart, a reminder that the individual is always at the center of what they do. The colors and logo are used throughout their web site. The typefaces are Copperplate for the name (the www and .org allow the very long URL to be prominent yet subtle at the same time), and the body is Carter and Cone’s Galliard with Old Style Figures (basically “upper and lower case numerals).

This company, when it was in business, had to do with software that controlled lasers. Since the company’s name was “sun” in another language, the logo reflects both the suns and a laser beam.

Alas, good design cannot save a badly run company, and badly run companies are the ones who don’t pay their bills, as this one didn’t (it happens to all of us at one time or another, though I now accept payment via credit card, so there’s no more “the check is in the mail” excuse :) I changed the name on the card so as not to give them any publicity. Ah, well, at least I like the design. The typeface is ITC Highlander.

Bruce’s “better half,” Dawn, is a lawyer (among her many talents). But she didn’t want a ordinary lawyer’s card, she wanted one with personality that reflected her active ability to come up with ideas, as well as express her two main focuses, Business Law and Estate management. It also needed to feel personal yet professional at the same time. I combined a warm color, a simple illustration (almost like a modern “scales of justice” and the typefaces Copperplate (for “Law offices of”) Laureat (for her name) and Weiss (for the body). Her web site uses this same graphic treatment. The card is printed using Xerography--basically a color copier. Xerography has become so sophisticated and high-quality, that the results equaled traditional printing, yet at a fraction of the cost.

The owners of this father/daugher-run jewelry story wanted a look that showed what jewelry symbolized--not silver, gold and gems--but the love behind these popular gifts. I created a classic calligraphic swirl, rising up from the “M”, topped by a heart, symbolizing the thought of love. The father’s card is red with cream and black type, the daughter’s has the same colors reversed, so the cards are linked, yet clearly individual. The typefaces are Bernhard Modern and Bernhard Gothic--yes, both designed by the same man, Lucien Bernhard. I didn’t choose them because they were both designed by the same man or shared a similar name, but because they’re both beautiful art deco typefaces that work well together.

This is a two-sided card. The top part is the front of the card, the bottom  is the back. I created the logo to symbolize a kind of lighthouse effect, and then repeated it to show seemingly random bits coming in on the upper left and coming out of  the bottom right as "concepts." I like it because it has a sense of animation.

The card is printed on a lovely golden paper with confetti bits in it called, not  surprisingly, Confetti. It's printed in both black and  white ink, which turned out to be quite a challenge for the printer. The white ink had to be run six times to make it opaque enough. The typeface is Bank Gothic from  Bitstream.

The  front of this folding card:

The  back of the card:

The  inside of the card:

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