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Graphic Design

Design Postcards in InDesign to Connect

Design Postcards in InDesign to Connect

Make sure your message is delivered by laying out and printing postcards correctly.

by: Cathy Palmer

Since the mid-1800s, postcards have been a comparatively inexpensive way to send a short message. But with so many modern options for flashy digital interactive messaging, how does the humble printed postcard survive? The reason is simple: You can’t avoid physical mail. Even if you just pick up the postcard on the way to the recycling bin, chances are you’ll see something on it.

As designers, our job is to use our skills to use that brief encounter to convey real information and, hopefully, prompt an action. By following a few design strategies and production criteria when creating postcard layouts, you can offer your clients an effective, lower-cost vehicle to get their messages across.

You can let your imagination run wild on the front of a postcard (as long as nothing can be mistaken for an address or indicia). However, the back side and the card’s overall dimensions must adhere to several layout rules and ink and paper choices if the cards are to be delivered as quickly as possible for the lowest possible cost. These strictures vary across the world; in this article, I’ll focus on United States postal regulations, but two tables do include information on postcard sizes and rates around the world.


How to Design the Best Backs

Whichever side holds the ship-to address is Design Postcards to Connect considered the mailing panel (more commonly, the “back”) and has the most restrictions for positioning of graphic elements. My recommendations in this article will, for the most part, result in a postcard back readable by the Post Office’s scanners. That lets you take advantage of lower automation or bulk rates.

The address must be parallel to the longest side, so that it’s readable when the postcard is horizontal. (Cards that are square, round, or die-cut shapes can ignore this regulation, since they’ll be hand-sorted by the Post Office.) The rest of the graphics on the mailing panel can be the same orientation as the address or rotated, as long as they don’t interfere with the postal scanning.

In any print project, there are three edges to be aware of: trim, bleed, and live. The trim area is the most obvious, being the finished size of the printed piece. The bleed area is larger and extends past the trim, allowing images to appear right up to the cut edge. The live area is the inner safety zone for important images and information, where there’s no risk that they’ll be shifted too close to the trim and risk being cut off.

 

Keep the Clear Zones Clear

There are no special printing considerations for setting up the trim, bleed, and live areas for postcards, but there are definitely mailing guidelines for where ink is permissible.

postcard clear zones

“Clear zones” are locations that are reserved for postal use, so don’t place text or graphics in those areas. Ink coverage less than 10% density is allowed, so very light screened-back photos and tint colors might be OK, but it’s safer to keep these areas entirely free of printing.

To qualify for the lower presorted standard and bulk rates, you must keep the postage, address, and barcode zones clear of any unrelated printing. (First- Class mail is less strict about the clear areas required but does cost more to send.)

The upper right corner—1.25″ down from the top and 1.25″ from the right edge—is a postage clear zone reserved for the indicia (mailing permit imprint), metered postage, or stamp.

The lower right corner—2.75″ up from the bottom edge and 2.75″ from the right edge—is the mailing address area where no other visuals except the shipto address may appear. Because the indicia must be positioned to the upper right of the delivery address, the top of the address must start lower than the 1.25″ postage clear zone from the top edge.

An area at least 0.625″ (5/8″) across the bottom (longest) edge of the mailing side should be kept unprinted for the sorting barcode. The Post Office will print a barcode here if the area is clear, or slap on a barcode label to cover the area if there is any printing. Either way, any artwork in that space will get covered up, or worse, make your postcard unmailable.

 

Mailing Rates Vs Delivery Times

If your client demands postcard rates, which are lower than First-Class mail, you must design within those parameters to avoid higher rates and surcharges. But do prepare your client with the information that when mailed First Class, postcards arrive at their destination more quickly and with fewer quantity restrictions.
International Postcard Rates  (As of 2/2010)
 
Postcard Rates Domestic To USA To Mexico & Canada To the rest of the world
U.S.A. 0.28 US$ — 0.79 US$ 0.98 US$
Canada 0.57 C$ 1.00 C$ — 1.70 C$
Great Britain
First Class 0,39 £
Second Class 0,30 £
0,62 £ — 0,56 £
Australia (a.k.a. small letter) 0.55 AUS$ 1.40 AUS$ — 1.40 AUS$

Make the Address Machine-Friendly

The mail-to address is critical to delivery. Follow the recommendations below so that automated postal equipment can read and understand the address text.

  • Face: Serif and script typefaces may be difficult for pre-sorting scanners to read, so the Post Office recommends sans serif.
  • Case: Uppercase letters are more evenly shaped and easier to scan, so use all-caps whenever possible.
  • Size: 10 to 12 point is optimal for the postal scanners to read, so make that cap-height your minimum.
  • Spacing: Overlapping characters caused by too much tight kerning/tracking can confuse the scanner, but extreme letterspacing can be a readability problem,
  • too. Keep the horizontal letterspacing so that each character stands alone without overlap.
  • Leading: If you don’t use all caps, overlapping characters can happen between lines of text as well, so leave enough vertical space clear between lines.
  • Underlines: Additional ink near the letters can confuse the character shapes, so no underlines.

