Author: Jennifer Wong | Business Card Design InspirationBusiness Card Design Inspiration

Sweet Nectar Business Card

July 2, 2020
By: Jennifer Wong

Dominic Skeete designed these business cards for Sweet Nectar, a family-owned, independent chocolate company located in Barbados that uses quality ingredients to cater to the high-end market.

“The objective was to create a chocolate brand that emotes opulence but was still approachable as the owners are very kind-hearted and loving,” said Dominic, the founder of IDZN studio.

Speaking of the colour palette, he continued, “We created the logo with the ‘SN’ monogram encapsulated by floral elements, with the name of the company at the top and their slogan at the bottom. The brand colour ‘Minsk’ is a saturated dark cold violet, which is highlighted by the secondary color ‘Hint of Green’ found throughout the brand identity with the floral brand pattern.”

“We used a serif font ‘Cardo’ to accompany the overall feel of the brand and kept the identity classy and clean. The packaging is kept minimal with key brand elements and information.”

These business cards were printed by Moo on 19pt Super Paper, soft touch finish with raised gold foil and rounded corners.

Printed by Moo

For Sweet Nectar

Funktional Play Business Card

July 1, 2020
By: Jennifer Wong

Two Bridges Design created these business cards for Funktional Play, a mobile child-life care service that works with children and families in medical offices, funeral homes, hospice programs, schools and use play therapy and medical play to reduce the stress and anxiety associated with these settings.

“Functional Play will make a difference in the life of a child. Whether it is listening to them talk about a sibling that has died, or helping a child understand the procedure they are about to have, they are making a positive impact,” explained Wells Collins, the Art Director of Two Bridges Design.

“We designed a playful and imaginative brand identity for Funktional Play: a mobile child-life care service that works with children and families in medical settings to reduce anxiety and stress. Three dimensional building blocks were created as a modular foundation for icons and brand patterns.”

“The primary brand font is Faro Display Lucky, and the colour palette is meant to give the brand a nostalgic bedtime story feel. It was crucial for the visual identity to walk the line of playful and trustworthy.”

These business cards were printed via Moo’s Super Business Cards option. According to Wells, the cards needed to be printed on a medium weight card with high quality digital printing to allow the bright colours to print accurately. The cards also have a soft touch finish for a more approachable feel.

Printed by Moo

For Funktional Play

Bailey’s Northampton Business Card

June 30, 2020
By: Jennifer Wong

Ellie Barker designed these business cards for Bailey’s Northampton, a group of hairdressers who are specializing in extension training and bridal hair.

According to Ellie, the client needed a mix of business cards that catered to each sub brand, “We wanted to create a brand that could transfer across the 3 areas that Bailey’s offer – Bridal Hair, Training Academy and Hairdressing.”

“Inspired by minimal branding, with neutral tones that are timeless and can be easily applied to stationery, merchandise etc., a ’natural’ look achieved. The logo uses the font IvyMode and has been edited to feature a custom design – elongating the ‘A’ with a lovely flick.”

“For the stationery for Bailey’s Bridal, we wanted it to appeal to brides so replicated a wedding invite suite, which the staff of Bailey’s can hand out at wedding fairs to showcase their offering – an illustrated flower was added to the Bridal range only, to separate slightly from the other two areas (academy + hair).”

“Texture and simplicity were really important in this project to bring the brand to life in a luxury way. The plans for the additional stationery include using textured paper and potentially adding some blind letterpress for that luxury finish,” Ellie said.

These business cards were printed by Moo using raised Spot UV on the logo on the front and stamp logo on the back. As Ellie put it, “Very subtle detail but it adds a lot of luxury. The business card is velvet textured and very luxury.”

Printed by Moo

For Bailey’s Northampton

Gary Hill Business Card

June 29, 2020
By: Jennifer Wong

Juliana Ross designed these business cards for Gary Hill, a landscape architect.

“The studio provides such services as the design of gardens and residential areas, as well as the planning and placement of walkways, flowers, shrubs and trees within these environments.” Juliana explained when asked the background of her client’s business.

Embracing the minimalist approach, the logo is a thoughtful and catchy one! Speaking of the inspiration behind it, Juliana said, “The logo is a minimal monogram, with its double-lined letters drawing inspiration from basic themes: trees, nature and architecture.”

