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Newsweek has a fascinating look at the fonts, logos, slogans and web design behind the Obama campaign. If you are a design or marketing geek, you'll want to read the whole thing. Its and interview with design guru Michael Bieruit, after all. An excerpt:

How else is Obama's design different than what has come before--or what rival campaigns are doing?

He's the first candidate, actually, who's had a coherent, top-to-bottom, 360-degree system at work. Whereas, I think it's more more common for politicians to have a bumper-sticker symbol that they just stick on everything and hope that that will carry the day.

The thing that sort of flabbergasts me as a professional graphic designer is that, somewhere along the way, they decided that all their graphics would basically be done in the same typeface, which is this typeface called Gotham. [See "Change We Can Believe In" sign, above] If you look at one of his rallies, every single non-handmade sign is in that font. Every single one of them. And they're all perfectly spaced and perfectly arranged. Trust me. I've done graphics for events --and I know what it takes to have rally after rally without someone saying, "Oh, we ran out of signs, let's do a batch in Arial." It just doesn't seem to happen. There's an absolute level of control that I have trouble achieving with my corporate clients.

Then if you go to the Web site, it's all reflected there too--all the same elements showing up in this clean, smooth, elegant way. It all ties together really, really beautifully as a system.

Is Obama's stuff on the level with the best commercial brand design?
I think it's just as good or better. I have sophisticated clients who pay me and other people well to try to keep them on the straight and narrow, and they have trouble getting everything set in the same typeface. And he seems to be able to do it in Cleveland and Cincinnati and Houston and San Antonio. Every time you look, all those signs are perfect. Graphic designers like me don't understand how it's happening. It's unprecedented and inconceivable to us. The people in the know are flabbergasted.

What does that say about his campaign?
My feeling, in my own narrow sphere as a professional graphic designer, echoes a little bit what Frank Rich wrote in his column on Sunday, where he was talking about Hillary Clinton's argument that Obama doesn't have the experience to run the country properly, and how you only needed to look at how her own campaign has been managed to see the flaw in that argument. I sort of see the same thing. I'm not sure that the commander-in-chief proves his mettle by getting everyone at his rallies to set their signs in the same typeface, but as someone who knows how hard that is, I'm very impressed.

The specific choices are also made in really good taste and I'd say to certain degree they also philosophically align with what his position is.

What do you see as the "philosophical implications," to use a highfalutin phrase, of Obama's design choices?
There are a couple of levels. There's the close-in parlor game you can play about what all these typefaces actually mean. Gotham was a typeface designed originally for GQ magazine, so it's a sleek, purposefully not fancy, very straightforward, plainspoken font, but done with a great deal of elegance and taste--and drawn from very American sources, by the way. Unlike other sans serif typefaces, it's not German, it's not French, it's not Swiss. It's very American. The serif font that he often uses to write Obama is delicate and nuanced and almost, not feminine exactly, but it's very literary-looking. It looks very conversational and pleasant, as opposed to strident and yelling. It's a persuasive-looking font, I would say. But that's putting these things on couches and pretending they have personalities.