The address locations are also important to scanners. Including a return address is a great opportunity for branding and providing contact info, but be careful with the positioning of the return address in relation to the mailing address. The relative position of To: and From: will determine which address the Post Office uses for delivery. Use the wrong return address position, and all of your postcards might mistakenly be sent to the sender!

Any text within 2.75″ of the bottom edge will be scanned as a potential mailing address, so keep your return address above this area. Also, be sure your message can’t be mistaken for an address—don’t include state or ZIP code in your text, or it might be misinterpreted.

 

Create Mailing Permit Indicias

An indicia is text that tells the Post Office the details of how the mail delivery is being paid for. (The U.S. Postal Service calls it a “Mailing Permit Imprint,” but for simplicity’s sake, let’s stick with “indicia.”) It should be in the same upper-right location where you’d put a postage stamp. Indicia text should be 10 to 12 points, all caps, and a sans-serif typeface. The indicia imprint can be four or five lines, as needed to fit in a compact area, and can be enclosed in a box or not (designer’s choice).

An indicia for outbound mail has several required text elements, in this order:

  1. The RATE MARKING, showing the mailing service used.
  2. The words “U.S. POSTAGE PAID”, usually with “PAID” on its own line.
  3. The CITY and STATE where the mailing permit’s held.
  4. The words “PERMIT NO.” and the mailing permit number.

Depending on the mail services you use, indicia Rate Markings can include any combination of First-Class, Standard, Bulk, Pre-Sorted, Non-Profit Organization, and/or Customized Market Mail. A mailing permit has registration costs and minimum quantities that may be too much expense for a small client or project, so many printers and mailing houses will let

 

Postcard Sizes

Cards that qualify for the postcard mailing rate start at 3.5″ x 5″ size (the smallest allowed size of any U.S. mail piece) and go up to a maximum of 4.25″ x 6″. The most common postcard trim size is 4″ x 6″.

Any piece larger than 4.25″ x 6″ up to 6.125″ x 11.5″ is charged the First-Class rate, even when it’s a flat, unenclosed card. Some standard trim sizes that mail as First-Class include Large 5″ x 7″, Deluxe 6″ x 8.5″, and Super Size 6″ x 9″ postcards.

 

International Postcard Sizes

Country Postal Service Web Site Smallest Width x Height Largest Width x Height Minimum Thickness Maximum Thickness Min-Max Weight Shapes
U.S.A. United States Postal Service www.usps.com/ 3.5″ x 5″ 4.25″ x 6″ 0.007″ 0.016″ — Customized MarketMail
Canada Canada Post · Postes Canada www.canadapost.ca/ 90mm x 140mm 120mm x 235mm 0.18mm 5mm 3g – 50g Dimensional AdMail AdCard
Great Britain Royal Mail www.royalmail.com/
portal/rm
90mm x 140mm 120mm x 235mm — 5mm up to 100g Non-rectangular postcards must be enclosed in envelope & mailed at letter rate.
Australia Australia Post www.auspost.com.au/ 88mm x 138 mm 130mm x 240mm — 5mm up to 250g Impact Mail

 

In addition to width and height, depth (thickness) also has minimum and maximum limits. A ¼” is the maximum thickness for a standard piece of mail, including postcards larger than 4.25″ x 6″. A card thicker than that is considered a flat or large envelope, with different postal rates. Standard mail has a 0.009″ minimum thickness if the piece is 4.25″ x 6″ or larger, but mailers sized smaller than that are allowed to be slightly thinner. Postcards within the 3.5″ x 5″ to 4.25″ x 6″ range can be as light as 0.007 inches thick, and up Design Postcards to Connect to 0.016″ thick. Less than that is just too thin and flimsy to go through the mailing equipment. See Table 2 for these numbers at a glance.

Proportion matters, too: The aspect ratio has to fall within a certain range to be mailable at regular postage rates. The aspect ratio (length divided by height) has to fall between 1.0-to-1.3 and 1.0-to-1.25 inclusive, or it’s considered non-standard. Anything non-standard must be processed manually, which costs more. Square or skinny shapes outside of this range won’t go through the automated postal equipment, so those get a manual-handling surcharge.

Postal Dimensional Standards Template
Figure 2: A free template from the Post Office helps check mail piece dimensions. To get an actual template, contact a Postal Business Service Center.

You can quickly evaluate your project against all of these size criteria by using a free template from the Post Office. The Dimensional Standards Template (Notice 3A) is an easy way to check for minimum size, proper height to length ratio, and thickness of your mail piece. Just align your design sample over this white plastic card and see if the corners fall within the recommended dimensions (Figure 2). There’s even a slot to test the maximum thickness of your design sample; if it fits through, it’s OK to mail. Pick up a template at your local Post Office.

 

Reply Mail

Subscription cards inside magazines are an example of Reply Mail—postcards meant to be sent back to the source. The Post Office has a few options for these kinds of postcards: Business Reply Mail (BRM) and Courtesy Reply Mail (CRM). If your postcard is sent BRM, the sender pays for return postage. If the postcard is sent CRM, senders have to add their own stamps. The Post Office delivers BRM and CRM postcards faster than standard mail, giving a possible business advantage of several days.

A third option, Meter Reply Mail, uses preprinted metered postage affixed to it that doesn’t get charged until it arrives at the originator. But since the MRM format has no special limitations to design around, I won’t cover it in this article.

