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Capturing the attention of potential customers has become more challenging than ever. However, one traditional tool that still holds immense power is the humble brochure. Creating brochures with eye-catching designs, help captivate audiences and leave a lasting impression on behalf of your business or brand.  

From clever color combinations and typography choices to striking imagery and innovative layouts, we delve into the key elements that make a brochure appealing. Discover brochure designs that unlock the potential of this versatile marketing medium as a means to make your business stand out. 

Best Practices for Creating a Brochure 

While there are a number of ways to capture the attention of brochure recipients via design, it is first crucial to understand the basics of using a brochure for marketing. Our best practices include: 

1. Know Your Audience  

Understand your target audience’s preferences, interests, and demographics. Tailor the design, language, and imagery to resonate with their needs. This will help you create a brochure that connects with them on a personal level. 

2. Visual Storytelling  

Use compelling visuals to tell a story about your business or brand. Incorporate high-quality images, illustrations, or infographics that convey your message effectively. Visual storytelling can engage readers and leave a lasting impression. 

3. Consistent Branding  

Ensure your brochure aligns with your overall brand identity. Use consistent colors, fonts, and design elements to reinforce your brand image. This creates a cohesive and professional look, reinforcing brand recognition and trust among your audience. 

4. Simplicity and Clarity  

Keep the design clean and uncluttered to avoid overwhelming readers. Use white space strategically to give the content room to breathe. Breaking information into easily digestible sections with clear headings and subheadings will also enhance readability and make your brochure more user-friendly. 

5. Unique Formats and Finishes  

Experiment with different formats and finishes to make your brochure stand out. Consider using tactile elements that create a sensory experience. These unique touches can pique curiosity. 

These best practices can create a unique brochure that grabs attention, communicates effectively, and leaves a lasting impression on your audience.  

Remember to stay true to your brand while pushing the boundaries of design to create a remarkable print experience. 

Why Should My Business Create Brochures? 

Choosing a brochure over other types of printed media offers distinct benefits for clients seeking effective engagement. Here’s why a brochure can be a valuable choice: 

1. Comprehensive Information  

Brochures provide ample space to showcase detailed information about your business, products, or services. Unlike smaller print materials like flyers or business cards, brochures allow you to delve into the specifics, highlighting key features, benefits, and testimonials. This comprehensive approach helps clients present a complete picture of their offerings, answering potential customer questions, and boosting brand confidence. 

2. Tangible and Portable  

A brochure offers a tangible, physical form that clients can distribute directly to their target audience. Unlike digital advertisements that can be easily overlooked or forgotten, a well-designed brochure can be carried, shared, and referenced at any time.  

3. Visual Impact  

Brochures provide a canvas for captivating visuals. This allows clients to showcase their brand identity or services in a visually engaging and memorable way, while reinforcing their unique selling proposition. 

4. Credibility and Professionalism  

A professionally designed brochure exudes credibility and enhances the perception of a client’s business or brand. It demonstrates a commitment to quality and attention to detail. When compared to digital marketing alone, brochures can convey a sense of permanence and legitimacy, establishing trust in the eyes of potential customers. 

5. Targeted Marketing  

Brochures offer a focused approach to marketing by enabling clients to tailor their content to specific audiences. By strategically choosing the distribution channels and locations, clients can reach their desired target market directly. Brochures can be displayed at events, mailed to targeted prospects, or distributed in high-traffic areas, ensuring that the right message reaches the right people. 

Brochure Design and Formatting 

So just how exactly can brands push the boundaries of design? Here are a few examples.  

1. Die-Cut Shapes  

Instead of a standard rectangular brochure, you can opt for die-cut shapes that align with your brand or the theme of your content. For instance, if you’re promoting a surf school, you could have a brochure shaped like a wave or a surfboard. This adds visual interest and makes your brochure more memorable. 

2. Embossing and Debossing  

Embossing involves raising certain design elements or text on the paper, creating a three-dimensional effect. Debossing, on the other hand, involves pressing the design or text into the paper, creating an indented effect. Both techniques add texture and a tactile experience to your brochure, making it visually appealing and engaging to touch. 

