Business Card Design

In this Article we want to share about 10 thing that must be avoid when we want to design  the business card for your professional business:

1. A business card is not a storage unit you cram all of your stuff into any which way it will fit. Leave some white space so that the essential information stands out clearly and with confidence. Too much information and you look desperate, as if you're using anything you can think of to convince everyone that you know what you're doing. If you need to include additional information, print that on the back. so avoid the Clutter design

2. Tiny Print. Make people squint, and they aren't going to bother. They might even feel old and nobody wants to feel old. Don't let your card induce bad feelings of any kind or you'll be associated with those feelings as well. You want people to look at your card and feel warm and curious and thinking about how they could really use your services.

3. Cheap Paper. Choose card stock that has some weight to it, that feels good to the touch. You want to make a significant impression. Cheap paper leaves the impression you aren't worth much yourself.

4. Font Confusion. A business card is not the place to experiment with funky fonts. Pick an easy-to-read font that represents the tone of your business. Do not mix too many font types or sizes. For example, "matisse" may look enticing, but may not be the best choice for a professional card.

5. Color Overdose. Pick two or three colors that match your other business materials, such as your logo, website, and stationery. You're trying to create a brand that is consistent and easy-to-recognize. Don't let your message or information be lost in a whirlwind of color or images. Be sure your print is dark enough to read easily and isn't overshadowed by surrounding images.

6. Shapes and Sizes. Stick with the standard 31/2 x 2-inch card. Some people insert their cards into binders that depend on standard sizing. What if your card were thrown out just because it didn't fit in a plastic sleeve? There are ways to jazz it up within the limits. Consider getting rounded corners, for example, or orienting the print vertically instead of horizontally.

7. Mixed Messages. If you own a landscaping service, flowers on your business cards could work. If you're a lawyer, not so much. No one will take you seriously. The card needs to capture the nature and tone of your business, not your favorite cartoon character or favorite animal print. That being said, if you manage a costume shop or perform at children's birthday parties, go as full-out wacky as you'd like.

8. Creative Within Limits. The possibilities are endless when it comes to how creative you can get with business cards. They can be three-dimensional or even have moveable parts. But before you order a business card that pops apart and fits together to make a paper airplane, think of the cost of each card. You don't want your cards to cost so much that you're hesitant to pass them out. Secondly, creativity is a good thing, but sometimes less is more. Instead of going overboard, maybe putting only minimal information with a striking color contrast makes a stronger statement. You want to intrigue the recipients of your card, not shock them.

9. Be Memorable.Even though simple will always trump over-the-top, you need to make a memorable impression and leave the recipient of your card wanting to know more. A friend of mine runs an online retail clothing company. His business card follows all of the rules above, but it looks like a clothing tag. As soon as I see that card, I visualize not only my friend, but his company and what his company sells. Sometimes being creative within the limits is more creative than breaking all the rules.

10. Avoid the Poor grammar, spelling, or spacing reflects poorly on yourself and your company. If you don't take the time and care to make sure your own business card is accurate and of good quality, then potential clients will assume your products or services are given the same sloppy treatment. Treat your card the way you would treat your clients.

Photoshop Online

Designers and photographers have a number of options when it comes to photo editing. Of course, Photoshop is the most popular software.
What about The Photoshop online?

Adobe offers a free, online version of Photoshop with scaled down features that include those needed for basic photo editing. You can crop and re-size, apply basic touch ups, work with color, or edit the photo by adjusting the sharpness, focus and more.
it takes no time at all to make good photos look great and great photos look amazing—and then show them off via web galleries and favorite sharing sites. Plus, you can keep your photos well-organized and safely backed up.
Photoshop online offers:
1. Photoshop Express Editor
Crop, straighten, adjust color, and touch up imperfections. You can Try a Soft Focus or Sketch filter, a Pop Color or distortion effect, some text, a frame... the list of enhancements goes on, and the Photoshop Express Editor never changes your original photo.
2. Photoshop Express Organizer
easy safekeeping, and quick sharing of all your photos and videos. The Organizer lets you keep Albums private, share them with select folks, or open them up for the world to enjoy. Invite friends to contribute to Group Albums based on events, photography themes. And post photos to your Facebook, Flickr, Picasa, and Photobucket pages with a few clicks.
3. Photoshop Express Slideshows
its Easily turn shared Albums into interactive slideshows for showing off your landscape photography, highlighting special events like birthdays,Party, and everything in between.
If you Curious about the photoshop online tools, try it, its free Photoshop.com

Symbolism

Symbolism
Key Dates: 1885-1910

Symbolism began as a reaction to the literal representation of subjects preferring to create more suggestive and evocative works. It had its roots in literature with poets such as Baudelaire believing ideas and emotions could be conveyed not only through the meaning of words but also in their sound and rhythm.
The styles of the Symbolist painters varied considerably, but they shared many of the same themes particularly a fascination with the mystical and the visionary. The erotic, the perverse, death and debauchery were also regular interests for the Symbolists. The leading figures of the movement included the two French men, Odilon Redon and Paul Gauguin, but Symbolism was not limited to France with other practitioners including the Norwegian Edvard Munch, the Austrian Gustav Klimt and the British Aubrey Beardsley.

