The Art of Saying Hello

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LAURENCE

KING

Published in 2004 by Laurence King Publishing Ltd 71 Great Russell Street London WCIB 3BP United Kingdom TeL +44 20 7430 8850 Fax_ +44 20 7430 888.0 E_ enquiIies@laurenceking.co.uk W'W"IN.laurenceking.co.uk Copyright © 2004 Michael S Dorrian and Liz Farrelly All rights reserved. No port of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical. including photocopy, recording or any information storage and retrieval system, without prior permission in writing from the publisher. A catalogue record for this book is available from the British Librcrry. ISBN 1 856693864 Printed in China

Words Liz Farrelly

Design
Mchael

Donicm

Selected by Mchael Donian Liz Farrelly

Thanks to Jorge Alderete , Rilla Alexonder , Sean Alexandec Phil Ashcroft; Rik Bas Backer_ Gilles Baclunann_ Charlie Banks_ Jon Barlow _ Paula Benson_ Gary Benzel_ Anna Bird_ Lineke van den Boezem_ Helen Bottomley _ Sarah Bruce_ Boris Brumnjok, Stefan Bucher_ :Richard Bull_ Mike Croney _ David Ccu:son_ Mcrrtin Carty _ Taka Chan_ Martin Cox_ Adam Cruickshank_ David Zack Custer_ Frederique Datfbal_ Andy Day _ Dave Denis_ Andrew Diprose_ Miles Donovan_ Andrea Dreier , James-Lee Duffy _ Taylor Deupree_ Alan Dye_ Bryan Edmondson_ Kira Elfse_ Glenna Ellen_ Brendan Eillott_ Tim Everist_ Marc FiebeIkorn_ Pishburn-Hedges_ Kevin Foulkes, Donna Fullman_ Scu:ah Gaventa_ Dave Gibson_ Nicky Gibson_ Sabine Gilhuijs_ Paul Wesley Griggs_ Peter Grundy _ Nevs Hamling_ Todd Horisson , Tim Head_ Joost van der Heijden_ Sally Hems_ Richard Hennings_ Amanda Hopewell_ Nat Hunter , Chris Hutchinson_ Carl Ison , Keiji Ito_ Karen Jane_ Tim Jester_ Todd SUohn_ Jewen Jongeleen_ Jens Kajus_ Marc Kcrppeler , Alan Kavanagh_ Rene Etienne Keller , Frith KeII_ Billy Kiossoqlou , Fanny Khoo_ Joost Korngold_ Joe Kral_ Henrik Kubel_ Christian Kusters;

Nathan Lauder_ Pit Lederle_ Josh Van Lemmereu_ Michael Lenz_ Joe Lucchese_ Birte Ludwig_ linda Lunclin_ Anja Lutz_ Matthew McCarthy _ Andrew McGovern_ Chris Menick_ Craig MetzgeI_ Paul IvIiller_ Patrick MoIIDier_ Julian Morey _ Fraser Muggeridge_ Sean Murphy _ Mysterious Al_ Nina Nagel_ Kurash Nasseri_ Amelia Nohle_ Toke Nygaard_ Hanni Pannier_ Ben Parker_ Scott Parker_ Simon Parkes_ Matt Pcrltinson_ Axel Plaender_ Frank Philippin, Monica Pirovano_ Seb Pizzutto_ Michael C Place_ Roy Poh~ Andrew Rae_ Alexandra Ramildi_ Hazel Rattigan_ David Recchia_ Abby Ribband_ Paul Rickus_ Kerry Roper_ Anja Rosendahl_ Gerard Saint_ Ivlikey Seilec Segura Inc_ Stephen Sorrell_ Peter Spreenberg_ Start Crecrlivec.. Peter Stemmler_ Martin Stillhmt_ Phil Stuart_ Tan Styles_ Patrick Sundqvist_ Akira Takahashl_ So Takahashi_ Roger Fawcett-Tang_ Kate Thomoa Patrick Thomas_ Mark Thomson_ Ben Tibbs_ Jake Tilson , Yorgo Tloupas_ Clarissa Tossin_ Barbara Val.icen~ Marc-A Valli~ Gregg Virostek_ Jan Voss_ Tim Watson_ Simon WatertaJ.l_ Josh Welsher_ Sam WiehL Sam Winston_ Paul Wintex_ Martin Woodtli_ Woody _

