RESEARCH - BUSINESS CARD ELEMENTS

REQUIREMENTS TO remember:

FROM: http://blog.firestartermarketing.com/4-ways-your-business-card-tells-a-story/

"Here are 4 quick elements you might consider.

1. Font – the typeface you use on your card tells a story.  This is one of the first pieces of data your potential client or business alliance processes when they see your card, even before they read the words, and it should be consistent with you story.

Does the typeface remind them of something else?  Do you see it on direct mail, or standard banking statements?

Be careful that your font aligns with the feeling of who you are that your clients should walk away with.  

2.  Graphics – surprisingly enough many people still don’t use graphics in their business cards today.  They still think that one’s business card is simply the transmission of information from one person to the other.

This means that you have a HUGE opportunity to stand out from others.  Think about it.  Whether at a networking event or just being a potential client ‘interviewing’ a host of potential service providers everyone sees a lot of business cards.  And you know what…?

After a while they all look the same.

That is where your snazzy card, with a choice graphic or illustration, leaps out at them, and tells them more about who you are and that you care to take the time to even share it in your business card.

As they say, an image is worth a thousand words.  Wouldn’t you invest in a great graphic that enables you to have an entire conversation with your potential client before even saying anything?

3.  Colors – grab the eye with the right colors and help to share with your card’s holder certain feelings that can be associated with your brand.

Do you use calming blue?  Attention getting and cheerful yellow?  Pure white?  Or emotionally powerful red?

Not to say that any of these feelings are etched in stone, but many studies have been done on the cultural and psychological effects of colors.

Something worth thinking about.

4.  Texture – how does it make people feel?  Literally.

This one comes up for me a lot, as I have a personal like for business cards with rounded edges vs. corners.  No offense to all you squares.  ;-)

How can texture tell your business’ story?

Well is your card:

- UV coated and slick?  What associations might that arise for your client?

- A natural feeling thick paper stock which gives ‘character’ to your card, and to you.

Remember, your brand is made up of the feelings, memories, actions, and stories your customers think of 
when your business comes to mind.

- Thick and remind them of a credit card?  Or very thin and flimsy and make them think you don’t care to invest in decent cards?  Or even thin and flexible, maybe adding in a little fun with some resiliency.

Everything you do matters.

Seize this opportunity to share your brand’s story every time you hand out your card."

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HOW INTERESTING! I WILL DEFINITELY CONSIDER THOSE FOR MY OWN BUSINESS CARDS!!! 

RESEARCH - ARTISTS AND THEIR BUSINESS CARDS

PLEASE REFER TO MY ADDITIONAL RESEARCH FILE WHERE YOU CAN FIND VARIETY OF BUSINESS CARDS AND THE ANALYSIS IS IN THIS BLOG DATED: 26TH APRIL 2012

I have also found website where there is a vast variety of many business cards especially designed for artists:
http://www.printbusinesscards.com/ordering/Artist-Business-Cards.php

they look more of fine artists business cards; brushes, paints, splashes etc; some quite simple and some too "busy" for my liking.


Main >> Creative >> Artist

 

Artist Business

Creativity is almost as important in successfully marketing your talent as talent itself. Whether you are a painter, sculptor, ceramic or porcelain artist, a cartoonist, entertainer or graffiti artist, there are many other artists out there competing for limited dollars for their products. A quality, artistic business card can set you apart from those with more, less, or equal talent.

Artistic Alternative to Expensive Advertising

A business card is the fundamental building block of a word of mouth campaign and an artist should always carry them and make them as accessible as possible to clients and potential clients. A satisfied customer is your best marketing tool, so leave your beautiful, artistic business cards with good customers, on the artwork itself and around at local art galleries and shops. Upload a photo of yourself for that extra personal touch and to stay in the front of your customer's hearts and minds

 

Design Artist Cards...Online!!

Our business card online design system was built from the ground up to give you ease of use and power in design capability. With our system, you don't need a graphic designer or software...just a web browser!