These business cards are not printed but according to Juliana, “They are supposed to have embossed letters and an embossed square on the right-hand side that provides a space for notes.” A space to leave some notes – now that’s a creative and clever idea!

For Gary Hill

Mapbox Business Card

June 27, 2020
By: Jennifer Wong

Will Dove designed these business cards for Mapbox, a mapping platform for developers with a focus on APIs for maps, geocoding, driving directions and more.

“The logo and branding were designed with the help of Mapbox’s internal creative team. We paired a map pin with several space elements in order to reference Mapbox’s use of satellite technology,” Will said.

The font used is Cera, which, according to Will, a clean, versatile geometric sans. The colour palette is also wisely chosen to match the brand image.

Although these business cards are from concept work and have not been printed, it’s still refreshing to see how a simple, striking logo and other elements contribute in making the design a memorable and eye-catching one!

For Mapbox

Treasures of India Business Card

June 26, 2020
By: Jennifer Wong

Jack Gunns designed these business cards for Treasures of India, a restaurant producing authentic street style Indian cuisine to go.

According to Jack, the design process involved researching some of the iconic sights, landmarks and culture of India to create a unique illustration set for the brand.

“The logo and typography have been hand crafted to give an authentic look and feel incorporating patterns and styles found in the country,” Jack said.

Explaining the choice of colour palette, Jack continued, “The main colour of saffron/bright orange have been influenced by spices found in Indian cooking such as saffron and turmeric. The bright pop of colour helps to translate the energy and character found in Indian culture. Paired with the deep blue for contrast and rustic sand colour inspired by the stones found in many temples and forts throughout the country.”

Another catchy element is, of course, the illustrations. “I wanted to convey the vibrancy and diversity of this incredible country through a bespoke illustration set and lettering design,” Jack said.

These business cards have yet been printed, but if they were, “They should be printed in two ways depending on the card design used. The main design should be printed on recycled cotton 350gsm card with a matte finish. This gives a subtle texture and nice feel to the cards. The second, more luxurious option would be to hot foil print the logo in copper onto a royal blue 350gsm matte card with copper edge.”

For Treasures of India

Continuity Business Card

June 25, 2020
By: Jennifer Wong

781 Studio designed these business cards for Continuity, a company that relocates families or assets to Malta. They can fix literally everything (house, car, insurance, life style etc).

The symbol is a copper element, which is built with the capital letter ‘C’ joined to a pen as an elegant element and an arrow as path and efficiency. All these is to create a logo that exudes luxury.

As for the logo, it is a modern, refined, legible and stylish font that was carefully selected. Also, it has a ligature between letter T and Y that means ‘done deal’.

The primary colour is white to contrast with the rest of the applications – dark blue. The typeface used for the logo is Sagona.

These business cards were printed on a matte laminate Super paper stock that gives them a silky smooth finish with bronze foil.

For Continuity

M & M Business Card

June 24, 2020
By: Jennifer Wong

Denny Kurien designed these business cards for M & M, an upscale event management company that caters to high net-worth clients in putting on extravagant musical events.

Speaking more of his client, Denny said, “There is M & M Music (that sources the musical talent) and M & M Events (that sources the venue, food, decor and everything else that goes into making an extravagant event).”

“This client wanted a logo that was handcrafted, and conveyed extravagance and attention to detail. You will notice in the image above, the ornamentation and filigree that were hand drawn around the M&M typography shows a treble-clef and bass-clef – these are all musical notations, to show the line of business M & M are in. We used black, white, and copper foil stamping to convey premium-ness.”

Denny’s client handled the printing themselves. “The client is based in India, and we’re based in Toronto. So, we provided the production ready files to them over the net for them to print using their local printers.”

“We created these as mockups, but the intention was to have one card’s face black while white on the other side, and use copper-foil stamping.”

All in all, it’s a stylish and elegant business card design that impresses upon first glance!

For M & M

Punchline Media Business Card

June 23, 2020
By: Jennifer Wong

Ben Mottershead designed these business cards for Punchline Media, a media provider based in Bristol, England.

“Punchline Media is a Bristol-based production and post-production studio run by Calum Jelf. Although being sat within the media industry, I wanted to position the company differently to the surrounding competition. At the time all their digital platforms were in development, so an ability to work digitally and scale effectively was important,” Ben said.

