Says Mostafa of the card:

[The card features] an arabic square Kufi styled name with his 8Bit graphic style picture, and the date in English with a readable 2D code of the same date

From designer Ksenya Samarskaya comes this retro-inspired self-promo card.

Previously having professional business cards go unused, I concocted these for informal settings. In a casual atmosphere the shared conversation tended to vary as I identified as a sometimes typographer, sometimes cipher, friend, pickler, cyclist or dinner curator. The solution of using the standard pager greeting appealed to me as introductory, colloquial and open-ended. The design employed a custom 7segment typeface, with colors dictated to make the numbers fade into the paper while the letter-message stood out. Serving as a nod and a wink to the pager generation, a card that simply says, “Call me, we’ll talk.”

Also, if you go to HelloEhoes.com, it will get to Ksenya’s website.

Printing is White & Black Foil on GF Smith Colorplan in Cool Blue 540gsm.

The aim of my business card is to create a memorable experience and leave a sweet impression on the people I meet. I believe that engagement starts with the first interaction and as a brand engagement specialist, I think this card is a great way to illustrate my approach to branding.

What do you think? Is this catchy or cheesy? Would you eat the cookie and save the fortune, or would you save the whole thing and attempt to keep it uncrushed?

From The Designer Fund comes this cool interactive infographic highlighting which popular tech/internet startups were founded (or co-founded) by designers. Guess what, they use business cards as the information vehicle! Fuck yea.

The business card for Modern City, submitted by Chad at Tiny Prints

This card, featuring a design by Oh Joy!, is good for those who would want a chic metropolitan aesthetic. The image on the card captures an unspecified city skyline with contrasting colors, probably a good style for an urban business (architecture, commercial real estate, etc.). The card’s primary unique attribute comes from the fold, which reveals the contact information on the inside.

The card has a matte finish … and heavyweight stock made from 30% post-consumer content

“My goal was to create an original and especially a very personal corporate design. Since I have just completed my graphic designer study, my contact info will change constantly over the next few years. Therefore I created a letterhead and a business card that can be updated easily and cheaply.

For the business card I’ve used old and expired bills from my fatherland Nicaragua. The latest contact info is then applied with a stamp. The logo emerged at the beginning when I built [the] stamp.”

Frederic Lootens is a Belgium-based design who operates under the moniker FRED+ERIC. The splitting of his own first name yields two more, giving clients the impression that his one-man shop is actually a partnership.

His card shares this split personality, with Fred and Eric on reverse sides. If there were two partners, they could each use this one card making it an economical choice for [actual] partnerships.

Emiland de Cubber is a presentation designer. His business card capitalises on the still-lingering metaphor of the “slide” in a Powerpoint or Keynote presentation. The card is actually not a card, but an actual Kodak slide with two stickers for his name and contact info.

Pictured here is the box to house his slide-cards. None of those business card holders, thank you very much.

On Reddit, of all places, I spotted this card for Natalie Roberts. I found it efficient and somewhat clever how she lumps in all her contact info within her email address, even though it may not be an entirely original idea. I’ve often been faced with this, where people don’t realise that my website is the same as my email address (considering it’s my last name.com, not, say, Gmail).

However, I have to agree with the snarky commenters that this card’s bizarre shape is a bridge too far, and Natalie’s artistic merit gets a little lost on people who are fumbling around trying to fit it into their wallet.

This debate will rage on. I’m a big fan of cards that fit in plastic sleeves or in wallets. Anything bigger is unwieldy and usually gets folded or even tossed.

Ok, maybe a little over-the-top, but this isn’t the first card for an architect that I’ve seen which is totally way more pseudo-fancy than it needs to be. Are architects trying to be designers? Aren’t they already a sort of designers?

But I don’t care who you are, that bizarre kerning has no excuses.

This is a simple card for Seattle’s Hornall Anderson. My pal Izzie works there now, and I’m rather fond of her card. It’s very orderly, and in this case, I don’t mind the grid action. There’s also a bit of a fill-in-the-blanks approach at work, although Izzie didn’t make use of it.

I like HA’s logo, where the type makes your brain thing of both H and A, and how the card is uniform on the back, but customised on the front. I like.

This is a quick one. It’s a card for Razorfish, equipped with a QR Code. If I remember correctly, this code didn’t quite work because it tried to bring me to a website which would download the .vcf, but the intent is good.

Except, if I were to scan your card and get the info, why do I need the physical card? I feel as if QR codes are cards spell defeat for the card itself. A bizarre duality where old and new technology clash.

What do you think about QR Codes on biz cards?

I spotted these very sharp cards from Nathalie Cone, design out of Baltimore.

Says Nathalie of the colours, “The fluorescent red ink straight out of the can was a little too bright and harsh for what I was looking for, so my printer taught me that mixing other “normal” inks with the fluorescent red (she used warm red, yellow, and white) was an easy way to tone down the ink without losing the fluorescent quality too much.”

I dig the edge staining, and the card is printed on 220# cotton stock, maybe Crane Lettra or something similar.

Images courtesy of Nathalie Cone

In spite of my poor photography skills, you should try your best to examine this gorgeous card from Bleu Sky Creative up in Vermont.

It’s a two-colour letterpress with rounded corners, but the impression isn’t too deep. I dig the engraving-style artwork and typography.

Check out this handmade business card for design studio Rama. Their work focuses on handmade bookbinding, which is reflected in the cards. Composed in 540gsm cardboard, covered with cloth binding and a 250gsm cardboard backing, they feature a hand stamp with the Rama logo.

The fronts will vary with different hand-drawn illustrations and goffering produced with wood fonts.

Submitted by Sergio. Don’t forget you can submit yours.