PROMOTING MY CLIENT'S WORK FURTHER...WEB, PORTFOLIOS AND NETWORK

I have been researching some websites that my clients could perhaps benefit from further. That would be a step further to enhance her brand identity.Those are are websites where you can upload your own work and be found! It is one of the ways to promote yourself. And thanks to the web it makes all simple, and easy. as Kathryn has not got her own website, I believe that that could be advantageous for her. She can create her own online portfolio and network with other artists and even future clients.

SAATCHI GALLERY: 
http://www.saatchionline.com/

GALLERY WORLDWIDE : upload, spread and sell work
http://www.gallery-worldwide.com/index.html

ARTMAJEUR: established in 2000 and has more than 55,000 artists! also has an online magazine. 
http://www.artmajeur.com/

GALLERY TODAY: A more exclusive website, Gallery Today works as an online fine arts gallery. Just like a physical art house, they are selective in who they choose to accept and highlight. Each submitted piece of work must pass their critics, and only those they put in the highest percentile will 
be allowed to have their work shown.
http://www.gallerytoday.com/

RESEARCH - ANALYSIS ON HOW DO OTHER ARTIST BRAND THEMSELVES.

I looked at few artists and analysed their way of branding themselves:

ANALYSIS:

PAUL HILL - PHOTOGRAPHER
http://www.hillonphotography.co.uk/


His logo is simply his signature I believe...He has  a website, does workshops and teaching classes and has variety of publications - his very inspiring photo books, and a blog.

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JOHN ALLEN - WEDDING PHOTOGRAPHER

http://www.heartweddings.co.uk/

John does Wedd.Photography, personal shoots and mainly is known through word of mouth and his website. He updates his site on a regular basis. He has variety of accounts: LinkedIn, Twitter, FB

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JULIE BEECH - SCULPTOR

http://www.art-education.org.uk/

Julie has a website, do activities at school with children of primary age - has not got a logo as such only the name of the business.

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JACOB CASS - DESIGNER

http://justcreative.com/about/

Jacob has his own we site, he has developed his own Identity and branding. His work shows great thought, simplicity and fits with my category - simplicity and power! Love his website - there is so many useful links, advice and articles for creative and passionate designers.....

 

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SIMON BRUNTNEL PHOTOGRPAHY:

 

 

http://www.northlightphotography.co.uk/location-photography/location-photography-gallery-1.htm

 

 

beautiful work, simple website with clear visuals. Slide show,perhaps could be slightly slower giving the chance to see the image for longer.In my opinion somehow the logos in a form of a pictogram like a heart or an open letter “o”  seem to be disappearing in the background and it is their name that is more visible.

 

 

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I have been thinking about creating my own branding now, ready for the near future!

RESEARCH - IRONS, STAMPS

As from the brief and to promote best Kathryn's identity I have spoken with her about irons and stamps to further her brand identity.She would love to have her logo that could be engraved - stamped on her work. The best solution as well as attractive, appropriate and not many artists use it is to use branding iron/stamp!


So I have done some research:

http://www.infinitystamps.com/stamps_for_wood.html

http://www.eyreandbaxter.co.uk/steel_handstamps_steel_type_dies.html

IT LOOKS THAT IT MIGHT BE COSTLY ONE....but I have sent the an email requesting price for a stamp..and here we are:

That is quite sensible from £40 ..

*****

 

http://www.equibrand.co.uk/commercial/electric_brands.html

 

 

http://www.azwoodman.com/branding-irons.html

 

I THINK I MIGHT PAY A TRIP TO LOCAL ENGRAVERS AND SEE IF THEY COULD ACTUALLY DO IT ??


http://www.premier-engraving.co.uk/ in Bewdley
I have rung them up, unfortunately they do not offer that service ..