The movement also known as Synthetism flourished from around 1885 and continued until 1910. It was an important move away from the naturalism of the Impressionists and showed a preference for feeling over intellectualism. A number of sculptors were also involved including the Belgian Georg Minne and the Norwegian Gustav Vigeland. In Symbolism’s faith in the power of expressivity possible in a colour or a line, the movement is crucial in understanding the development of the abstract arts in the 20th century.
Representative Artists:
Gustave Moreau
Odilon Redon
Gustav Klimt

Surrealism

Surrealism
Key Dates: 1920-1930

A literary and art movement, dedicated to expressing the imagination as revealed in dreams, free of the conscious control of reason and convention. Surrealism inherited its anti-rationalist sensibility from Dada, but was lighter in spirit than that movement. Like Dada, it was shaped by emerging theories on our perception of reality, the most obvious influence being Freud’s model of the subconscious.

Founded in Paris in 1924 by André Breton with his Manifesto of Surrealism, the movement’s principal aim was ‘to resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality’. Its roots can be traced back to French poets such as Arthur Rimbaud, Charles Baudelaire and Lautreamont, the latter providing the famous line that summed up the Surrealists’ love of the incongruous; “Beautiful as the chance encounter of a sewing machine and an umbrella on a dissecting table.”

The major artists of the movement were Salvador Dali, Max Ernst, René Magritte and Joan Miró. Surrealism’s impact on popular culture can still be felt today, most visibly in advertising.

Representative Artists:
Marcel Duchamp
Georgia O’Keeffe
Max Ernst
Sir Henry Moore
Rene Magritte
Joan Miro
Salvador Dali
Pablo Picasso
Man Ray
Dorothea Tanning
MC Escher

Suprematism

Suprematism
Key Dates: 1913-

Russian art movement founded (1913) by Casimir Malevich in Moscow, parallel to constructivism. Malevich drew Alexander Rodchenko and El Lissitsky (1890-1947) to his revolutionary, nonobjective art.
In Malevich’s words, suprematism sought “to liberate art from the ballast of the representational world. It consisted of geometrical shapes flatly painted on the pure canvas surface.
Malevich’s white square on a white ground (Mus. of Modern Art, New York City) embodied the movement’s principles. Suprematism, through its dissemination by the Bauhaus, deeply influenced the development of modern European art, architecture, and industrial design.

Situationism

Situationism
Key Dates: 1957-1972

They originated in a small band of avante-garde artists and intellectuals influenced by Dada, Surrealism and Lettrism. The post-war Lettrist International, which sought to fuse poetry and music and transform the urban landscape, was a direct forerunner of the group who founded the magazine ‘Situationiste Internationale’ in 1957. At first, they were principally concerned with the “suppression of art”, that is to say, they wished like the Dadaists and the Surrealists before them to supersede the categorization of art and culture as separate activities and to transform them into part of everyday life.
At first, the movement was mainly made up of artists, of whom Asger Jorn was the most prominent. From 1962, the Situationists increasingly applied their critique not only in culture but to all aspects of capitalist society. Guy Debord emerged as the most important figure.

The Situationists rediscovered the history of the anarchist movement, particularly during the period of the First International, and drew inspiration from Spain, Kronstadt, and the Makhnovists.
They described the USSR as a capitalist bureaucracy, and advocated workers’ councils. But they were not entirely anarchist in orientation and retained elements of Marxism, especially through Henri Lefebvre’s critique of the alienation of everyday life. They believed that the revolutionary movement in advanced capitalist countries should be led by an “enlarged proletariat” which would include the majority of waged laborers.
In addition, although they claimed to want neither disciples nor a leadership, they remained an elitist vanguard group who dealt with differences by expelling the dissenting minority. They looked to a world-wide proletarian revolution to bring about the maximum pleasure.

Romanticism

Romanticism
Key Dates: 1800-1880

Romanticism was basically a reaction against Neoclassicism, it is a deeply-felt style which is individualistic, beautiful, exotic, and emotionally wrought.
Although Romanticism and Neoclassicism were philosophically opposed, they were the dominant European styles for generations, and many artists were affected to a greater or lesser degree by both. Artists might work in both styles at different times or even mix the styles, creating an intellectually Romantic work using a Neoclassical visual style, for example.

Great artists closely associated with Romanticism include J.M.W. Turner, Caspar David Friedrich, John Constable, and William Blake.

In the United States, the leading Romantic movement was the Hudson River School of dramatic landscape painting.
Obvious successors of Romanticism include the Pre-Raphaelite movement and the Symbolists. But Impressionism, and through it almost all of 20th century art, is also firmly rooted in the Romantic tradition.

Representative Artists:
George Stubbs
William Blake
John Martin
Francisco Goya
Sir Thomas Lawrence
John Constable
Eugene Delacroix
Sir Edwin landseer
Caspar David Friedrich
JMW Turner