3. Spot UV Coating  

Spot UV coating involves applying a glossy, raised coating to specific areas of the brochure, creating contrast and highlighting certain elements. This technique can be used to enhance logos, headlines, or other important details, giving them a luxurious and eye-catching appearance. 

4. Folded Panels and Inserts 

Instead of a standard bi-fold or tri-fold brochure, you can explore more intricate folding techniques to create unique panels or inserts. For example, a gate-fold brochure opens up like two doors, revealing a central content area. This adds an element of surprise and interactivity to your brochure. 

5. Specialty Paper and Finishes  

Consider using specialty papers, such as textured or metallic paper, to add visual interest and a premium feel to your brochure. You can also explore additional finishes like foil stamping, which involves applying metallic foil to specific areas. 

The key is to think creatively and align your choices with your brand and the message you want to convey.  

Businesses that Should Try Brochure Marketing 

A wide range of businesses can benefit from sending brochures to potential customers. Here are a few verticals where Printing for Less customers have seen success. 

• Tourism and Hospitality: Hotels, resorts, travel agencies, and tourist destinations can showcase their amenities, services, and attractions through brochures while also highlighting scenic locations or impressive accommodations.  
• Real Estate: Brochures are effective for real estate agencies looking to market residential or commercial properties. Brochures can provide detailed property descriptions and floor plans. 
• Education and Training: Businesses in the educational space can use brochures to present their courses, faculty, facilities, and success stories. Brochures can help prospective students and parents understand the educational opportunities available and make informed choices. 
• Healthcare and Wellness: Hospitals, clinics, wellness centers, and healthcare providers can utilize brochures to educate potential patients about their services, specialties, and treatment options. Brochures can help build trust in a vertical where trust is essential. 
• Event Management: Brochures can highlight event details, schedules, speakers, and exhibitors, enticing potential attendees and sponsors to participate. 

• Nonprofit Organizations: Nonprofits can leverage brochures to create awareness for their projects. Brochures can convey the impact of their work, share success stories, or provide information on how people can get involved and donate. 

These are just a few examples, but in general, the versatility and customization options of brochures make them suitable for a wide range of industries. 

Printers continue to report an epidemic of spot colors being specified in documents when they really just need to use process inks. If you’d like to avoid this mistake (and save your printer some frustration), do your printer a favor and thoroughly check over your spot and process colors. Make use of the Ink Manager each and every time you’re prepping your files for print so that you can find any formatting mistakes before your printer does.

Getting to the Ink Manager in InDesign

The easiest way to access the Ink Manager in InDesign is through the swatches palette. (If you haven’t opened the Swatches palette yet, go to Window → Color → Swatches or just hit F5.

Click on the hamburger menu in the top right of the palette, and go down to “Ink Manager.”

If you don’t want to open the Swatches palette, you can also access InDesign’s Ink Manager in four other places: in the Separations Preview panel, in the “Export PDF” and “Export EPS” dialogs, and in the Print dialog box.

• From the Separations Preview panel (Window → Output → Separations Preview), click the hamburger icon and select “Ink Manager.” (image: ink_separationspreview.png)
• From the Export PDF dialog (File → Export → File Format: PDF → Save), select the “Ink Manager” from the Output tab. (image: exportPDF_inkmanager.png)
• From the Export EPS dialog (File → Export → File Format: EPS → Save), select the “Ink Manager” from the Advanced tab. (image:exporteps_ink.png)
• From the Print dialog (File → Print → Printer: Postscript File), select the “Ink Manager” from the Output tab. (image: print_inkmanager.png)

Regardless of how you get there, here’s what you’ll see when you launch the Ink Manager. You’ll see the four process inks listed at the top, followed by any spot colors. In this example, there aren’t any.

 

Check Your Inks in InDesign

The Ink Manager shows you all of the inks in your document. Not just the swatches — specifically, the inks. Which means each color in this list has been set to use a completely unique ink, versus a blend of the four traditional process inks. Which means each “ink” is going to generate its own plate when you print the color separations. And extra inks/plates run up your costs when you’re printing commercially.