There are two sides to every business card. OK, anomalies do exist: some cards have multiple personalities; others are soothingly holistic ...and we'll deal with those later. But generally, with the two-sided variety, there's the side with something fancy on it and the side with the info, the guts. For some people, though, that's going too far; they prefer one-sided cards that fit inside plastic wallets inside folders, so you can flip through without the inconvenience of having to get the thing out. That's a little too regimented for me, as apart from the sides, there's the edges, the texture and the smell of cards to enjoy. Plus, they look nice propped around a desk, pinned to the wall or, if they're 3-D, stuck on top of your Mac. Getting back to the duality of cards. What most cords do is tell a stranger something

about you, On the one hand, something very conscious and concrete, about your physical place in the world; and on the other, something subconscious and less easily defined ...about your personality. Unless of course you work for a massive corporation, and everyone from the CEO to the most junior salesperson has the same card. (This is to be avoided.) There me choices to make from the word go, about the information you want to impcnt. You may give only your mobile number, i.e. you're a nomad; or you might position yourself entirely digitally, in the ether, via a web address. Then there's how you define yourself; whether via a job title or a self-imposed epithet. With new ways of working (at home, on the road) and with many more people multi-tasking, these days cards have a lot more to say. Whatever information you

offer, bear in mind that it will

be read, no matter how easy

or difficult you, or your designer, makes that task. When we start to consider the design of a card, other choices you make will give a whole lot away about your personality, How orderly are you? Do you keep your cards in a mini folder so the edges don't crease? That will dictate the dimensions. ille you strapped for cash and hate to spend money on printer's bills, so you make your own cards from scraps and scrawls? Are you so achingly spontaneous that you need a new card every day, firing up the Mac before you leave for that important meeting? ille you glamorous, traditional, inventive, austere, colourful, still playing with toys, ostentatious, functional? And, if you're a designer, this is the one you want them to ask: are you creative?

05

All these ossumptions and more erre made about you whenever you hand over that 55mm x 80mm rectangulcrr cord. But why stick within the limits? There's a whole other world of business card solutions out there. On the one hand. you have those super inventive solutions with the most minimal of means. black ink on white card, not much bigger than a matchbox. that say it alL You can even have fun with those instant business card machines at airports and stations, if you're so inclined. On the other hand, let rip; throw out the rule book and reinvent the wheel. You don't have to spend a fortune, but some people do, There seems to be a boom in business cord design right now, made more possible by the proliferation of sophisticated but affordable image-making technology and techniques,

And anything is possible; this is what the evidence points to ... Found objects and stationery; customizing a mass-produced item; folding, cutting, ripping, sticking; WOOd,metal, plastic ~ the possibilities are limitless, and that's just for the "body" of the card, the stock. Then there's how you apply the "rnorks" - rubber stamp, letterpress, colour Xerox, spray can, four-colour, specials. UV spot varnish. silk-screen printing, potatoes. And finally the imagery: photography, illustration, collage, pattern, type. Cards are handed around, so think of how they feel. Cards break the ice; perhaps yours prompts a particular question. Cards can prompt a game; they may act as a portfolio, an exhibition in your pocket: they bare your soul.

06

This book is a collection of business cords. a very personal selection by Michael Dorrian and myself. Michrrel started it with his obsessive collecting, asking everyone he met for their card. He'd rifle through my desk looking for new ones I'd accumulated. Some I'd keep to myself though .. Making no excuses for our tastes in graphic design and visual statements, this book isn't a comprehensive one-ofevery-kind collection; it isn't a didactic "how to" manual either. There are no chapters; instead the contents are arranged into overlapping sections according to a card's aesthetic: so typography turns into illustration, into photography, into special materials, then assemblages and do-it-yourself.

