3angrymen is a London-based digital content/production company. Identity and Stationery from Build. Read more about the project on their site. A closer look is available at Lovely Stationery. via The Artist and His Model »
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Perforated for pleasure and connivence, here are the cards for Sassen Design in Australia. “The typographic inspiration for these cards came from vintage signage and bags made from recycled truck tarpaulins,” according to designer Chris O’Neil, who submitted these cards. Each card is a standard size business card when separated. Printed on Expression Super Smooth [...]
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For Antimony Media, the business venture of medieval history writer, scholar, and consultant Dana Cushing, Starship Design created a unique card that makes use of a tactile experience to separate from other cards (and brands) in the education space. The cards are duplexed, with different paper stock used for each side. For the front, Neenah [...]
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Today is a simple, effect, clean example of a one-colour business card. The Ciné Institute has a sharp design sense, maintained in part by Alana Salcer. The back is somewhat unremarkable, but let this be a lesson, people, a one-colour card isn’t a death sentence. Use the card colour, use some shades, use floods. Make [...]
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This card from Goldteeth & Co. is an example of how the simple use of a metallic foil stamp can be done well. Simple gold text, no bullshit. The back is just black — even simpler. Very tasteful. The card is a custom duplex of black and white stock. Pretty much essential for a technique such [...]
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Business card and identity design for Open Communities, a group that consults on matters of diversity, integration, and community love. Here, the design is kept relatively straightforward, as it was a first run in part of a larger branding and marketing effort. The ring icon is used to create a brand pattern on the reverse [...]
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I’m a fan on Studio on Fire, and they’ve helped me print some cards in the past. This is one of their self-promotional cards, illustrating, in this case, how they can die-cut into strange shapes, apply type in a circle, and press blind patterns. All very cool. Even though I smirked at this, I’m still [...]
// a tale of agency cards, letterpress, too clever, two-sided
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For Synergy Showroom, a fashion showroom in New York, I designed a card that is custom duplex, with two colours of Neenah Classic Crest (Solar White and Antique Grey). The crappy photos don’t show, the but grey logo side is metallic foil stamp of black, and the white side is simply offset. Against one another, [...]
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Freelance graphic designer/art director PIM has a clever idea for how to prime the referral machine — have you business card multiply itself. A perforated line helps ripability. Pretty self-explanatory, but with directions. Never hurts to walk people through a supposedly understood procedure. The only problem I can spot — PIM is a stupid name. [...]
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The card from Anthem seems rather straightforward. It’s white, with black text. All good. I questioned why the back was nothing but an exclamation mark, and the folks from Anthem couldn’t give a solid answer. But they did show me a clever use of the cards, taking the exclamation mark as a sort of manga-style [...]
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The cards belonging to the in-house team at Campbell’s Soup aren’t terribly thrilling. A logo, lots of white space, the bare necessities. But I found it rather cute that they have a product photo on the back. Look at that jar, all bold and solitary. Good stuff. That is all.
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I enjoy the logo and typography for L’Arte del Gelato, a small gelato shop in New York’s Greenwich Village. I cannot, however, endorse their choice of card size, which is nothing like a business card, but instead some almost-square contraption.
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Last month, I collected my weight in business cards at the FUSE Conference in Chicago. Many of them were dull corporate nonsense, but the gold medal of exceptional cards went to the boys from Brooklyn-based Chapps Malina. The card is black, made of some strange sort of suede-like, rubber-like finish. The text on the front [...]
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