Now, if you’ve got the budget for extra plates and you have a need for extra and specific inks to get an exact color match, then go ahead and have fun! But printers have noticed that most designers don’t actually need all the unique inks they’ve specified (which appear as spot colors in the Ink Manager list).

So, what should you do if the Ink Manager has identified a number of spot colors that don’t actually need to be spot colors?

You can convert spot colors to CMYK, which are also called process colors!

How to Convert Spot Colors to CMYK in InDesign

In this image, you’ll notice two unneeded spot colors listed underneath the four process inks. We’re going to convert them to process colors so that we don’t need to print extra plates for colors that can be covered by the CMYK color range.

The easiest way to do this (assuming you don’t need any of the spot colors that are appearing in the Ink Manager) is to check the “All Spots to Process” box at the bottom of the Ink Manager.

You can also convert spot colors to process colors individually in the Ink Manager panel by clicking the box with a dot in it to the left of any color designated as a spot. This will convert that icon to the four color process box icon, thereby telling InDesign how the swatch will be printed.

(Note: this doesn’t change the actual color tone; it simply removes a color plate from the printing process and allows that color to be printed with a combination of cyan, magenta, yellow, and black instead).

 

Spot Color Swatches in Illustrator

When you have defined swatches in the Swatches panel, you’ll notice that some swatches have a little white triangle in the lower right hand corner. These are “global swatches.”

With a global swatch, any future changes made to that swatch will automatically apply to any and all objects using (“linked to”) that swatch. These automatic and “global” changes occur even when no objects are selected on the artboard.

You can also add something called “book colors” to your available swatches. An example of a book color would be a Pantone color which is a specific formula of pre-mixed ink. Colors such as Pantone or PMS colors allow you flexibility that you can’t achieve within the confines of the possible cyan, magenta, yellow, and black (process) ink mixes. When you add these book colors to your Swatches palette, you’re using a “spot color.” They’re called “spot” colors because they’re usually used in select, or “spot” parts of a document.

Spot color swatches look just like global swatches in the Swatches palette, but with a dot in the white triangle (this is easy to recognize if you open one of the Pantone swatch libraries).

You won’t see them at their full brilliance unless you go to View → Overprint Preview, in which case your computer will do its best to render a more accurate preview of the specially mixed color at its best.

 

Converting a Process Color to a Spot Color in Adobe Illustrator

To find the closest Pantone match for an existing process color, select an object with your swatch applied, and click the “Recolor Artwork” icon in the toolbar.

Then, click on the “Swatch Library” icon in the Recolor Artwork dialog.

From the dropdown, choose Color Books → Pantone+ CMYK Coated.

Click “Ok.”

You’ll notice that a new global swatch has been added to your Swatches palette. When you double-click on it, you’ll notice the spot color equivalent of your original swatch. Use the dropdown to change the swatch from “Process Color” to “Spot Color,” and change the Color Mode from CMYK color to LAB, and you’re good to go.

LAB is a device-independent color model. It’s not influenced by your printer or your screen; it’s supposed to emulate real world colors in your on-screen display. When you use specific Pantone spot colors in your files, the color dialog box shows them to be mixed in LAB mode.

Take note to keep the LAB Color Mode for Pantone swatches, and confirm that the swatch name is accurate (and in all caps) to save a lot of headaches when your file arrives at the printer.

How to Convert Spot Colors to Process in Illustrator

It’s even easier to go the other direction. When you have a spot color in use, simply double click on your Pantone swatch and notice a dialog open.

From the “Color Mode” dropdown, select “CMYK.”

You’ll then see the CMYK values appear.

By clicking “Ok” you’re changing the Pantone mix to a process color blend.

Refreshing your memory on the difference between spot and process colors — and making sure to set them up appropriately in either InDesign or Adobe Illustrator — will give you quite an advantage when it comes to maximizing efficiency, investment… and your printer’s sanity!