RESEARCH LOGO...journal/magazine access

THIS ARTICLE BRIEFLY SHOWS HOW CERTAIN ASPECTS OF NAME DESIGN CAN MAKE IT LOOK MEMORABLE, YET APPROPRIATE AND BELONGING TO PERSON'S CHARCTERISTICS. AND WHAT NEEDS TO BE CONSIDERED WHEN CREATING IT. CONSIDERATION OF COLOURS, SHAPES, LINES ALL HAVE IMPACT ON FINAL OUTCOME.

taken from: http://web.ebscohost.com.atlas.worc.ac.uk/ehost/detail?vid=10&hid=25&sid=852c876d-f29b-4d25-97d9-86aed16fd51c%40sessionmgr10&bdata=JkF1dGhUeXBlPWF0aGVucyZzaXRlPWVob3N0LWxpdmU%3d#db=a9h&AN=43918871


 name: Name Design
Arts & Activities; Sep2009, Vol. 146 Issue 1, p32-33, 2p
Kim, Nanyoung¹
 

 

Arts & Activities called "An Illustrated Name" by Teri Dexheimer Joyce that can also be used in the first class, because it too deals with a name design. I once tried her lesson instead of mine and had fantastic success. Ms. Joyce's lesson is about making a name esign assembled with images or symbols of things and events that represent each student.

My students are college-level education majors who are studying to become classroom teachers. Whether they had good art background or not, they immensely enjoyed this project because it does not require great drawing skill, and has self-expressive, storytelling components to which everybody can relate. My students promised to use this projectters, which immediately grabs their attention.Then I write my Korean name(which is pronounced the same) and explain how they are different. Chinese characters are ideograms containing one meaning for each character. Koreans have used Chinese words

and characters for centuries, even though the grammars of Korean and Chinese are totally different from each other. In the 15th century, a Korean king ordered the court scholars to invent Korean alphabets so that women and laypeople could easily learn them and communicate in writing. Korean alphabets are phonetic like English and Arabic alphabets, and very logically shaped.


In the introductory part, art teachers can include the different aspects of writing in various cultures throughout human civilization, such as when and where letters were first invented, where English alphabets came from, what is the difference between calligraphy and typography, etc. Especially effective is showing visuals from Medieval times,and Chinese and Arabic calligraphy. Next, I demonstrate writing my name in block letters on the black- when they became classroom teachers! The strength of Ms. Joyce's lesson is bringing personal interest and stories into the project. The final product can serve as a springboard for everyone toget to know each other.Tlie merit of my project is introducing design

in a nutshell project so it can be referred back to in later projects. Therefore, my project might be better suited to middle- or highschool aged students than to elementary children, but I have taught this to fourth-graders successfully.

Those who have artistic talent especially seem to enjoy this project. When I introduce this project to fourth-grade children.

I write my name on the blackboard in Chinese charac-board, with a series of questions. I ask the students what features keep appearinjïthrouj^hout the letters. There can be many: size of the letters, kind of shape (rounded, angled, plus all kinds of shape characteristics that defy verbal description), thickness of the letter shapes, the angle of slant, a certain repetitive uniqueness such as a slightly flared bottom, protruded comer, etc.

This is one way to teach how repetition makes a composition look harmonious and pleasing without even saying the word, and introduce the concept

oistyle that can later be expanded to appreciating different styles of artworks.Tbis analysis helps students greatly,because now they can use these aspects when they design their names. I require the students to do many sketches of possible designs on a sheet of newsprint.As I walk among them, I often ask questions to help them choose or improve their flnal design. Pushing up multiple solutions and doing in-process critiques are two common practices in any professional studio art class so why not use them with our students? The main part of the project consists of drawing the chosen design, outlining the drawing, decorating using repetitive patterns with color markers or other color media, and cutting and pasting it in an appropriate color background. For college students, I give a certain piïraineter for patterning, but for elementary children, I leave it to them and it usually turns out well. Because of the strong repetitive characteristics of letter shapes, even arbitrary application of pattern and color doesn't make the design too chaotic.

 

When the design is complete, the student cuts it out and pastes it on an apropriate color backgi'ound. Because this project is usually done in the first class of the semester, teaching color is not directly included in the instruction.

However, I encourage students to match their letter design to various colors of background paper and watch carefully how different colored backgrounds change the visual impression of their design.The ultimate goal of a background is to enhance the aesthetic effect of the design and, in this case, its legibility,just like a picture frame would do. Therefore, too bright colors usually don't serve well because they steal the viewer's attention from the main design. Most college students discover for themselves that contrasting or similar colors work well as a background,and begin to understand there is a subtle difference whenever color combination is changed.