There are so many restrictions on BRM and CRM card layouts that it’s best to use the official

Post Office digital templates (Figures 3 and 4). You can download Mac and Windows files in several trim sizes at http://pe.usps.com/mpdesign/mpdfr_addl_all.asp. These well-structured documents have an Instructions Layer, Working Layer, and Dimensions Layer. They’re available as Illustrator, Acrobat PDF, and Freehand files, but unfortunately not as InDesign files.

There are more detailed layout guidelines for BRM in Quick Service Guide 507 and for CRM in Quick Service Guide 507b. Check your postcard project against all of these criteria by using the free Automation Letters Template (Notice 67).

business reply guidelines
Figure 3: Layout guidelines for Business Reply Mail are in the Dimensions Layer of the template.
business reply dimensions
Figure 4: The Dimensions Layer of the CRM digital template shows the layout guidelines.
 

Shapes: Beyond the Standard Rectangle

So far I’ve covered rectangular postcards within a fairly narrow range of size and proportion. But you can send almost any flat shape through the mail. In 2005, the USPS started the Customized MarketMail (CMM) program, which allows for die-cut “shaped mail” to be sent through the postal system. The first oversized specialty die-cut postcard mailed was shaped like a box of Krispy Kreme doughnuts.

Don’t worry that odd postcard shapes will be tangled in the mail sorter. Because these pieces are sent express to each ZIP code distribution center and then hand-sorted by the final postal carrier, they don’t ever go through any automated machinery. Minimum dimensions of 3.5″ x 5″ and 0.007″ thick still apply, but the maximum size for CMM is 12″ x 15″ x 0.75″ with a top weight limit of 3.3 ounces. Uniform thickness is not required, and attachments up to ¼” thick are allowed. That means you can glue things onto your postcard, such as a product sample. The only shape limitations are the die-cutter tolerances at your print finisher.

CMM materials can be anything semi-rigid that fits within the dimensional criteria. That means materials that would otherwise be considered unmailable are now open for consideration: clear or semi-transparent; mirror-reflective; rough and heavily textured; furry; fluffy; and spongy surfaces are all fair game for CMM.

Having your odd postcard shapes gently handled by people during every step of the delivery process has its price, and some benefits. Between the express delivery and the prioritized hand sorting, CMM can actually be faster than First-Class mail. The postage itself is not bad, but the cost of organizing and drop- shipping each CMM ZIP-zone batch can add up. Note: Due to the additional expense of drop-shipping to each postal station, CMM is more cost-effective when targeting specific ZIP codes than when sending to scattered addresses across the country.

Because of the multi-stage delivery process, CMM won’t be returned to the sender, so you must include “Carrier-Leave If No Response” on CMM pieces in the location of the return address or under the return address, in a minimum 8 pt font size. Be sure to leave a 3.375″ x 2.5″ area to include the mailing address, optional return address, indicia, and “Carrier-Leave If No Response”.

custom shaped postcard sampleNot just any mail house can participate in this specialized delivery process. The postal service requires the sender to be registered with certain mailing capabilities confirmed. Check with your printer to see if they have the die-cutting and mailsorting capabilities required for CMM shipments. The special standards for designing Customized MarketMail are in Quick Service Guide 705a.

With a huge size, almost any shape, and minimal restrictions on materials, Customized MarketMail is the place where creative postcard inspiration can flourish. CMM will cost you extra, but the dramatic impact of sending attention-getting shapes in the mail may be worth the expense (Figure 5).

 

Printing Postcards

Postcard printing is fairly straightforward. You can output at your local press or find lots of affordable options from online printers.

 

Base Stock

If you want the Post Office to process your cards automatically, the stock must be between 0.007″ and 0.016″ thick, and bar-coded pieces more than 4-1/4″ high or 6″ long (either dimension) must be at least 0.009″ thick. Rigidity is also an issue; make sure the stock isn’t too flexible.

In general, avoid patterns, textures, and colors of more than 10% density from white. Within these guidelines, there may be plastics or other non-paper materials that qualify for postcard or letter rate. If you use a stiffer plastic or heavily laminated stock, the rigidity may bump it up to an “automated flat” rate. Check stock samples with the Mailpiece Design Analyst at the nearest Postal Business Service Center, because only they can make the final call.

As you discovered in the section “Shapes: Beyond the Standard Rectangle,” paying a little extra for a “flat” rate or manual handling opens up many more options for mailing postcards made of different materials.

 

Varnishes

Flood varnishes or coatings can add a nice look and feel to the finished card, but that’s not everything to consider. You may want to keep the postcard surface uncoated or matte so it’s easier to write on, especially if it’s a survey or appointment card. For a calendar or reference postcard that’s intended to be kept and handled repeatedly, adding a heavy laminate or UV coating will make the card more durable.

 

Inks

Don’t use metallic inks for addresses, because the reflection makes the text unscannable. Also be sure to keep the address color darker than the surrounding area, with a color contrast of at least 15% from the base it’s printed on. Black ink for addresses is the safest choice, and what the Post Office recommends.

