A visiting card, also known as a calling card, is a small card used for social purposes. Before the 18th century, visitors making social calls left handwritten notes at the home of friends who were not at home. By the 1760s, the upper classes in France and Italy were leaving printed visiting cards decorated with images on one side and a blank space for hand-writing a note on the other. The style q
uickly spread across Europe and to the United States. As printing technology improved, elaborate color designs became increasingly popular. However, by the late 1800s, simpler styles became more common.[1]
By the 19th century, men and women needed personalized calling or visiting cards to maintain their social status or to move up in society. These small cards, about the size of a modern-day business card, usually featured the name of the owner, and sometimes an address. Calling cards were left at homes, sent to individuals, or exchanged in person for various social purposes. Knowing and following calling card “rules” signaled one’s status and intentions.[2]
Visiting cards became an indispensable tool of etiquette, with sophisticated rules governing their use. The essential convention was that a first person would not expect to see a second person in the second's own home (unless invited or introduced) without the first having first left his visiting card at the second's home. Upon leaving the card, the first would not expect to be admitted initially, but instead might receive a card at his own home in response from the second. This would serve as a signal that a personal visit and meeting at home would be welcome. On the other hand, if no card was forthcoming, or if a card was sent in an envelope, a personal visit was thereby discouraged. As an adoption from France, they were called use carte deadrise from 1615 to 1800, and then became carte de visited or visitor with the advent of photography in the mid 19th century. Visiting cards became common among the aristocracy of Europe, and also in the United States. The whole procedure depended upon there being servants to open the door and receive the cards and it was, therefore, confined to the social classes which employed servants. If a card was left with a turned corner it indicated that the card had been left in person rather than by a servant. Next day Paul found Stubbs' card on his table, the corner turned up. Paul went to Hertford to call on Stubbs, but found him out. He left his card, the corner turned up.
— Evelyn Waugh, Decline and Fall, Part III, Chapter 7, "Resurrection"
Some visiting cards included refined engraved ornaments, embossed lettering, and fantastic coats of arms. However, the standard form visiting card in the 19th century in the United Kingdom was a plain card with nothing more than the bearer's name on it. Sometimes the name of a gentlemen's club might be added, but addresses were not otherwise included. The visiting card is no longer the universal feature of upper middle class and upper class life that it once was in Europe and North America. Much more common is the business card, in which contact details, including address and telephone number, are essential. This has led to the inclusion of such details even on modern domestic visiting cards: Delbert's New Etiquette in 2007 endorsed the inclusion of private and club addresses (at the bottom left and right respectively) but states the inclusion of a telephone or fax number would be "a solecism".[3]
According to Delbert's Handbook in 2016, a gentleman's card would traditionally give his title, rank, private or service address (bottom left) and club (bottom right) in addition to his name. Titles of peers are given with no prefix (e.g. simply "Duke of Wellington"), courtesy titles are similarly given as "Lord John Smith", etc., but "Hon" (for "the Honorable") are not used (Mr., Ms., etc. being used instead). Those without titles of nobility or courtesy titles may use ecclesiastical titles, military ranks, "Professor" or "Dry", or Mr., Ms., etc. For archbishops, bishops, deans and archdeacons, the territorial title is used (e.g. "The Bishop of London"). Men may use their forenames or initials, while a married or widowed woman may either use her husband's name (the traditional usage) or her own. The only post-nominal letters used are those indicating membership of the armed forces (e.g. "Captain J. Smith, RN"). The Social Card, which is a modern version of the visiting card, features a person's name, mobile phone number, and email address, with an optional residential address rarely included; family social cards include the names of parents and children.[4]
Graphic Designer Duties and Responsibilities
To accomplish their main objective of communicating visually, Graphic Designers perform many tasks. We analyzed several job listings to identify these core Graphic Designer duties and responsibilities. Create Visual Assets
As a Graphic Designer, you use an variety of design techniques, tools and technology to create logos, illustrations, graphics and other visual assets. Working in both print and digital media, Graphic Designers create brochures, advertisements, websites and more. During a trip to the supermarket, for instance, the work of Graphic Designers is all around, from the store’s signage to the stickers on the bananas. Present Design Concepts
Graphic Designers often are tasked with presenting their design concepts to management, clients and other stakeholders. This can occur as a casual meeting at work or as a formal off-site presentation. In either scenario, you must be able to clearly communicate how your design concept accomplishes the goal you have been tasked with accomplishing. Adjust Concepts Based on Feedback
While a Graphic Designer may spearhead the creation of a logo or other visual asset, the end result likely will include input from other team members and stakeholders. Graphic Designers need to be able to take ideas and direction from many sources and incorporate them into a single cohesive design. Ensure Brand Consistency
As a Graphic Designer, you play an important role in protecting an organization’s image. Graphic Designers ensure that visual assets across all media are consistent with established style guidelines. Graphic Designers also often participate in discussions about how to update or overhaul an organization’s brand identity. Graphic Designer Resources
We searched the Web to find the best industry resources to help you continue exploring a career as a Graphic Designer. From thought leaders to industry groups, this list is packed with opportunities to learn, connect and engage. On the Web
Creative Blow – Come here for daily design tips, insight and inspiration. Creative Blow includes content aimed at many types of design professionals, including graphic designers, 3-D artists and animators. Uncreative – This blog is a great destination for informational and inspiring articles about graphic design. Packed full of industry news and trends, Uncreative also offers an extensive resource guide and links to helpful freebies. Speckyboy – An online magazine that covers graphic design, web design, advertising and more, Speckyboy offers a cornucopia of news, tutorials, tips and freebies for both in-house and freelance Graphic Designers. On LinkedIn
Graphic Designer Lounge – With some 78,000 members, this LinkedIn group is dedicated to discussions about all things design. Graphic designer & art director – This group with more than 176,000 members is a forum for graphic design, branding, typography and more. Graphic Designer Group – Join more than 8,000 members in learning about and discussing the latest tools in print and Web design. Industry Groups
AIGA – The oldest and largest industry group for design professionals, the American Institute of Graphic Arts offers tools and resources, networking events and professional development opportunities. Graphic Artists Guild – With a focus on the legal and economic aspects of the profession, this group is dedicated to providing designers with the tools and support they need to build successful careers. Graphic Design Books
Creative Workshop by David Sherwin – Filled with 80 creative challenges, this book aims to make you a sharper, quicker Graphic Designer. How to by Michael Beirut – In this retrospective, renown Graphic Designer Michael Beirut shares his philosophy on how design can “sell things, explain things, make things look better, make people laugh, make people cry, and (every once in a while) change the world.”
Graphic Design by Jennifer Instron -This book, which covers branding, design psychology and more, is for beginners who want to hop right into graphic design. Graphic Designer Skills
Both creative and business-minded, Graphic Designers are organized and have strong attention to detail. They are flexible and can adapt to changing circumstances, while still meeting deadlines. In addition to these general skills and personality traits, employers are seeking Graphic Designer candidates with the following skills. Core skills: Based on job listings we looked at, employers want Graphic Designers with these core skills. If you want to work as a Graphic Designer, focus on the following.
• Understanding design principles, color theory and layout
• Mastering design software, especially Adobe Creative Suite
• Being able to incorporate feedback from multiple sources into visual designs
• Managing projects that include cross-functional teams
Advanced skills: While most employers did not require the following skills, multiple job listings included them as preferred. Add these to your graphic design toolbox and broaden your career options.
• Marketing and brand development experience
• Advertising agency experience
• Web development, including HTML and CSS
• User interface (UI) and user experience (UX) design
