Many companies might sneer at the thought of spending more for die-cut business cards than they ought to spend for a rectangular piece of paper with some ink on it. Perhaps the most persuasive argument is a visual one. After they see the advantages of die-cut business cards and these examples, they may very well change their take on just how much impact a card can mete out. Die-cut business cards are better simply because they are:
Immensely Creative
When we say creative, we mean very creative. And creativity is a positive trait that when infused into a business card makes for a good introduction.
DISCLAIMER: The following images are not owned by PrintPlace.com and are used for the sole purpose of inspiring our viewers.
These java coffee cup cards are exemplary instances of creativity.
Business cards better perform their function as frontline branding tools if they’re effective at grabbing attention.
Cutout card from Alteroy design. Its least effect is it catches your eye – that’s a good investment.
And to top it all off, die-cut business cards are more “for keeps” than other mundane cards.
A card like this you can make a hobby out of is more worth keeping than others. (more…)
We’ve already covered Why Minimalist Brochure Design Works, but just because you know the style’s advantages doesn’t mean you’re ready to try your hand at it. There are established practices in minimalist design that you can follow, and of course staying true to minimizing use of factors in all aspects of design would be the ideal minimalist approach.
Established Minimalist Practices: White Space and Breaking the Design
White Space – Also called negative space, white space is basically an empty space in the printed material that has no print on it. White space plays a vital role in established minimalist design practices.
This Sic company brochure makes great use of white space.
Proper use of negative space would enable a designer to bring a particular design element such as a slogan or tagline into prominence. A contained infographic carrying the main message a brochure fold contains would do well being surrounded by white space highlighting its importance. Of course, how the designs of all folds work together should also be factored in. (more…)
Brochures are important frontline pieces for any marketing campaign. Their efficiency in appealing to potential clients and partners is directly proportional to the success of the business they represent. Impressive brochure printing sets the stage for successful business relationships.
One element of brochures that has subliminal and overt effects is its color palette. Being an important factor in making a desired impact, there are a few pointers to consider when considering your brochure’s color palette.
Effective Color Combinations
There are three key aspects to making use of effective color combinations:
- Sticking to a motif. An overall color motif isn’t just for aesthetic purposes. Given the right shades of the right colors, the motif can directly communicate a brochure’s message. The colors and hues in a brochure can either make a person read on or lose interest.
- Contrasting low value and high value colors. A rule of thumb is to avoid low value colors (most of the lighter colors) and use high value colors (most of the darker colors). But combining two dark colors is just as detrimental as combining two light colors, like setting yellow text on a white background. Contrast low and high values or vice versa. (more…)
In brochure design there are many styles and preferences ranging from two opposing extremes. Designs such as psychedelic and minimalism are perhaps two opposing poles when it comes to brochure design and brochure printing, and both have advocates and detractors. Let’s take a look at minimalist brochure design and what it brings to the table.
DISCLAIMER: The following images are not owned by PrintPlace.com and are used for the sole purpose of inspiring our viewers.
This IKEA brochure is a classic example of what minimalist design is all about.
Minimalism is all about simplicity and using fewer elements to achieve more effect, thus its idea: “less is more.” Here are some of the reasons why less can achieve so much more. (more…)
Filed under: Print Place General
Typography in print design concepts should not be limited to typesetting and font choosing. Typography is a style of its own, much like minimalist and psychedelic designs. And because it’s a unique design concept, due attention should be given to improving typography in your print media. There are three main points to focus on: measurements, space, and separate elements.
Measurement: Measure and Scale
Measure is how long a line of text goes on before ended by a line break. Too long or too short measures have detrimental effects, especially because a reader’s perception of text is regulated by the rhythm of the line of text the reader’s eye follows. A line should measure about 40 – 80 characters long, spaces inclusive. Single-column print designs would do well with 65 characters.
Scale is the size of the characters in the print design. Always use a scale, be it the established scale of the sixteenth century or your own. Following a scale would ensure that your print design has an established hierarchy of importance, with more important text usually bigger.
Space: Leading and Vertical Rhythm
Leading, the space between text lines, is affected by a variety of factors. Obtaining just the right leading lends readability for print, and it also influences typographic color. As a standard, go for leading that is 2-5 pt larger than the size of the type. Again, factors may alter the ideal leading. Some key points to remember:
- More measure means more leading.
- Larger fonts require less leading.
- Always consider the font type when setting leading.
Vertical rhythm is the consistency of spacing and flow of text downwards, or throughout a body of text. To keep to a good vertical rhythm, recall your grade school notebooks. Use a baseline grid that you can simply take away later. The grid would ensure harmonious balance and proportion.
Calling Attention to Separate Elements: Emphasis, Widows and Orphans
Providing emphasis to a set of words within a body of text should be done without interrupting the flow of reading. In this regard italicizing is often considered ideal, as it emphasizes in subtle enough means that it doesn’t distract readers from their reading. Combining emphasizing elements (caps, italics, boldface, underlining used in conjunction) should be avoided.
The term “widow” and “orphan” are indeed sad states of print design. Widows are short lines or single words at the end of a paragraph, orphans are short lines or words at either the start or end of a column that are separate from the rest. Here’s simple enough advice about them: avoid them in print design by adjusting variables such as type size, spacing, measure, leading, and manually introducing line breaks.
Typography is gaining an increasingly important role in print media’s endeavors to become more readable for an audience used to Web content. Experiment and focus on these three points of typography and your print designs would be on their way to optimized readability and maximum effect.