 

Color Control

There are amazing deals online for printing large quantities of color postcards. Many times, these cards are batch-printed with other orders, so your postcard may be one small section of a ganged-up press sheet. You may not have the opportunity for exacting color adjustments and can reasonably expect to get “pleasing color” results only. If your project needs precise color execution, beware, but if pleasing color is acceptable, then by all means give these options a try.

 

Tempting Templates

With all of these production criteria to consider, optimal postcard design might be more complex than you originally thought. It’s tempting to use a template for guidance. Postcard templates are available from printers and the postal service, and as part of support files that ship with InDesign and Illustrator. But beware that each source has its own agenda. Printers are most concerned about where the ink hits the paper, the Postal Service is simply enforcing pre-sorting and automated mail processing, and the design programs encourage creativity without worrying about critical aspects for mailing (Figure 6).
InDesign postcard template
Figure 6: When you overlay the postal guidelines for positioning text and graphics, it’s clear that this InDesign postcard template is not a good layout example to follow.
Get commercial postcard printing templates and US Mail layout guides.

As I’ve mentioned in previous sections of this article, the Postal Service offers working template files for BRM and CRM, and plastic templates with measurements and guidelines. These are your best bet to ensure that your design qualifies for the lowest possible rates and the most delivery options.

Adobe’s InDesign and Illustrator postcard templates are problematic because they don’t follow the best practices described in this article. In fact, as Figure 6 shows, some of them wouldn’t even be mailable! However, they’re fine for visual inspiration before you get into production setup.

InDesign CS3 and CS4 templates are in Library > Application Support > Adobe Templates > InDesign in their respective version folders, with a postcard example in the Business Sets folder. You can also navigate to the InDesign examples by choosing File > New > Document from Template. In Illustrator CS3, check out Cool Extras > Templates to find folders with Basic and Inspiration examples, and in Illustrator CS4 look in the Cool Extras > en_US > Templates for a few options.

Performing Postcards

The point of any postcard is to deliver a message. Many marketing postcards are meant to be returned to the sender so the message impact can be measured. Whether they come back by mail or in person, you as the designer can improve the return rate. For example, use the Business Reply Mail (BRM) or Courtesy Reply Mail (CRM) layout formats. Those little black bars help with automated pre-sorting for return delivery that can dramatically reduce time in transit.
 
A strategy that encourages in-person returns is to design a postcard that takes on an additional role: an event invitation can also act as an entrance ticket, a sale announcement can do double duty as a coupon, even a simple schedule reminder can become an active appointment card. People lining up with postcards in hand is proof that the mailing was effective.
 
Some postcards are sent out, and meant to be saved. Beautifully designed postcards can earn a permanent spot on bulletin boards, scrapbooks, walls or refrigerator doors as art that constantly reminds people of their source and message with creative visuals they don’t mind displaying.
 

Better Postcards by Design

Based on its dimensions and setup, a mail piece can qualify as a postcard, letter, automated flat, Customized MarketMail or package. Add in lower rates for pre-sorting and bulk quantities, discounts for Non-Profit Organizations, and surcharges for manual handling, and there are lots of factors that determine the actual cost of mailing. Don’t worry, there’s a friendly neighborhood Mailpiece Design Analyst (MDA) to check your work and make sure it fits the criteria. Run a sample of your project past the MDA at any Postal Business Service Center for a free mailing evaluation, find the one nearest to you at https://tools.usps.com/go/POLocatorAction!input.action

As designers we can create postcards that people may glance at and toss out, or that catch their attention with immediate visual impact. Beyond the design of your message, there are plenty of ways to layout your postcard for optimal results. With a very straightforward printing process and a fraction of the cost of other delivery options, these little mailers can be valuable communicators.


Cathy Palmer is an award-winning graphic designer who has worked in both the creative and production sides of publishing. She currently provides digital media skills training and seminars on graphics applications, teaching designers how to build smarter pages and let their computers do most of the work so they can focus on the creative stuff.

From InDesign Magazine. Each issue gives you tips, techniques, and time-savers by an all-star cast of industry experts.

Also see Business Card Design Concepts in InDesign
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The Die Cut – Your Cookie Cutter to Creativity

Watch Door Hangers Being Cut Video
A die cut is created by using a sharp steel blade formed into a specific shape, then used to cut through the paper. Think about how a steel cookie cutter would work; just substitute the dough with paper. The shapes for die cutting are nearly limitless—circles, squares, holes, curves, stair-stepped, rounded corners, sharp points, just to name a few. The die cut form, or “die”, is customized to your artwork, and it creates a very crisp, smooth edge that can include fine detail and a very distinctive look. Standard blades can only cut straight lines. Hear one of our print consultants explain the process.
examples of die-cut business cards
 

How is die cutting done?

Die cutting starts with a die consisting of a sharp thin metal blade formed into the shape that will be cut out of the paper or other substrate. The die is embedded into a block of wood that is securely held in a die cutting press. The paper is fed onto the die and they are both pressed under pressure against a metal plate or cylinder, cutting the shape into the paper. In most cases, tiny uncut ticks are left around the edge of the shape to hold the cut shape in the parent sheet until it can be stripped out later by hand. This is done to facilitate easier handling of the die cut sheets of paper during processing.