Michael and 1 think this selection of cruds is inspirational. How did we choose them? We put out the word to contacts far and wide, as well as following up on cards in our collection. The "wow" factor was the final decider. Did a card make us stop in our tracks and say, "look at that!"? They did, for many different reasons. The only problem now is that you might want to take a second look at your own card. If you want to contact any of the people in this book, their details are included!

09

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Start Creative

For Start Creative_ Creative agency _ London, UK

1illQ

Each item of stationery has a diiterent symbolic found letter on its reverse, which together spell Start, The cord's ·A· relates to destruction as a creative act. The restrained typography of the flip-side hints at Start's dual personality,

10

Design Made Thought Paul Austin_

For Made Though'L

Ben Porker

Designef,;_

London, UK

Truo Bright. sharp and informative, Made Thoughts no-nonsense typography is given a touch of glconour with silver-Ioil blocking on uncoated stock.

11

Design The Designers

Republic

FOI

The Designers
Republic_

Info
Subtle vcniations within a vivid colour palette rnomed to information-heavy text add up to The ~!S Republic aesthetic in miniature.

Designers,-Sheifield, UK

13

sierra/tango/romeo/ uniform/kilo/tango/ uniform/romeo delta/ echo/sierra/ india/golf/november

14

Desioo

Struktur Design Roger Fawcett-Tr:m9

For Struktur Desi.gn_

Designers_ London. UK

IntQ

The cornporry name is spslt out using the international "radio speak" code. while the phone number is rendered in words. A second version progresses to phonetic spelling end morse code, illustrating that there is a point at which too much information may complicate matters.
15

DIGITALAR~m;crs.THENETHERLANDS.

EYEFI.INTERACTIVE .••.

PAUL.RlCKUS.
PAULRlCKlJS@ E'lEFLNl

ARrDlREcrOR..

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w.G. PLElN 349·373. HJ54S(;, AMSTERDAM.

TEL+31 [0)20.32Q744O.

Design £yefLinteractive Paul Rickus

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EyefLinteractive_ Digi1al orchitects , Amsterdam,

Info Printed in a satiny spot varnish, the density of information on these cards is rendered decorative. almost ethereal,

The Netherlcmds

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EvOlve DeV<el0pmeilt_ Pr0p;erty Glevel0J'lfll's_

Ashley W'illiams

10 Wellington Street St.Kllda 3182 Victona 61 3 9526 5180 61395265112 0407315481

awllllamseevol vedevelopment .com.a u
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Michael Schmidt
CREATECH DIRECTOR +14155188290 m@cubancouncil.com

Toke Nygaard
CREATIVE DrRECTOR +1 ~15 879 0558 t@cubancouncil.com

Design

Cuban Council

For Cuban Council Designers_ Copenhagen. Denmark

1illQ

The kitsch graphic laqguage 01cigar boxes is used to create a nostalgic. heavily-themed cord,

18

Mike Buzzard
CODE CURATOR

+14154252063
src@cubancouncil.com

Per .Jerqensen
TEcHNICAL DIRECTOR

+4526223106
p@cubancouncil.com

19

Design BCDesign

&r

BCDesign

Seattle,

Desiqriers ,

USA

BLACK SHE.I.P 55 POLAND STREIIT LONDON IWtF 7NN T: 020 74S9 40t5 INFO® BLACKSHIIIP.U K.COM WWW.BLACKSH •• P.UK.COM

Design Kerr Noble

For Black Sheep Recruitment. agency_

London. UK

Info

A series of grids for each element 01 this recruitment agency's

stationery reflects their aim of placing the right ccndidote in the right position, a job-finding maze becomes the company structure.

22

W!gn

Martin Woodlli

fill

Martin Woodtli_

Desiqner , Zurich. SwitreIland

IDfQ For passing telephone numbers around. Simply mark your number on the keypad-style matrix and hand it over.

