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Chris Saper · 04-10-2002, 05:32 PM

Hi Mike,

Yes, I completely agree with Cynthia. For your portrait clients you should have a pictorial image that shows your work. Because the image size is so tiny, a head /shoulders format usually has more impact than a full figure format.

If you are also doing figurative/genre work, have a set of cards for that market, too. People can be so literal that it is helpful to make it easy for them to see "your face here." I have had a number of cards over the years, and I generally like to have both a vertical(my brochure requires a vertical card)and horizontal set of different images.

I've had some high-end cards printed, as well as about 4 different sets from Great American Printing (about $70 for 1000 cards - ALWAYS pay the premium for a color proof is available)call at 800-440-2368. Actually I liked the high end cards better, but to have them reprinted out of the "gang" print was going to run me $1000 for 1000 cards. So the alternative is just fine. I am sure there are other companies out there, too.

When your image feels 'old', or when ANY information changes, you need to pitch the old cards. I am so dumbfounded when I see a portrait painter selling work for thousands of dollars, and has a business card with the old phone crossed out and the new phone written in in ball point pen! For many people, the first impression they will get of you and your work is the business card itself. I'll post a couple of cards I've had done over the years.

In terms of design, take a look at Robin Williams, "Design for the Non-Designer" which is a clear and excellent guide to making selections about font type, size, placement etc, that not only says WHAT to use, but WHY it makes sense. For example, the use of a text superimposed over an image generally needs to be limited to unpatterned areas of the image that allow for contrasting type without crowding...similar to the way you often see title pages superimposed, whether in Vanity Fair covers, books, etc. Just like your signature on a painting, the text is as essential to the design of the card as the image.

I also think that is important to put design continuity into all your marketing materials, so that they all have a cohesive look.

The vertical image below is the high-end original card.

Best wishes, Chris

04-10-2002, 05:32 PM	#3
Chris Saper SENIOR MODERATOR SOG Member FT Professional, Author '03 Finalist, PSofATL '02 Finalist, PSofATL '02 1st Place, WCSPA '01 Honors, WCSPA Featured in Artists Mag. Joined: Jun 2001 Location: Arizona Posts: 2,481	Hi Mike, Yes, I completely agree with Cynthia. For your portrait clients you should have a pictorial image that shows your work. Because the image size is so tiny, a head /shoulders format usually has more impact than a full figure format. If you are also doing figurative/genre work, have a set of cards for that market, too. People can be so literal that it is helpful to make it easy for them to see "your face here." I have had a number of cards over the years, and I generally like to have both a vertical(my brochure requires a vertical card)and horizontal set of different images. I've had some high-end cards printed, as well as about 4 different sets from Great American Printing (about $70 for 1000 cards - ALWAYS pay the premium for a color proof is available)call at 800-440-2368. Actually I liked the high end cards better, but to have them reprinted out of the "gang" print was going to run me $1000 for 1000 cards. So the alternative is just fine. I am sure there are other companies out there, too. When your image feels 'old', or when ANY information changes, you need to pitch the old cards. I am so dumbfounded when I see a portrait painter selling work for thousands of dollars, and has a business card with the old phone crossed out and the new phone written in in ball point pen! For many people, the first impression they will get of you and your work is the business card itself. I'll post a couple of cards I've had done over the years. In terms of design, take a look at Robin Williams, "Design for the Non-Designer" which is a clear and excellent guide to making selections about font type, size, placement etc, that not only says WHAT to use, but WHY it makes sense. For example, the use of a text superimposed over an image generally needs to be limited to unpatterned areas of the image that allow for contrasting type without crowding...similar to the way you often see title pages superimposed, whether in Vanity Fair covers, books, etc. Just like your signature on a painting, the text is as essential to the design of the card as the image. I also think that is important to put design continuity into all your marketing materials, so that they all have a cohesive look. The vertical image below is the high-end original card. Best wishes, Chris Attached Images __________________ www.ChrisSaper.com