Speaking of sanity, you can keep yours by using Printing for Less for your next print project. We’ve earned scores of awards for our top-quality printing services. Need help with your project? Talk to a live print expert today at 800-930-7978.

Sometimes a person writes that they have been asked to outline fonts by a printer. Or they think that if the person they’re sending a file to doesn’t have the fonts used in a PDF document, that other fonts will be substituted.

If you create a PDF file from your document, all the Adobe Creative Suite applications (and most other applications) will embed all the fonts. Outlining in almost all cases is not necessary.

There are some good reasons not to outline fonts:

• The outlining of text will degrade the typographic quality of the text. The glyphs are turned into ordinary graphics that lack the intelligence fonts have (called hinting) to look good on different kinds of printers. Look at the word “blanket” below after it has been outlined. Outlined type will look thicker.

• Certain attributes will be lost because they are not part of the font itself. The underscore in the URL below below was lost, and the words in the bulleted list were outlined but the bullets were not.

So the best advice is: Keep type in its native format. Resist outlining if possible.

Need help with your print? Talk to a live print expert today: 800-930-7978.

It’s important to use the correct settings to create a PDF file when it’s intended for commercial printing. It’s also critical to select the best PDF viewer application in which to look at your PDF. There are many choices of PDF readers, and not all of them are created equally. Many of them may work for everyday use but cannot display attributes that are important for printing.

Shown below is an example. When a customer creates a document for print, they turn on the overprinting attribute on some type. They switch the color of the type to white and when they create a PDF file, it looks like this:

But when the printer looks at the file in Adobe Acrobat or Adobe Reader, which are designed to accurately preview PDF files for print, they see the way the file will really print:

When the VIGC, the Flemish Innovation Center for Graphic Communication, tested PDF readers like Apple Preview or Foxit Reader, they found that they couldn’t display critical features like transparency, overprinting, color accuracy or interactive PDF elements.

The most reliable PDF readers are Adobe Reader (free from the Adobe website) and Adobe Acrobat, and they are what you should use to preview your PDF files.

Need help with your print? Talk to a live print expert today: 800-930-7978.

Choosing the Best PDF Preset in InDesign

InDesign provides PDF presets so that you have fewer choices to make (and fewer details to actively remember). Presets group multiple panels of choices into the most common combinations for various workflows, such as commercial printing, desktop printing, and digital publishing.

But can you really trust a preset to take care of the piece you worked so long and hard to create? At the same time, how in the world would you expect to remember all of the available print options every single time you need a PDF?

Don’t worry about the learning curve; InDesign’s PDF presets aren’t standalone. If you’ve used other Adobe Creative Cloud applications to generate PDFs, you’ll likely notice something familiar about InDesign’s available preset options. You’ll find the presets in similar places when creating PDFs from both Illustrator and Photoshop.

You can quickly access InDesign’s PDF presets right from a flyout in the File menu. Go to File → Adobe PDF Presets, and you’ll see all of your options right there.

If you ever need a quick reminder of what a particular preset does from within your InDesign document, you can choose File → Adobe PDF Presets → Define, and as you choose each preset, you’ll see a straightforward “Preset Description” right there in the dialog box.

Let’s go ahead and look at the best applications for each.

“High Quality Print” PDF Preset

According to InDesign, this preset will produce PDF files suitable for “high-quality printing on desktop printers and proofers.” What settings are most suitable for this particular application? Both color and grayscale images above 300 ppi will be downsampled to 300. Colors are left alone, so RGB and CMYK images will each remain in their native color spaces.

All transparency settings will also be left alone. Note that Acrobat and Acrobat Reader 5 are the minimum versions required for compatibility with these preset settings (which shouldn’t be a problem these days).

What is PDF/X?

PDF/X standards are the best choice when your printer hasn’t provided you with specs. They’re a safe bet if you want to be sure your printer will be able to open your file, while also minimizing any printing errors. Adobe developed this set of ISO standards for print workflows by addressing input from other industry professionals and vendors. Because these standards are geared toward producing more universal print-ready PDFs, printers will often take the easiest route and encourage clients to choose the PDF/X presets.