23

Big Active Paul Hetherington_ Gerard scdnt; Mark Watkins

For Big Active_ Designe.rs_ London, UK

Info Inspired by 'learn to read" cards, the sel included one phrase meant for door-to-door salesmen who unfailingly ask for a card while being escorted from the premises.

24

Design pre>loaded

For pre>Joaded_

JnfQ

Desiqnsrs.,

London. UK

Taking their inspiration from everyday life, pre>loaded chose blue for their cards, as inspired by the name of their local pub: the rounded comers signify the 'bulge" of lager at the top of a glass: the cmagrarns are attempts to spell the company nenne after a night's drinking.

25

Peter Chadwick Art Dire<:tor 07970004 670

Unit 2A Queens Studio 121 Salusbury Road London NW6 6RG T 02073724474 F 020 7372 4484 ISDN 02073282815

peterozlpdesign.co.uk

www,zipdesign.co.uk

Charlle Banks Studio & Account

Co-ordinato!

07970004674 charlieozipdes-ig.n.cQ,uk

Un~ 2A Queens Studio 121 Salusbury Road London NW6 SRG T 020 7372 4474 F 020 7372 4484 ISDN 020 7328 2816 www_zJpdesfgn.co.uk

Zip Design Peter Chadwick

Client Zip Design_ Designers_ London, UK

Inio This boy--girl portnersnip render their logo in playful "baby blue and pink 50 as to difterentiale their cords.

26

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344 Design Stefan G Bucher

ill

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344 Design_ Designers_ Pasadena,

USA

Stefan uses the glittery stickers as "teaser" cords. handing them to people who immediately ask for more inlormation. They then have a habit of sticking around.

27

Design
Poke

EQL.

Nicky Gibson

Poke_ New media designers_ London, UK

Info Each staffer is colour coded: bold typography

turns the company name into a command.

28

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Tokyo. Japan

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With levels of information tailored to various needs, a dea:x:llng legend. cheeky hidden messages and go-fosler stripes, these
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Design
Mesh

For

Paul Miller

Music store_
Wasbington

Rhythm & CulIUIe_

lillQ

A memorable oard thanks 10 its unique shape and the marriage of subtly-coloured abstract devices and text.

Akira Takcihashi

USA

DC.

32

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Paul Miller_ Akira Takahashi

For Kurosh Nasseri_ Music consultant_ Washington DC,

USA

Inio A logo extrapolated into on'intnccrte surface pattern, which cleverly occornrnodctes the contact details, to create an out of the ordinary card for a lawyer, albeit one working in the image-conscious music industry.

33

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Design
A2-Graphics/SW/HK

For

Art gallery _ London, UK

Cubitt Gallery_

Jntg Relocating to a former print workshop provided the inspiration tor a bold, one-colour identity for this artists' collective. A difterent letterpress .C' is used tor each new exhibition invitation, and consequently applied to stationery: the identity is highly recognizable yet fluid,

34

VALUE and

TEL/FAX: +44 (0)207689

MARGERY STREET LONDON WC1X OEB HAZEL RATTIGAN

SERVICE 20 CIIAlU.ES ROWAN BOUSE

4526

WWW.VALUEANDSERVICE.CO.UK
HAZEL@VALUEANDSERVICE.CO.UK +44 (0)7966 401 758

VALUE and SERVICE

WWW.VALUEANDSERVICE.CO.UK
SEAN@VALUEANDSERVICE.CO.UK +44 (0)7958 637 033

TEL/FAX: +44 (0)207689 SEAN MURPHY

MARGEKY STREET LONDON WC1X OEB

20 CHARLES ROWAN BOUSE 4526

For
Value end Service_ Designers_

Value cmd Service Sean Murphy_ Ha2e1 Rattigcm

InfQ

London. UK

Antiquated card stock cmd writing paper (rcmging from oldskoolluxury to basic cmd aged) is sourced from stationers.

the contrast is acute.