The products you can use die cuts on are wide ranging. Many people add eye-catching details to their business cards with die cutting, but you can also use the process on door hangers, brochures, postcards and presentation folders, to name a few.
 

Why you should use a Die Cut

die cutting sampleDone well, a die cut can direct the reader to the most recognizable aspects of your business or your offer. Your logo or product is the obvious place to start, but what else can you do to add a creative spark to your brand? As you look for ways to add a die cut to your piece, think about the purpose of it, and what kind of message you want to deliver. Are you looking for a classic shape, such as an effect of a family crest or scrollwork? Or perhaps something wild or unique, like the top of palm tree, a car, and the wings of a bird or even a butterfly, as seen here?
 
Your industry can provide additional creative direction. Construction companies, real estate agents or architects could use the outline of a roof or building, restaurants perhaps could use the corner of a napkin or even a fork or basil leaf; the possibilities are nearly limitless.
 
The real benefit of using a die cut is to get a potential customer to do a double-take, take a closer look, and check out what you have to offer. Sometimes it is that critical few seconds that can result in your business card, brochure or rack card being ignored or held onto and followed up on, just because of a unique finishing option—the multipurpose die cut.
 
Die Cut Business Card Samples
die cut business card       die cut business card sample     die cut business card example
die cut car shape
 
Die cut car promotional handout
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Which Paper to Use

Which Paper to Use for Brochures, Postcards, and Catalogs, Business Cards and Greeting Cards

Choosing the right paper for your printing project can make a huge impact on the final product. From final presentation to cost, paper stock is the core of your printed piece. Here are some tips for picking the right paper for different types of printed materials.


Business Cards

Business cards should catch the eye, be memorable, and then get out of the way. When your possible customer goes to find your card later, it should look good. There is a large range of paper stocks for business cards, and you can even get cards printed on plastic or other non-paper substrates.

Here are some tips for choosing the best paper for a business card:

business card example

  • Pick an uncoated stock or a dull/matte stock if you want people to be able to write on your card. Uncoated stock is the best option when you want people to be able to write directly on the piece without smudges, but if you have important photos or graphics on your card they will look much more vibrant on the dull/matte stock than on the uncoated stock.
  • Using metallic foils or metallic ink? Metallic inks should only be printed on gloss stocks, as the ink will not look metallic at all on uncoated or only slightly on dull/matte stocks.
  • Want something that feels interesting to the touch? Use a Soft Touch® coating that makes the card feel like velvet. Request a sample; you have to touch it to get the effect.
  • Don’t waste time and effectiveness by trying to save a little money. Your business card is an important marketing tool – consider using custom features and get a great design that stands out.
  • Learn even more about How to Choose the Best Paper for Your Printing Project.

Paper Recommendations:

  • 120# (14 pt) Dull/Matte Cover when you want a final piece that has crisp text and images, while maintaining the ability to write on.
  • 100# (14 pt) Uncoated Cover is great for business cards that you’ll be writing on and for certain demographics (attorneys, financial, other professional).
  • 120# (14 pt) Gloss Cover works best if you’re using metallic inks or if you want the professional look and feel of a glossy paper.
  • 160# (18 pt) Gloss Cover is super stiff and thicker than most business cards. Get’s noticed, but you can’t keep as many in your wallet.
  • Magnet Stock keeps your message in front of your clients all year long. Our magnetic stock enables high quality printing with excellent color reproduction and will stick to most metal surfaces. Great for business cards from service industries that could be saved and referenced on the fridge.
  • Worried about your cards getting scratched up in pockets and purses? Get free aqueous coating or an optional UV coating to add greater protection for your card and make the colors pop dramatically.
business card thickness comparison

 

Brochures

Brochures, sell sheets, maps, menus and flyers can all benefit from using the right paper for the job.

Here are some tips for choosing the best paper for a brochure:

brochure on cover stock

  • Plastic paper like SmartFlex® can create water and tear-proof products like maps or menus.
  • Heavier paper is more rigid, helping items stand up when folded. If you are folding your brochure, the maximum recommended thickness for 2 or more folds is 100# cover.
  • If the printed piece is going in the mail, it must be the correct thickness to meet postage regulations. The number of folds affects the final thickness. Call us for advice as the 2,000 page postal regulations manual changes often!
  • Thicker paper can make metallic foils and embossing look better, but as you go above 80# cover the amount of detail that is able to be shown in your embossed element will decrease.
  • If you’re printing a lot of materials, thinner paper is usually cheaper and could potentially have a lower mailing cost.
  • Learn even more about How to Choose the Best Paper for Your Printing Project.

Paper Recommendations:

  • 70# Uncoated Text is great if you want to be able to write on the brochure, and want to add more than two folds. Text stock is lightweight, this paper is similar to the paper you’d find in a book.
  • 80# Gloss Text is your choice for brochures that need the professional look of a glossy finish, need more than 2 folds, and that should be lightweight but still strong enough to hold their shape. This is an economical and very common choice for brochures.
  • 100# Gloss Text is a great choice for brochures that you want to feel more substantial and that will hold up better to repeated use. This is a very popular stock for brochures.
  • 80# Gloss Cover produces a thicker brochure; it’s a light weight card stock that can be folded, but might not lay perfectly flat when closed.
  • 80# Dull/Matte Cover. This matte coated stock makes images look good without excessive shine, and can be written on with certain pens.
  • Brochures can be protected with additional coatings, such as a free aqueous coating or an optional UV coating that provides additional protection and makes colors really shine.
  • Learn even more about How to Choose the Best Paper for Your Printing Project.
brochure on cover stock

 

Postcards

Postcards – especially those sent in the mail – have only a moment to get and keep someone’s attention, but they do get handled, held, and read.