“PDF/X-1a:2001” PDF Preset

PDF/X-1a:2001 takes away compatibility with Acrobat 5 and downgrades it to Acrobat 4. All of your colors (whether RGB or CMYK) will automatically be converted to CMYK, although any spot colors you’ve set will stay intact.

You’ll also need to be proactive about transparency flattening, and may want to specify your own settings for transparency treatment.

To do this, you can go to File → Adobe PDF Presets → Define as shown above, then choose “PDF/X-1a:2001” and click the “New” button.

Then, select “Advanced” from the left menu and use the “Transparency Flattener” down to make your choice.

The “High Resolution Transparency Flattener” preset will best maintain the quality of your text and vectors, if that’s what you want. All images above 300 ppi resolution will be downsampled to 300 ppi if you have they’re higher.

“PDF/X-3:2002” PDF Preset

Again, with this preset, your transparency will be flattened. If you want to choose your transparency settings proactively, you can follow the same instructions as above. PDF/X3:2002 is like the previous PDF/X setting, except it allows embedded RGB profiles to remain (no automatic conversion to CMYK).  

It’s a helpful setting if your printer is planning on optimizing the color based on the printing environment.  European printers tend to make more use of this format than American printers.

“PDF/X-4:2008” PDF Preset

With this PDF/X present, since compatibility is set to the more recent Acrobat 7, you’ll be able to  keep any transparency in your document intact.

This is the biggest advantage of the PDF/X-4:2008 formatting. You’ll also be able to maintain the quality of any high resolution images. Color-wise, you’re allowed to use RGB, CMYK, and greyscale. Your spot colors will stay intact, and you can even continue to use LAB or ICC profiles.

“Press Quality” PDF Preset:

This is another bundle of settings that’s often commonplace when working with high-quality commercial printers. This preset will allow you to keep all transparency live in the document (no flattening required). Adobe Acrobat works well with live transparency, and also creates satisfying separations, so a printer who works out of Acrobat will be happy with any file output this way. It will be compatible as far back as Adobe Acrobat 5. Any RGB values will be converted to CMYK, and all images will be downsampled to 300 pp in cases where the actual resolution is higher.

“Smallest File Size” PDF Preset:

“Smallest File Size” is most important where size matters, and size matters most on the web. In order for your document to be accessible to as much of your audience as possible, you’ll want to choose this preset for anything you’re planning to send via email or display on a screen.

Anything that’s both color and high resolution will automatically be downsampled to 100 ppi.  Grayscale images can stay as high as 150 ppi. You’ll be able to play well with anything as far back as Acrobat 6, and you can keep your transparency and any layers intact.

Custom InDesign Presets

The above settings will satisfy your print-worthy document needs almost all of the time, especially when you’re part of a professional environment using a typical print workflow. If, however, you have special considerations (or just want to get fancy), there’s more than one way to customize presets for your needs in InDesign.

We don’t need to cover every possible preset customization, but here are a couple of suggestions for more common needs:

• If you need to make your InDesign files interactive once saved as PDFs, you can go to File → Adobe PDF Presets → Define, then choose your preset setting and hit “New.”

 

• Then, choose “General” from the left side menu and pick your desired Hyperlinks and Interactive Elements from the bottom of the dialog:

• If your printer is asking you for crop marks, bleed marks, or other printer’s marks, you can go to File → Adobe PDF Presets → Define, then again choose your preset setting and hit “New.”

• Then, in the dialog box, choose “Marks and Bleeds” from the left side menu and check the box for “All Printer’s Marks” in the top section.

Saving Your PDF Preset

Once you’ve added your additional customizations to any of the PDF Presets in InDesign, you’ll want to name your preset in the top field of the dialog box.

Then, click the “OK” button at the bottom right of the dialog box.

Your preset will have automatically been added to the Adobe PDF Presets dialog.

Congratulations, and happy customizing!

Need help with your printing? Talk to a live print expert today: 800-930-7978.