newsogents and flea markets before being sent to the printers. Contact details are added via gloss-black foil-blocldng: 35

fanny khoo
~FT Dl~H ."R_cO P', WPIT e R

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36

Flink FannyKhoo_ Tom Merckx

For Flink_ Designers_ Antwerp, Belgium

M Flink,

Info

a tecnn of "evolving pattern makers' personally combine a typeface, box shape cmd background pattern for their cords, the idea being to differentiate while remaining port of the whole,
37

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Design Kcrren Jane

For Karen Jane_ Designer_ London, UK

Mo A prolilic logo designer, Karen's series of logo sticker-cards allows her to present a constantly updated portiolio. The template stays the same, though, and may also be used to showcose other series.

38

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BLACK GRAS

39

Em.

Duffy

Adam Whitaker

English_

London. UK

Advertising

ogencv_

Info An intricate heraldic lcgo. printed using gold Ioil-blockinq on beer-mat boord. hints at less predictable elements of Englishness.

41

Angela Broggi Patrick Thomas

laVista laVista

Angela Broggi

laVista

comunicaci6 visual

comunlcaclc visual

comurneaclo visual

+3493221 26 M 607601 384 M 607 601 385

Frederic Mompou 6.9° 08005 Barcelona

rAl'I"'rll~

Mompou 6. go

08005 Barcelona

laVista Angela Broggi_ Patrick Thomas

For laVista Designers_ Baroelona, Spain

IDJQ

A while card with red type is overprinted with black; the company name and relevant information for each version being left "white out", The stock is heavy and matt coated so as to withstand the Jarge-scale overprinting, Hailing from Barcelona, the cards are in three languages: English, Spanish and Catalan,

42

Angela Broggi Patrick Thomas

laVista laVista laVista

comuntcaclc visual comunicaeten visual

comunicaci6

visual

T +34 932 21 M 607 601384 M 607601 385

43

..
Design Clem Matthew

fQr
McCarthy

Australia

Tina Borg_ Fashion deslqner , Melbourne,

InfQ

Renowned for her collections of radical clothes in subtle blocks, Tina's arcl1itec:lu.ral inspiration generated the overlaid, bitmapped images. Printed in metallic black and UV varnish on a plastic stock. textural and tonal variations odd to the mix. 45

Design/photography 12k Taylor Deupree

For 12k DesiQner_ New York, USA

Iill2

Taylor Deupree makes digital music, runs several record labels and designs the accompcmying graphics. On this card, as with the wider identity, an understated combination 01 abstracted photography, meandering line and minimal type mirror the ambience of Taylor's musical output.

46

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Design

Automatic Mm1in Carty_ Ben Tibbs

Design

Schwipe

For Schwipe , Designers! clothing label_ Melbourne. Australia

Info

Schwipe's cmarchic I-shirtgraphics often wrap around the body: similarly. the acid-coloured, hcmd-renctered logo runs Jrom front to back around this card.

48

Design Big Block Creative

B2!

Sneaker Freoker_ Mqgazine_ Melbourne, Australia

Inio An unusually irreverent magazine, dedicated to the obsession some have with their trainers; it requires an equally loud cord.

49

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Design Eyefood

EQr

Precious McBcme_ Furniture/interior designers_ London. UK

Info Simple two-colour printing is used to mccdmum reproducing the "all-over" pmcb p:::rttem.

eUect.

50

B'
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r,."!1'I'IfUn fI,IIUI1l'I'n~ P INf"ItOILI.!RHO'!jiYTIIINI;I(:O.1oI1C 'IN .III1P11!I'ERTJI'I)fwCIiI.~

61lAPHIC DESIGN. MULTIMEDIA. PRODUCT. CIlEATIVE THOUGHT.

IUIliH U,t.IVUI,DDl JI~L"'tt. 'liU.'[1I9I1u:n I.l'1'EIIPl)!II1.t,I,IIlftllol(J:HGoIIIIHI

Burn David Hand_ Sam Wiehl

Em

Burn Designers_ Liverpool. UK

!mQ

Combining line illustration with an original. symbol and logotype, this card showcases a variety of styles to the extent that it is refened to as "promotional literature' by the designers.