Here are some tips for choosing the best paper for a postcard:

postcard with die cutting

  • Postcards that will be mailed have to meet US Postal Service regulations for size and thickness. In general, your postcards need to be printed on 100# cover or higher to mail. Check out our postcard mailing templates for sizes and layout tips.
  • Thicker and larger postcards stand out, but anything larger than 6″ x 11″ will be require a much higher “Flats Rate” postage.
  • Use a UV coating on the non-address side to make your card pop with high-gloss elements while protecting the card from handling and the weather.
  • People touch a postcard so use Soft Touch® coating on the non-address side to give it a soft, velvety feel (you have to request a sample – words don’t do Soft Touch® justice).
  • Learn even more about How to Choose the Best Paper for Your Printing Project.

Paper Recommendations:

  • 100# Uncoated Cover. This bright white smooth #1 grade cover stock is a substantial paper, and the minimum thickness for a postcard going in the mail. You can easily write on this stock and is a great option for appointment or reminder cards.
  • 120# Dull/Matte Cover. Our dull/matte cover is a substantial paper with a smooth, non-shiny coating. It is a heavy 14 pt stock well suited for detailed, crisp printing without sacrificing the ability to write on the paper. You can also get UV coating on the front of a dull/matte card to add pop to the side that isn’t needed for writing. This is a popular choice for postcards.
  • 120# Gloss Cover. This is one of our most popular papers, its glossy coating makes photographs and other images look beautiful. UV coating, often called liquid lamination, is a great addition to the 120# Gloss Cover for added pop and shine. Not recommended if you want to be able to write on the postcard.
  • 200# Gloss Cover. At 24 pt, this is our thickest and sturdiest card stock. It has a glossy, smooth finish that prints well. It works really well for die cuts and foil stamping. If you’re adding foil stamping or die-cuts to your postcard, you can’t beat 200# cover stock.
  • Use a free aqueous coating or an optional UV coating to protect your postcard from scratches and scuffs while making the colors pop.
  • Soft Touch® coating adds a velvety feel to the card that makes it stand out and grab attention, but save some money by only adding it on the non-address side.
postcard paper example

 

Catalogs / Calendars

In print terminology, a catalog is anything that is saddle-stitched like a magazine, but unlike a magazine a catalog can have a range of paper types for the cover and interior pages.

Here are some tips for choosing the best paper for a catalog:
    • Catalogs are printed in 4 page increments, as each sheet is folded in half into 4 pages (front and back).
    • Catalogs are frequently printed with a thick cover stock and thinner text stock for the interior to minimize cost. It is important to match the cover stock and interior text stock so there’s consistent color and image quality. For example, if you use 80# gloss cover stock for the cover and 70# uncoated text stock for the interior pages, and you have a consistent brand color on every page, it will look noticeably different on the cover than on the interior pages.

catalog papers and bindings

  • Catalogs can be saddle-stitched like a magazine, coil bound, Wire-O bound, or glued (perfect bound) like a soft cover book.
  • Consider a high-gloss, coated paper for catalogs where art and images are important, and use an uncoated paper you can write on for product lists where readers may want to circle something or take notes.
  • If your catalog will be mailed, be conscious of the total weight. You may need to use lighter papers to minimize the overall mailing cost.
  • Learn even more about How to Choose the Best Paper for Your Printing Project.

Paper Recommendations:

  • 80# Gloss Text. Standard glossy paper stock, about as thick as a quality magazine page. The shiny finish provides an excellent opaque base for four color process printing. This can be either perfect bound or saddle-stitched. Text stock, like this, is usually used for interior pages only unless weight is a factor in mailing cost.
  • 80# Dull/Matte Text. This stock is finely coated with a non-gloss finish. It provides an excellent opaque base for easy to read, crisp typography.
  • 100# Gloss Text. Similar to the 80# gloss text, but 25% thicker and heavier for a more substantial feel and extra durability. This paper is thick enough to be bound any way you’d like. It’s sometimes used for a self-cover when cost or mailing weight are factors.
  • 80# Gloss Cover. As a “cover” stock, this paper is stiff, about like a postcard or baseball card. This stock has a glossy finish, making photographs and other images look beautiful. Glossy cover stock is hard to write on, however. Cover stock, like this, is usually used for the cover of a catalog, or for catalogs with only a few pages.
  • 80# Dull/Matte Cover. This cover stock is well suited for detailed, crisp printing without a shiny finish. Colors pop with dull/matte stock and it is thick enough to be bound however you’d like.
  • Cover and interior papers can be coated with a free gloss aqueous coating or an optional UV coating to provide protection and a high-gloss look that makes colors even more vibrant.
catalog paper example

 

Greeting Cards / Note Cards / Event Notices

A great way to make a personal connection with your customers and prospects. We have a great selection of papers for greeting cards, note cards, announcements and custom stationery.

