Seamstress

Typography 23, 2002, p116
Patti Katcha, Jennifer Katcha, business card

This card tells what the person does before it's even read. The sewing notches on the edges, the actual stitches and thread tails, the patterns on the back of the card—all point to a seamstress. This is a business card way beyond the ordinary. A card people will remember and want to keep. Even the font used to spell seamstress has an embroidered look. The package is completed by the soft faded card colors that coordinate well with the brown tissue patterns shown on the back. The fonts used are Filosofia and Found Type and the purpose is identity.

Take the Truth Lying Down

Typography 23, 2002, p99
The New York Times, Stephen Doyle, editorial

I liked the header created to go with this article. The designer took a word and created a picture worth a thousand words. By creating 3D letters, he was able to pictorially show how one has to take the truth lying down. Simple yet so clever!
The font used is Franklin Gothic Extra Condensed and it's used for editorial purposes.

Letterhead Definition

Typography 23, 2002, p134
Markus Friedrich, Mario Fuhr, corporate identity

I was drawn into this corporate identity because of its unusual presentation. It appears as a dictionary entry with the company name in bold. Instead of an explanation of the company, the normal business card information is listed. The vertical bar in front of the type reinforces the dictionary idea. It looks very simple yet it's so very clever. The font used is centennial and it serves the purpose of identity.

U2

Typography 23, 2002, p97
Rolling Stone, Ken Delago, magazine spread

I loved the layout of type in this spread. The way every thing fits inside a U and the way the 2 creates the center of the U. How the type flows around the shape of the U further emphasizing the 2. The bright red used to highlight the title , author, and the circular text block. Great balance! The Rolling Stone has done it again.
The font is Knockout,a serif font, used for editorial purposes.

Shrek

Typography 23, 2002, p96
El Mundo Metropoli, Rodrigo Sanchez, Spain, magazine cover

This designer turns out one fantastic cover after another. This one features a typographic representation of Shrek. At first glance, it appears to be created by crayons. In actuality, it is one line of text repeated over and over—"Shrek es el nuevo heroe". I liked the layer effect he achieved. The bottom layer looks like a newspaper clipping and it appears to be colored. The designer repeated this effect in creating the masthead. The fonts used are Letter Gotic, Giza Seven Nine, and Cloister Old Style.

Knoll Christmas Card

Graphis Design Annual 2002, p226
Knoll, Lynda Decker, Christmas Card

I found this to be a rather clever Christmas card. I liked how the bright red ho ho is interspersed within the company's name. No need for any further writing. This simple card says it all—the company's name and merry christmas, in a roundabout way. The font is a very clean sans serif, perhaps Helvetica Bold.

My favorite Christmas card

Typography 24, 2003, p71
Stoltze Design, Roy Burns, Holiday card

I loved this Christmas card even before Typography. How contemporary is this? Only font. In case you can't see the picture very well, L is missing from the alphabet printed on the front of the card. N and O are highlighted in red. The missing L reappears on the inside of the card in the signee's name, highlighted in red. The hidden message - No L! Love it, love it, love it! The font use is Historical Fell and the purpose is correspondence.