51

Design Simon Waterfall PhotO!JIOPhy Matt Mitchell IQ;ttQQ Alex. Binnie

For Simon Waterfall_ Art director_ London, UK

Info Known tor his bold statements and unshrinking personcutv. the choice of type on Simon's enigmatic business card inspired another personal statement. this time rendered upon his

ownsldn ..

52

Bimon tDate~flt{{.

53

g«IJl-..i.c.a£ engineering ph0 ne:-+49(0)431 ·5.70.37.54

Marc Fiebelkorn pu b I isher & ch i ef -i nstructor redakti on BRETT,jahnstraBe 10, 24116 kie I tel. 0431-5703754 I fax 0431-5703756 email: m.fiebelkorn@brettmag.de

BRETTGraphic Plus, jahnstraBe 10, 24116 kiel

BREIT Graphic Plus Marc Fiebelkorn

FOT

BRETT Graphic Plus_ Designer !publisher_ Kiel, Germany

lDiQ

BRETT Graphic Plus magazine plays with the language of mechcmics' manuals, speed-dials and go-faster stripes, offering 'grapt>ical engineering' on tap.

56

1&sign Heightlab

Chris Hutchinson

For Heightlab

Into

Designer_ Los Angeles, USA

comporry's name.

Onwards ond upwards; a fun combination 01arrows and tall things (ascenders and glralfes) occentuctes this

57

Design HcmdGtm David Zack Custer

fQr HandGun Designer_Portland, USA

lruo A collage of elements lilted trom various graphic languages, shown business-card size, presents a boiled-down world view.

58

43. 579.9 691

Design David Carson

[Qr

David Cmson_ Designer_ Los Angeles/ New York/ Chmleston. USA

Info

Although it is printed in classic black on whtte, design maverick David Ccnson pushes the J:oundaries of legibility with this cord. Chaotic elements. redolent of mangled clip-crt ond abstract mork-moktnq, me isolated cmd re-mixed alongside relevant information to be re-presented in several versions. 59

Regular Product

For Regular Product _ Designee Sydney, Australia

Inlo Adam

service announcements".

of Regular Product views his cords as "left-over public

60

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Dave Denis

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DaveDenis_ Designee New York, USA

Info .Altist. illustrator ' lashio n~er=d d' individuality' h entrepreneur, Dave's , ; ;. 'IS emp asized VlU his unique horidwritin which IS punted in raised thermographic ink. 9 ,.

61

62

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. fQr Info
Evolve Skate shop_ Melbourne, Australia An obsession with sci-Ii provides rich source material for this series of slick cards. 63

Josh Van Lammeren_ Scott Holding

Wi9n

Josh.Von Larruneren

For

Evolve Skate shop, Melbourne. Australia

Info

The illustration on this store-and, depicting how skateboard design has evolved end streamlined, implies that this shop's been around since the early days.

64

Design Por Josh Van Lammeren_ Evolve Scott Holding Skate shop, illustration Melbourne. David Nissani Australia

Info

This attention-grabbing.

of the Evolve team.

die-cut card was inspired by "Star Wars' aesthetics, and hints at the personal obsessions