Here are some tips for choosing the best paper for a greeting card:

thank you greeting card

  • Use uncoated stock where people will be writing on the card, such as an RSVP response card, or for certain artistic effects.
  • Gloss coated paper will resist writing and leave smudges, but this issue can be minimized by choosing a dull/matte coated stock if your images require the superior print quality of a coated paper stock.
  • Our standard card stocks, 120# (14 pt) are optimal for embossing, foil stamping, and die-cutting, all popular options for event cards such as wedding invitations.
  • Use textured papers such as linen, ribbed, or parchment to give a sense of luxury or class. They can be custom ordered.
  • Learn even more about How to Choose the Best Paper for Your Printing Project.

Paper Recommendations:

  • 120# Gloss Cover. This is one of our most popular papers. It is a heavy 14 pt stock with a glossy, coated finish. It makes photographs and other images look beautiful. UV coating, often called liquid lamination, is a great addition to the 120# Gloss Cover for added pop and shine on the outside of the card. Not recommended for cards that need to be written on.
  • 120# Dull/Matte Cover. Our dull/matte cover is a substantial paper with a smooth, non-shiny coating. It is a heavy 14 pt stock well suited for detailed, crisp printing without sacrificing the ability to easily write on the paper. You can also get UV coating on the front of a dull/matte card to add pop to the side that isn’t needed for writing. This is an excellent choice for greeting cards and note cards.
  • 100# Uncoated Cover. This bright white smooth #1 grade cover stock is 14 pt in thickness and matches the 70# text-weight stock we use for letterhead and envelopes. You can easily write on this stock and is a great option for appointment or reminder cards or when a “natural” feel is desired.
  • Protect your cards with a free aqueous coating or optional UV coating that provides protection from the elements and makes colors more vibrant.

 

Coating Options

coating on postcardAqueous Coating is a clear water-based coating used to protect your printed pieces. It provides a high-gloss surface that deters dirt and fingerprints. Aqueous coating improves the durability of any printed piece and enhances the look of images.

UV Coating, often called liquid lamination, is a highly protective, ultra-shiny gloss coating that we apply over aqueous coating and then cure on a special machine using ultraviolet light. The solvent-free UV coating provides an extremely hard finish that’s chemical and abrasion resistant. It makes color and details really pop! On deep colors, it results in a stunning, almost wet appearance. Perfect when you want a durable, environmentally-friendly piece with a richer, high-end look and feel. 

NOTE: UV Coating cannot be used on the addressed side of mailed pieces.
 
 
Need help deciding which paper to use for your project?
Call us now at 800-930-2423 
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Choosing the Best PDF Preset in InDesign

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.


InDesign pdf presets dialog

 

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.

 

pdf quality settings

 

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).

 

pdf presets high quality
 
 

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.

 

pdf presets pdf x-1a:2001

 

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

 

pdf presets transparency flattener

 

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.

 

adobe pdf presets settings
 
 

“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 presets pdf x-3:2002
 
 

“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.

pdf presets pdf x-4:2008
 
 

“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.

 

adobe pdf presets press quality
 
 

“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.

 

pdf presets smallest file size
 
 

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.”
define adobe pdf presets
pdf presets new preset
 
  • Then, choose “General” from the left side menu and pick your desired Hyperlinks and Interactive Elements from the bottom of the dialog:
pdf presets new export preset
 
  • 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.”
pdf presets pdf x-1a:2001 new preset
 
  • 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.
adobe pdf presets all printers marks
 
 

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.

pdf presets save preset
 

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

 

pdf presets ok
 

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

 

pdf presets list of presets

Congratulations, and happy customizing!

 

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CD Cover Size Specifications

CD Cover Size Specifications

How to Create your Own Custom CD Covers

CD Cover designs

Need custom CD covers for your corporate presentation or sales tools? Follow these simple CD cover size specifications to create the graphics for an eye-catching and informative CD jacket. And check out other products such as Presentation Folders and Brochures to help market your business.

It’s easy to produce a professional looking CD cover printed inside and out using whatever software tools you have on your computer. You can start from scratch in any layout program including Microsoft Word, Publisher or PowerPoint as well as traditional graphic arts programs such as Adobe Photoshop and Illustrator. Just use the simple diagram below to size your file and create any needed bleeds.


CD Cover Size Specifications for Printing

The finished dimensions for the outside of printed CD covers are 4.724 inches square. Many printed designs include bleed. The “bleed area” is an extra 1/8″ of space for design elements or backgrounds to extend beyond the finished size of your piece. A CD cover with bleeds is printed slightly oversized (4.974 inches square) and then cut down to size, giving the appearance that the printing “bleeds” off the edge of the cover rather than having a white border.

The finished dimensions for the inlay card are not square to accommodate the folded part needed to make the spines on each end. The inlay card creates the cover for the back and both spines, while the CD Cover inserts into the lid of the CD case.

