Gerard Huerta tackles
any style of logo or
lettering with the same
consummate skill. Design
is design, only styles
change while the under¬
lying principles remain.
Maybe that's why
Huerta's Caroline St.
Railroad, DeRosa's and
Cigar logos are all so
different in style, yet all
so finely rendered.

For this tractor logo,
right, Deutscher designer
Dirk Uhlenbrock retained
the symmetrical layout,
the bursted seal and
Siitterlin-style antiquated
German handscript as his
links to tradition.
But his simplified treat¬
ment of these elements
is strictly now— and
totally Uhlenbrock.

Above, Gerard Huerta must have been born out of time. His intricate
lettering for the Hand Made Cigar Collector's Guide & journal would
have landed him a job at any nineteenth century print shop.

T0L

FIRST COLONY

COFFEE & TEA C?

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^у^І^і^с

Right, and above right, if intended as examples of classic label
design, these First Colony Coffee & Tea logos by Nate Lambdin for
JHI could be said to have missed the mark. But as examples of
modern design that add some new verbiage to the classic label lex¬
icon, they work smashingly well.

LOGO, FONT a LETTERING BIBLE

27

M

M

Louise Fill's logos for the
Pink Door, Malama and
Delamar reveal her penchant
for retro styling. Yet Fili
manages to imbue her work
with all the elegance and
romantic flavor of classic
European Deco design with¬
out ever letting it become
cloyingly "nostalgic."

(¿jj ♦ GREENWICH »HARBOR • УкУ

Michael Schwab is one of those designers whose every piece
carries his unmistakable stylistic signature. Although Schwab's
work takes its cues from retro reference, his dynamic and
spartan compositions have a timeless appeal.