65

HELLO
my name is

~~~~~~~-

_--~~~~-_-

HELLO
my name is

HELLO
my name is

DesiQIl/illusb:ation StolenSpace Richard Hennings

For StolenSpace_ Designerjillustrator_ London. UK

Info Based on the iconic 'hello my name is" badge. the two versions of this sticker-card may be parsonalized by adding tags or doodles. Peel off and stick around town to spread the word.

66

HELLO is
my name

67

Design/illusuation Jon Burgermon

JOn Burgermon_
lliustrator_ Nottinghcnn, UK

For

Wo Mounted on corrugated ccrdboard, Jon's ccads are also stickers, each sporting a distinctly cheeky character.

68

Josh Welsher

lli

To Die for_ Clothing labeL Los Angeles, USA

!DJQ

To Die For create t-shnts, accessories and graphics using a mix 01 graffiti techniques and hot-rod styling. This glossy black card Is totally rock'n'roll.

69

Design
TokoChan

fQr Jap:mize_ Magazine_ Norwich, UK

Inta With cards printed on a bright. unccated stock similar to that used for the cover 01 her zine, Toke. a Jopanese illustrator living in England, depicts herself and her world as cute, crazy and a touch surreal.

70

Miles Murray Sorrell FUEL®

33 Fournier Street Spitolfields London El 6QE Telephone 02073772697

fuel@fuel-design.eom

Fox

02072474697

Desicm

Miles Murray Sorrell FUEL Fainting Gordon Murray

For Miles Murray

FUEL_

Sorrell

IDJQ

The latest in Fuel's line 01 portraiture cards, this group image, posed in their studio, was painted by the father oj one of the team.

Designers_ London, UK 71

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Kerr Noble PaulDcrVis

E2J: TWResec::rrch_ Market researctl

lnfQ.

agencv_ wndon. OK

Working with idiosyncratic lllustrat0l' PaUl Davis. Kerr Noble created a east of twelve cllOI'areters to inhabit their client's "WOIld-. a ploCQ where rrtedia meets culture. Ectch staffer g~ts an twelve cards, and as an ice-bIeaker they are a great success, with. clients begging fo~ omnple!e sets.

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Thirst Dakota Brown.... Rich Hcmson_ Ewa Sarnacka Barbara ValicentL Rick Valicenti Rob Wittig

For Thirst_ Designers_ Chicago, USA

Info Each member of this creative studio makes their own mark; within the boundaries of a small "black and white" card they create aesthetically diverse worlds.

75

Lucinda Rogers
75 Columbia Road, London E2 7RG Telephone/Fax ,.44 (0)20 7729 9517 e.ma.illucindadot@hotmaU.com

Design Julian Morey lliustratjon Lucinda Rogers

For Lucinda Rogers_

InJo

Illustrotor.,

London. UK

Lucinda features New York, one of her favourite cities. on her set of cards. Rendered in vibrant orange. on stock which approximates water-colour paper, it's as if she has put her brush down and cut off a corner, just for you.

An acclaimed illustrotor specializing in urban landscapes.

76

space3eindhoven
G~r",Cll' ~ IIluBlrBWlWIl Onlll'1lrpon

Joost van der Heijden Kerkstraat 24 5611 OJ Eindhoven Poathus 8007 5601 KA Eindhoven
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SJXlce3_ Designers_ Eindhoven, The Netherlands

Info

Mcnk-making by horid end computer, layers of information and some overt branding (the appropriation ot the "Brownie" solute for instance), add up to em exul:.:eremt cord lor these street-inspired designers and illustrators. 77

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Design
Burn David Hcmd, Sam Wiehl

For Burn_

Designers_
Liverpool, UK

Info Large square formats are used for both of these oards which showcase the wide range of Burn's image-making techniques.

79

I'd look good on you.

QuiCkHoney

f2I

QUlClcHoney _ Designers_ New York. USA

llJ.IQ

Rendering pin-up celebrlties and girls about town In their signature graphic style. QuifficHGney's eords are instantly attractive, Collect the set. The ever-blown, piXelloted burger on the reverse makes yO\.! think of !hat othel' great pleasure,

You're ugly, but you interest me.

ra@ala.c
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aLa webstatt &. ehmork.nst AL.eHancira RamiLdi Rotb·uchstrasse 22,8037 ZurichjCH
T +4113642750, F+411 364 2751

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aLa webstatt & chmnrk.net Rene Etienne HeLLer Rotbuchstrasse 22, 8037 ZurichjCH
T +41136427'57, F+411 364 2751