A critique looking at all the classmates' work together can be a nice summary of the project. Because of the many steps involved and the effort given to each step, the overall quality of outcome is usually veiy high. While talented students produce excellent designs, other students also come up with a well-designed and well-crafted product. I reassure the

students that we all have aesthetic sensitivities and it is a matter of bringing them out. We don't have to be "artistically talented" to make an artwork. Meanwhile, I quickly memorize all the students' names. •

Dr. Nanyoung Kim is the Associate"

5 BAD CLIENT TYPES GRAPHIC DESIGNERS MUST AVOID!

As I thought even psychology needs to be considered! I suppose gaining a client, for, any project is a sale...I must sell myself appropriately to get that perfect job!

FROM: http://www.graphicdesignblog.org/bad-client-types-graphic-designers/

The focal point of your graphic designing business is ‘The Client’. Without a client, you are merely fulfilling your passion as a graphic designer and nothing else. A client is your chief source of income and is critical to your survival in the design business. But you mustn’t get overly dependent on clients.

Some clients are such that they become a torture for graphic designers. They can do things that are out of the limitations of a client-designer relationship. For a graphic design project to work successfully, it requires mutual effort and cooperation. If any of these parties are not on the same page, then the whole project is nothing but a futile exercise. Therefore, here are some characteristics that will help you identify a potential troublemaker client so that you can avoid them.

1. THE 'KNOW- IT -ALL'  CLIENT

Some clients have a knack of acting over-smart in front of the designers. They will boss you around even though what they know about graphic design could be written on a postage stamp. What happens is that these types of clients undermine the talent and capability of a graphic designer. No designer wants to play the role of a puppet in a design project. While providing suggestions and feedback is the prerogative of every client, being overly commanding can hinder a design project. Each time you try to explain them the technicalities of your design, the client would come up with opinions of their own to contradict you. So it is better that you avoid such clients that are a waste of your time and efforts.

2. THE 'INDIFFERENT' CLIENTS

Another breed of clients, completely in contrast with the previous ones, is the indifferent ones. While some clients have a habit of bossing around, some are divergent and detached from the project. In most of the projects, client involvement is important and the project but can move only a little forward. But these clients wouldn’t care less as to what colors you are employing or which fonts are being used. They would just come on the deadline date to collect the project files. Consequently, because of the clients’ aloofness from the project, there are miscommunications and flaws in the final design. Hence, one should avoid these types of clients, in order to save time, energy and resources.

3. THE 'FINICKY' CLIENTS

When you come across a client that asks you to give samples before hiring you, you can certify that he is a bona fide troublemaker for you. Clients who ask for a demo and abscond after stealing your designs are crucial to avoid. These are the clients that will become even more choosy and finicky IF they hire you. It becomes almost impossible to make these clients say yes to your designs. However it is acceptable to do some revisions as per the client’s demands, some bad clients ask for so many amendments that it occupies your time worth other potential projects. 4. THE 'HASTY' CLIENTS

There will be times when you will come across clients who will make you feel like a Pizza delivery man. They will speed into your premises and hastily ask for a design within minutes. What they underestimate is that design concepts are work of a thorough mental process and take time to execute.Graphic designers must steer clear of these types of clients in order to avoid any blushes on your portfolio.


5. THE 'CHEAPSAKTE' CLIENTS


Last but not least, there are the clients who look for a bargain every time they approach a graphic designer. Even though you define your fee as a fixed sum, these clients would assume that it is just a starting point for further negotiations. Not only do they haggle over your hard earned money, they undermine your worth as a graphic designer. So instead of lowering your standards for cheapskates, it is better to avoid such clients who don’t value your work.

RESEARCH - BROCHURES, LEAFLETS, PRINT

FROM: http://www.businessballs.com/market.htm#Advertising%20and%20promotion

"....Branding is potentially a complex subject because it extends to intellectual property and copyright, trademarks, etc., for which, if you are embarking on any significant business activity, you should seek qualified legal advice. When doing so contain your ambitions and considerations (and your legal fee exposure) so that they are appropriate for your situation.

There is much though that you can decide for yourself, and certainly a lot you can do to protect and grow your brand so that it becomes a real asset to you, rather than just a name.