 

CD Cover and Inlay Card

CD Cover Size Specs
CD Inlay Card Size Specs
 
 

Printed CD Cover Design Tips

When creating your CD cover design file, use these tips:
  • Make the document page size equal to the cover size plus the bleed area or 4.974″ x 4.974″ to be trimmed down to the finished size after printing. If you aren’t planning to include bleeds, the bleed area isn’t necessary so set the document size to the finished size of 4.724″ square.
  • Play it safe near the borders. Because cutting may vary ever so slightly, it’s a good idea to keep all of your valuable text and logo information within the design safe zone. This zone is the 1/8 inch around the margin of your cover or inlay card.
 
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What is Embossing or Debossing?

What is Embossing or Debossing?

examples of embossing and debossing

Have you ever run your hand over a topographical globe, the kind that has bumps and recesses to depict the world’s peaks and valleys? You almost can’t help but touch them; the raised relief is as appealing to your eye as it is to your fingertips.


Embossing has a similar effect. Embossing (and its opposite, debossing) are two techniques used to either impress or depress an image into paper. These popular print effects are ideal for giving your print piece a fresh, contemporary look — and when combined with other effects, like foil stamping, embossed designs can transform a great piece to a luxury one.

Which should you choose for your project? It all comes down to your preference. Let’s look closer at both the embossing and debossing process.

What is Embossing?

To emboss, a commercial printing company uses two main things: a die, which is a personalized metal plate that’s cut into the image you want to emboss, and stock (paper). The die presses into the stock like a stamp and slightly raise images off the paper of your print piece. The die can be single-level or multi-level, where a single-level raises your image to one consistent height or depth, and a multi-level creates a more complex emboss or deboss.

The result is a three-dimensional effect that emphasizes a particular area of your design. People often emboss a company logo, a custom illustration, initials, or a pattern for a luxurious effect.

When most people think of embossing, they think of raised effects on paper like business cards, greeting cards, and invitations. But embossing can be done on other materials like metal, acrylic, leather, wood, and cloth. In this piece, however, we’ll focus on embossing paper, combining embossing with other effects, and prepping your design for the best outcome.

The Embossing Process

The first part of the commercial embossing process is the creation of the die, which is made up of two metal plates (front and back, also called the counterdie) that will sandwich the paper. The printer creates the die by either hand-tooling, routering, or photo-etching the image that will be embossed onto the two metal plates.

Next, the printer places the stock between the front and back of the die. If you’re having an image embossed, the female die will go on top of the stock and male die will go on the bottom as the counterdie. When debossing, the male die goes on top and the female die will serve as the counter.

Then, using both heat and pressure, the die presses into the paper and create a relief of the image. This process is called a blind emboss because the embossed image isn’t colored with any kind of ink or foil — it’s simply raised or depressed off the paper.

However, if you want to combine special print effects or add color to your die, you can! A registered emboss or a combination emboss combines an emboss with ink or foil to alter the appearance of your embossed image. Adding shimmery foil to an embossed logo or name is a common practice to create a striking or luxurious custom effect.

 

combination emboss

What is Debossing?

Think of debossing as the opposite of embossing. Debossing is when an image (logo, text, etc.) is imprinted into your print piece, creating a depressed effect. Just like embossing, you can choose to leave the debossed area untouched or fill it in with ink or foil stamping.

Unlike embossing, debossing doesn’t interfere with the back of your print piece, giving you both sides to work with. It can be used on its own, or in conjunction with embossing.

Considerations for Embossing and Debossing

Not all images emboss well — and you’ll save money and time in the long run by spending a little more of both upfront to get your project right. Here are the top things to consider before you emboss an element of your printed design.

  • Start with vector art. Ask your designer to submit the final design as a vector art file, rather than a raster file. Vector art is made up of mathematical rules that enable it to be resized up or down without compromising quality, and so these files will translate the smoothest into an embossing die.
  • Choose the ideal section of your design to emboss. Text, logos, a single image, initials, and a small pattern or embellishment work best with embossing. Although there are no hard-and-fast rules, an emboss or deboss looks best when it’s used as an accent rather than as a whole piece. An exception might be a recurring pattern on the cover of a small printed piece like an invitation or a business card, where embossing a repetitive element on the entire side of a piece adds a touch of class.
  • Use simple artwork. Because embossing and debossing adds literal dimensionality to a 2D image, embossing actually looks best when it’s done on simple artwork. Artwork that’s shaded, colored, or otherwise designed to look 3D might appear distorted when embossed — so keep it simple.
  • If you’re doing a multi-level emboss, your deepest areas should be the largest parts of the design. If you go too deep with your emboss on a very small section of your design, the paper is more likely to tear. Save your deep embossing for larger sections of your artwork.
  • Use a heavier paper stock, if possible. The most effective embossed pieces use a detailed die and heavier paper stock to highlight the depth and detail of the embossed graphics or images.
  • Consider the back of your print piece, as embossing will affect the design of this area. This doesn’t make embossing a limitation, but an opportunity to add some really cool visuals to your piece.

Embossing or debossing create the kind of printed pieces that stand out where others fall flat. They’re the business cards a person can’t quit running a finger over, or the wedding invitations that embody a day of elegance. While the cost runs a bit different than your standard print job, it’s worth it when your print pieces do what they were meant to—make memorable impressions that get you noticed.

Talk to a printing professional today about using embossing or debossing for your next project, call us at 800-930-2423!

 

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