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Design Ala Webstatt & Chmork.net Rene Etienne Keller_ Alexandra Ramild.1 82

For Ala Webstatt

Chmork.net_

&

Info Staffers at this computer-friendly image-making ore depicted on their cords as cute cog-icons.

studio

Designers_ Zurich. Switzerland

f_WQ1T.I.BY1!I:J .... OZOfi,O'3In

For

Airside

XYNetwork_ Radio production compcmy_ London, UK

l!:JJQ Each member of XY Network chose on icon trom the Airsidedesigned website to be printed in their favourite colour, in a square "Pixel" format.

83

Freder+que
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Daubal ~~r If1UOl

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Frooerique

MartoGuay

Dcrubal

For Frecterique Daubal_ Designer_ Amsterdam. The Netherlands

lnfQ Mixing p:rttem. colour and form, Frederique's card hints

her crecrtive cross-over between graphic and fashion design.

at

84

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Moire Bianco: Brunner , Marc Kappeier_ Markus Reichenbach

fQl: Moire_ Designers_ Zurich. Sw1tzeriand

.IillQ

Collaging fragments of computer-generateci pattern trom early software programs next 10 childlike handwriting. this cord is both enigmatic and expressive.

85

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Scorlst Projects; Creative ccnsultonts; London, UK

l!::J1Q For these wordsmiths and imo:ge gurus, Ol::6ke erected nine designs based on the tntenor patterns ot envelopes (which are intended to obscure content); printed them in blue (red was too obvious lor a company named Scarlet); and erected matt and glossy versions. Patterns rcmging from "masculine to feminine" may be selected, appropri.ate to any ooccsion.

87

IDonni:er desIgl1lll' HapPltpeLs ProducLs

5raphlc

Pal:.rick

Au, du Tr rbinal-f lidiwal 3. Him5 Lausanne TH !!l2I 323 -u 30 n"iJ, 61'19 362 3'1 28 Email hapP4pet.sprodllcLsflhoLlllarLcorn lleb, wwruJtappypel:,sproducLs,ch

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Design Happypets

Products

Products

DesignerS'_ Lausanne, Swilzerland

Info As part of an ever-evolving visual identity generated by studying the relationship between hwnans and animals, Happypets' cords relate to colour codes used in the fabrication 01 sanitary rugs distributed to Swiss dog owners, the aim being cleaner streets, However 'ool1d" the research, the resultant cards are enigmatically abstract,

88

Ciidrio Henn4

5raphIC desr gnsr liappype~s Products

fiu du T r rbmal-f ediwal 3, UI~S Lausanne Till !l21 323 YI as Email happ4p8tsproducl.s@ho~ma±L[;om Web. ww~.happ4pe~sproduc~s.ch

89

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Move Design

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boomBcmg_ Design & engineering

collective_ San Francisco. USA

90

collective has their own 'schism' mark. denoting

Each independent

member

of fhis design and engineering

combustion and constant change'; appropriate enough as their business is materials research and product innovation.

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91

Head Jason HOIlCmd_ Patrick Sundqvist_ Steve Liddell

Fm

Head_

New media

designers_ London, UK

!illQ Super-subtle variations in tone and form create an evocative collective identity, Painterly images use the simplest of means _ line, pixel. circle - to produce depth and contrast, while the brackets of the logo are echoed in die-cut nicks and keylines on the card's reverse,
93

Priutcd ill J:l~lIg!tll1d h~ Gavin Martin Associates Limited

G{JfY Blra Managing mreerer T.44
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Desian NB:Studio

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Gavin Martin PIinters_ _ London, UK

Info

This super-line image of curved, intersecting

resultant metres was designed

technical skills.

lines and the to show o1f the cord-holder's

Design A2-GraphicsjSW/HK

For

1508_

Communications consultants_ Copenhagen, Denmark

In!Q Inspired by Buckminster Fuller's 2-D map of the earth, a new representation of the live continents was drawn using shapes that rearrange, connect and unite in new ways; the aim being to signify this ccmmunication company's global reach via their expertise with new technology.

96

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