Way back in 2003, I was working for Zehnder Communications as an Art Director. I had very little experience working on commercials. When I had the opportunity to work with the creative/account team, including Mike Rainey and Henry Chassaignac, on a commercial for the City of New Orleans, I was pumped.
A little background here, it was pre-Katrina. The local city government wanted to change the negative energy and cynicism that seemed to be cultivating in our city. We wanted our people to care again about our beautiful city. We wanted to bring back the “Big Easy.” The nightlife, the vibrant live-music scene and the spicy, cuisine that reflects our history as a melting pot of French, African and American cultures. The one and only Mardi Gras, famed for costumed parades and street parties. Jazz Fest, the annual celebration of the music and culture of New Orleans.
After it was all said and done, the spot ended up winning a prestigious Telly Award and the print campaign “street name tiles” won numerous Addy Awards. Shout out to Jeffery Zehnder and all the people that helped in creating this campaign. It was an incredible memory for me.
Jessica Hische is an American letterer, illustrator, and type designer. She is best known for her personal projects, ‘Daily Drop Cap’ and the Should I Work for Free flowchart. She published In Progress: See Inside a Lettering Artist’s Sketchbook and Process, from Pencil to Vectorin September 2015, which gives insight to her creative process and work she has completed as a hand lettering artist. She has spoken at over 100 conferences worldwide, but splits her time between San Francisco, CA and Brooklyn, NY.
After graduating in 2006, Hische worked for Headcase Design in Philadelphia, PA. She then took a position as Senior Designer at Louise Fili’s studio, Louise Fili Ltd, where she worked for two and a half years. In 2009, Hische left Louise Fili Ltd to further her freelance career as a letterer, illustrator, and type designer, citing her appreciation for the balance between work and personal life. Hische has been featured in several journals/magazines. She has been mentioned in the Forbes 30 Under 30 list, the GDUSA Person to Watch, and Print’s New Visual Artist. Together with Fili, Hische designed the eye-catching “Love” stamp for the US Postal Service, which ended up selling over 250 million stamps.
She has designed the book covers for Dave Eggers’s novels A Hologram for the King (2012) and The Circle (2013). Hische designed the packaging for comedian John Hodgman’s comedy special John Hodgman: Ragnarok. She has also designed the most recent logo revision for email marketing service provider MailChimp under the art direction of Ron Lewis. Hische has worked with clients such as Wes Anderson, Dave Eggers, Penguin Books, The New York Times, Tiffany & Co., OXFAM America, McSweeney’s, American Express, Target, Victoria’s Secret, Chronicle Books, Nike, Samsung, Adobe, Apple, Barack Obama, Facebook, Harper Collins, Hershey’s, Honda, Kellogg’s, Macy’s, UNICEF, NPR and Wired Magazine. She was honoured with the Young Gun award of the Art Directors Club of New York. Joining forces with her web designer husband, Russ Maschmeyer, they created a side project called “Don’t Fear the Internet”, a tutorial website that teaches basic HTML and CSS to beginning web designers. She has informative classes available on the website Skillshare. Hische currently works out of Title Case, a by-appointment-only collaborative studio in San Francisco, CA. Hische operates this studio with fellow letterer and designer, Erik Marinovich. She has also shared studios with Studiomates and The Pencil Factory. Content: wikipedia.org
Check out Jessica’s wedding invitation. One of the first parallax websites that blew me away.
Helvetica is the classic typeface and, of course, one of my favorites. It’s used everywhere, just look around. It’s perfect for public signage because it’s simply easy to read. Below is some info on the typeface.
Helvetica is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Groteskand other German and Swiss designs. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. Over the years, a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, compact appearance.