Business Card Design
Designed for the finish, not just the layout.
- 2–4 working days for most single pieces
A business card design that ignores how it will be printed is only half done. Foil needs solid shapes, spot UV needs a separate layer, and a die-cut shape changes where information can sit.
Because we print as well as design, we design to the finish from the start. If the card is going to be foiled, the artwork is built for foil rather than adapted for it afterwards.
We also design the card as part of the wider identity rather than in isolation — it should be recognisably the same brand as the letterhead and the website.
Work we have delivered
Pieces we produced for real clients. Never stock, never a template.
What's included
- Design built for the intended print finish
- Separate layers for foil, UV and emboss
- Front and back layout
- Die-cut shape design where applicable
- Variants for multiple team members
- Print-ready artwork with bleed
- Digital signature card for email
- Editable source files
How we work
- 01 Brief What it is for, who sees it, and what it must make them do.
- 02 Concepts Usually two distinct directions rather than variations of one idea.
- 03 Refine The chosen direction developed fully, with two revision rounds included.
- 04 Deliver Print-ready and web exports, plus editable source files that are yours.
What you receive
- Print-ready card artwork
- Finish separation layers
- Team member variants
- Digital version
- Editable source files
Questions people ask
Should the back be printed?
Usually yes. A blank back is wasted space, and printing both sides adds relatively little to the cost.
Can you design for foil or spot UV?
Yes, and it needs designing for specifically — separate layers, and shapes that hold up in those processes.
Can I get cards for the whole team?
Yes. One design with a variant per person, supplied as separate print-ready files.
How a mark is made
Nobody draws a logo freehand.
It is built on a grid, so the spacing between the A and the N is the same relationship as the spacing between the T and the E. That is the difference between a mark that looks right at any size and one that only looks right at the size it was drawn.
Then it gets tested — weights, widths, spacing, and what survives when you take the colour away.
Redesigns
The mark on the left is what walked in the door.
A rebrand is not a fresh start. The job is to keep whatever recognition the old mark earned and throw away the rest.
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USHA Paints
The old mark had two competing weights and no shape of its own. The redesign keeps the equity in the name and gives it a container that survives being stencilled on a tin.
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Creative Concepts
A typed superscript replaced with a drawn monogram — the same two letters, but now something that can be embroidered, embossed and read at 12mm.
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SHEEN to Twani
A full rename, in two moves. The leaf that was decoration in the middle version becomes the stem of the t in the final one.
One brand, sixteen answers
You see one logo. There were fifteen others.
Presenting a single option is a way of hiding the work. Every route below was drawn properly, set on four different grounds, and shown side by side — because the only way to know a mark is right is to see what it beat.
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Four families, sixteen routes -
Each one tested on four grounds -
The chosen mark, specified in Pantone
The wall
Marks we have drawn or rebuilt.
27 of them
