Business card

The digital-first vCard, shared by QR code or link.

The primary format is digital — a vCard shared via QR code or direct link, not a printed card.

Digital vCard

projectious · work

Bernhard Gerlach

Cloud · Agile · Agentic AI

info@projectious.work

projectious.work

Paper stock

The same card on white. This is the form to hand a printer when a physical card is required, and the one to reach for when the card will sit on a light surface it does not control — a conference badge holder, a scanned page, a slide.

Paper card — white stock, accent on the leading edge

projectious · work

Bernhard Gerlach

Cloud · Agile · Agentic AI

info@projectious.work

projectious.work

Three things change, and nothing else does:

	Digital	Paper
Surface	`midnight-dark-1`	White, in both modes — paper has no colour mode
Accent	A 12% wash bleeding off the corner	A 3px rule down the leading edge
Mark	Light-on-dark colourway	`midnight-9` shell, white cut, `orange-9` bud

The wash does not survive the change of surface. At 12% on midnight it reads as a soft light source; at 12% on white it reads as a printing fault — an uneven patch of ink that a press will faithfully reproduce. So the accent moves to a rule down the leading edge, which is one line, prints cleanly at any size, and is the same device the signature uses.

The name, role, and contact rows keep their type sizes and weights exactly. Only their colours change, to the light-mode text steps: midnight-9 for the name, slate-9 for the role at 5.58:1, and slate-11 for the mono rows at 5.18:1.

This specimen is white in both modes, deliberately

Switch the site’s theme and the digital card follows it; this one does not. A card printed on white stock is white under every lighting condition there is, and a specimen that goes dark when the reader’s browser does would be showing something that cannot be printed.

Layout

Midnight surface, mark top-left, name in Plus Jakarta Sans 700.
Role in Source Sans 3 400, in slate-dark-11.
Contact rows in IBM Plex Mono at 11px — addresses and handles are data, and monospace makes them scannable and unambiguous.
projectious.work always present.
Accent used once, on the QR frame or the primary contact method.

Print fallback

If a printed card is required:

85×55mm, matte stock.
Single-colour midnight on uncoated white, or reversed white on midnight.
Use the monochrome mark — no accent on press unless a spot colour is budgeted.
Respect the 1× clear-space rule; do not bleed the mark to the trim edge.

Handing colour to a printer

The brand is defined in sRGB hex. Press is not sRGB, so a printed card needs the values converted — and the conversion is the vendor’s job, not a lookup table’s.

Give the printer the Lab values. They are device-independent: they describe the colour itself rather than one recipe for making it, so the vendor can hit them on whatever stock and profile the job actually runs on.

Colour	Hex	Lab (D50)	CMYK — unmanaged
Midnight	`#1d3352`	L 20.7, a −0.5, b −21.9	65 / 38 / 0 / 68
Orange	`#E05232`	L 54.9, a 55.2, b 48.5	0 / 63 / 78 / 12
Accent solid	`#cc4528`	L 49.3, a 53.3, b 46.8	0 / 66 / 80 / 20
Slate	`#546a82`	L 43.7, a −3.7, b −16.2	35 / 18 / 0 / 49
Midnight dark	`#132440`	L 13.9, a 1.0, b −20.3	70 / 44 / 0 / 75

The CMYK column is a starting point, not a specification

Those numbers are the naive device conversion — the arithmetic one, with no colour management. They are here so a proof is not blocked on a phone call, and they are wrong on any specific press.

Convert through the vendor’s own ICC profile before production — FOGRA51 for coated stock in Europe, GRACoL 2013 in North America — and sign off on a physical proof on the actual stock. Matte and uncoated paper absorb ink and will run darker and flatter than the screen, most visibly on Orange.

Do not guess a Pantone equivalent. If the job budgets a spot colour, give the vendor the Lab value and let them specify the closest ink; a Pantone number picked from a screen swatch is a different colour with an authoritative name on it.