“The logotype was a bespoke letterform designed from studying the historical landmarks around Bristol and drawing from the city’s heritage to add weight to the brand’s name, and standing within the industry. Due to the highly visual work Punchline Media creates I also wanted to make photography a very focal part to the branding, which influenced the decision to keep the logo to a two colour system: White and Navy Blue.”

“Utilizing dynamic scenes and bright colour palettes, alongside the history-inspired logo, the ultimate aim was to create a sense of strength, and longevity to the company, and portray it as having its own heritage, despite only just being a start-up,” Ben explained.

“When utilised on printed collateral, due to the lack of natural symmetry within the letterform I chose to give it enough negative space to let it breathe by itself and not be off-balanced by surrounding body copy. This is what led to the layout design on the reverse side of the business card.”

While Ben didn’t handle the printing process, he recommended, “The cards should be printed on a fluorescent white digital stock by G.F Smith to avoid any bleeding, or distortion of the photography, while also maintaining a slight archival texture to it relating back to the overall positioning of the company.”

For Punchline Media

Inceminare Stone and Wood Works Museum Business Card

June 22, 2020
By: Jennifer Wong

Asena Dirik designed these business cards for Inceminare Stone and Wood Works Museum. It was built in 1258-1279 during the reign of Seljuk Sultan İzzeddin Keykâvus and was opened as a museum in 1956. It exhibits stone and wooden works belonging to the Beylik, Seljuk and Ottoman Periods.

The design was part of the designing work carried out for the institutional of the Stone and Wooden Works Museum.

“For the logo design, it was created in the form of a corporate structure considering the institutional structure,” Asena said.

Explaining more about the colour palette, she continued, “Turquoise is used in the selection of colours to match the building with the city colour.”

These business cards were printed by Aybil Digital Printing Center on 400 gr paper stock with a size of 8.4×5.2 cm; double sided colour printing with matt cellophane coating.

Printed by Aybil Digital Printing Center

For Inceminare Stone and Wood Works Museum

OCTO’ Impact Studio Business Card

June 20, 2020
By: Jennifer Wong

Demetrios Tzavaras designed these business cards for OCTO’ Impact Studio, as the name suggests, deals with business ventures, projects and enterprises based on the various notions of the positive impact that these companies/ventures can have on society, economy, culture and the environment.

Demetrios handled the branding project including logo and visual identity designs.

“This notion of impact was transferred onto the branding identity in the form of a bold memorable ‘logo as a type’ and the deconstruction of logotype elements, that created a solid and exciting visual identity. Further production research was carried out in order to ensure the continuation of the notion of ‘impact’, throughout the physical applications of the studio,” Demetrios said.

These business cards were printed via gold foil and embossing/letterpress techniques on a relatively heavy white cotton based paper.

“It brought a substantial impact/presence of the studio’s identity extension through the medium of business cards. One can immediately and initially even subconsciously sense this ‘impact’ through touching and feeling the card,” Demetrios added.

For OCTO’ Impact Studio

Ayoka Jewellery Business Card

June 19, 2020
By: Jennifer Wong

Lucy’s Logos designed these business cards for Ayoka Jewellery, a luxury jewelry retailer based in London, planning to launch their first collection soon.

“For the main logo, we wanted something clean but interesting. Not too much, but enough. That’s why we added the extensions on the Y and K,” Lucy said.

Speaking of the typography and pattern, she continued, “The font, Nourishe, was everything we wanted and more for the brand – we even used it without the glyphs for the tagline and throughout the submarks. With the submarks, we had a little more fun – adding in the gemstones, stars and moons to give the brand that luxury and special feel. We also turned these into brand patterns to be used across packaging.”

“The colour palette was inspired by gemstones – but in a muted way. Rather than the standard Ruby/Emerald colours, we wanted something that complimented the beige and cream core colours and could be transferred across all parts of the brand. We also wanted colours that looked good with gold, as the majority of Ayoka’s pieces will be gold.”

These business cards were printed by Moo. According to Lucy, “For these cards, I didn’t go overboard with the textures/feels/effects. I simply did them in Moo’s Super range with a matte lam on. The design is minimal and the print matches this. The laminate gives it that slight luxury edge it needs to still look and feel amazing, without breaking the bank!”