Artomatic's MarketReach business cards
Artomatic and Clinic were briefed to create business cards for MarketReach, the Royal Mail's new specialist direct mail media service.Their solution: to create a bespoke card for each member of the team based on their personality...
"Our brief was to create a set of business cards that would break the ice for MarketReach's media consultants meeting new clients with a new proposition in a market that's so often fixated by all things digital," explains Artomatic's Tim Milne who produced the set of cards.
"Our insight was that people buy people," Milne continues, explaining that the idea was to make each business card personal to the person whose details adorned it. "I asked each consultant what brought them joy," he says, "in order to identify a physical object that represented their passion and a material that we could use to reference that in business card form."
Artomatic has now produced all the business cards, all of which are different. Gig-loving Louise Murphy's card (above) represents her love of live gigs. Wine-loving Stephen Paterson, meanwhile, is the proud owner of a set of cork business cards:
"The corporate graphic design (by Clinic) talks about the robustness of MarketReach, while the materials speak with a completely different voice about the personality of the consultant," says Milne.
"On some of the cards, the connections between the materials and their interests are obvious, others less so, he continues. "But, the objective is to stimulate conversations, so it's ultimately down to the consultant to explain the connection–with a twinkle in their eye because it's their passion."
Above, Jon Skitt is a lover of old music tapes so his cards have been made from clear plastic cassette cases. Below, Cheri Davies lives to travel so her cards are made from the same material that Globetrotter suitcases are made of.
Above, Mike Rowell's business card folds out to reveal an ordinance survey style map of his favourite trekking spot in Spain. Below, Gordon Doherty's love of 60s 7" singles is represented by his cards, all of which are cut from old unwanted 45 singles
Above, it might not be obvious from this image but Rob Wainwright's cards are actually made from a blue European road sign (he loves road trips), and Stefan Mills card (below) is made from super light titanium to reflect his love of his golf clubs.
Above, Emma Parker loves to shop!
You can see the rest of the cards in the set at artomatic.co.uk.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here.
CR In print
In our November issue we look at ad agency Wieden + Kennedy in a major feature as it celebrates its 30th anniversary; examine the practice of and a new monograph on M/M (Paris); investigate GOV.UK, the first major project from the Government Digital Service; explore why Kraftwerk appeals so much to designers; and ponder the future of Instagram. Rick Poynor reviews the Phaidon Archive of Graphic Design; Jeremy Leslie takes in a new exhibition at the Whitechapel Gallery dedicated to experimental magazine, Aspen; Mark Sinclair explores Birmingham's Ikon Gallery show of work by the late graphic designer, Tony Arefin; while Daniel Benneworth-Gray writes about going freelance; and Michael Evamy looks at new telecommunications brand EE's identity. Plus, subscribers also receive Monograph in which Tim Sumner of tohave-and-tohold.co.uk dips into Preston Polytechnic's ephemera archive to pick out a selection of printed paper retail bags from the 70s and 80s.
The issue also doubles up as the Photography Annual 2012 – our showcase of the best images in commercial photography produced over the last year. The work selected is as strong as ever, with photographs by the likes of Tim Flach (whose image of a hairless chimp adorns the front cover of the issue, above); Nadav Kander (whose shot of actor Mark Rylance is our Photography Annual cover); Martin Usborne; Peter Lippmann; Giles Revell and more.
Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
The business cards are fantastic. We do a lot of work with clients to help them tailor their message to different personality types but this takes such tailoring to a completely new level.
These look fantastic but they must have had a mega budget.
I would really love to know the production costs for these! – European road signs being cut haha
Peronalised, as businiess cards should be. Nice one.
Personalisation seems to be a buzz word at the moment. This reminds me of a large coffee retailer personalising everyone's coffee cup with the customer's name. And more recently the banks have started to allow you to personalise your credit card design. With advanced technology, personalised design is becoming increasingly viable.
Lovely idea, but in execution it looks like a samples pack, sorry
Yes, but remember they're not used as a set, only individually, so it doesn't matter if they look like samples. Indeed, the point is that there's a uniformity that's corporate (graphics) and an individuality that's personal (materials)--because companies are made up of different people not identikit robots.
Great concept well executed.
Of course there are concerns about costs, and I'm not able to reveal budgets, but if you consider the total costs of getting to see people and the need for those meetings to then lead to a positive outcome, they become good value at any price.
I've posted a little more back story to how they were made on the ARTOMATIC blog.
I wasn't being negative regarding the production costs, was just genuinely really intrigued to know what they would be given the nature of some of the materials used :)
@james, no, I know you weren't. I can't divulge details, but it might not have been as much you might imagine. I believe the client is paying close attention to how much business is derived from them and this will make a compelling case for making this kind of investment rather than regarding as a cost to be minimised.
It was done in quite an experimental way–we tried things to see if they worked as we went along–and were fortunate in having authority over the concept and a client who didn't demand to see everything first–just "come back when it's finished". This meant we could (and did) change things at the last minute which kept the costs and timing contained. Thus the project could be delivered in weeks and not months.
It's the best demonstration of what I believe to be a more fruitful way of working for ARTOMATIC, by bringing strategic / creative thinking deeper into the manufacturing process (back to the original meaning of the name) and getting away from the idea that printing is merely a vehicle for transporting messages–after all, we have the internet for that now.
|New type (2)|
|Music Videos of the Month (2)|
|Illustrating a Heart of Darkness (2)|
|50 (sometimes) glorious years (8)|
|How We Got to Now (6)|
|Peter Saville designs new England shirt|
|What makes a great image? CR's Photo Annual judge Gemma Fletcher shares her favourite work|
|Designing for The Grand Budapest Hotel|
|Barry Island's typographic climbing wall|
|Catch London's bus art sculpture trail|