General guidance about business and product names, your rights to use them, and ways of protecting them, are provided (for the UK) via the UK Intellectual Property Office website. Many of these principles apply internationally, although you should check your local laws for regions beyond the UK and especially beyond Europe.

brochures, leaflets and printed material

Brochures and leaflets can be used for a variety of purposes, and can be distributed in different ways. A good printer can provide examples and costings, and the easiest way to learn what works and what doesn't is to look at other people's material. The aim of a brochure is foremost to generate new business through providing information in a way that appeals to the reader. The acronym AIDA (attention interest desire action) should be the basis of its design. Some brochures and leaflets are pleasing pieces of art, but they don't achieve anything for the business, so avoid falling into this trap. Designer MUST be sure to control any fanciful tendencies and keep the message and style to the point. Too much spent on a brochure can give the impression that your business is extravagant.

When producing leaflets and brochures think about the way that they are to be distributed. If it needs an envelope try to avoid using a non-standard envelope size, which will add cost unnecessarily. If the material is required as an insert is it acceptable to the publication? Is it to be available from a rack? Do you want people to retain the material? If so perhaps a business card or plastic credit-card-type attachment would help?

There are thousands of different types of paper. Letterheads are usually printed on to 90-100gsm (grams per square metre) cartridge, laid or bond. A 100gsm paper is adequate for single sided mono or colour printing. 130gsm is better for double- sided. 200gsm is minimum weight for a post card format. 250-300gsm is used for business cards. Heavier boards are usually measured in microns rather than gsm because density affects weight more at these gauges. Coated matt and gloss 'art' papers are used for higher quality effects, but add to cost. Various lamination processes add more quality and more cost.

The print process is actually a number of separate stages:

1. design
2. reprographics (now a computerised process which produces camera-ready-artwork and the film from which the printing plates are made)
3. plate-making or electronic equivalent (for low quantities, digital print processes now enable high quality printing direct from a computer)
4. printing
5. finishing (stapling, folding, etc if relevant)

Generally it is not possible to undo a stage and return to the previous one without re-originating at least the previous stage, so take care when signing off each stage. If your instructions to an agency or printer are not correct you will end up paying for the time they spend re-originating and amending, so think things through before you start the process.

Re-prints are generally cheaper than the first run because the reprographic work and plates do not need to be produced again. When you ask for a print quote ask at the same time for a price per thousand 'run-on' - you'll be surprised how low this cost is in proportion to the main quote. This is due to the origination and set-up charges being already absorbed by the main run.

'Full colour' printing uses the colours black, red, yellow and blue, and requires a plate to be made for each colour. Mono printing is black on white and requires just one black plate. Each colour can be tinted (ie applied less than 100% solid) to varying degrees across the print area, so with good design even black and white printing can give a high quality effect. Conversely, a poor design can make full colour printing look cheap and nasty. If you want something classier than black and white, two colour printing can produce amazing results, without the cost of going to full colour.

As a rule, printing costs reduce dramatically with volume. Digital printing methods are appropriate for low volumes, and fast becoming viable for higher volumes. There are various printing processes, which are appropriate for different purposes and particularly volumes. Ensure that the process is appropriate for your application. As a rule colour is more expensive than mono (black and white), although digital printing is not so sensitive to colour/price differences.

RESEARCH - FONTS

 

FROM: http://www.letterheadfonts.com/

1. WOODMERE

A bold, masculine letter style inspired by old firetrucks from the late 1920's. Perfect for designs that require an appearance of stability.

2. SEDONA

has a traditional Roman look. The thick strokes of the letters make this font stand out from other Roman styled text. Includes both capital and lower-case letters for any occasion.

3. PIRANHA SCRIPT

 features sharp edges for bold, attention-grabbing results.

4. ANTIQUE SHOP

5. ORANGE GROVE

whimsical serif typeface with calligraphy style nicks and cuts in each letter for a hand-lettered appearance.

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FROM: http://www.fontspace.com/search/?q=CARVED

6. AUGUSTUS BEVELED

7. CHISELED 

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FROM: http://www.dafont.com/

8. ADOLPHUS

9. PARMA PETIT 

10. DERIVIA