Client Interaction Name of Individual. Name of Business or Organization. Address. Phone Number. Fax Number. Email Address. Web Page Address. Job Title of Individual. Tagline or description of Business or Organization. Logo. Graphic Image(s) (including purely decorative elements). List of services or products. Horizontal or Vertical Layout. Emphasis on Business or Organization (name and/or logo). Emphasis on Individual. Emphasis on Title of Individual. Emphasis on a particular part of the contact information (phone, address, email, etc.) Size of Logo or other graphics — large (dominant) or small, etc. Number of Colours. White space (blank spaces) toward the middle or toward the outer edges. Conservative typeface (such as those used in the stories in your textbooks) or Fun, Informal typeface (such as crooked letters, funny shapes, odd sizes, or type that looks like handwriting) or a mix.http://desktoppub.about.com/od/lessonplans/l/aa_bizcardextra.htmTHE IMPORTANCE OF WELL DESIGNED BUSINESS CARDBusiness cards are something that people tend to take for granted. Theyshouldn’t. The look, feel and message on a card helps people determine howthey view you and, more importantly, if they will remember you.When you leave a conversation and the other person has your business card,your identity is that piece of paper, and it should leave a lasting impression.Your business card should not only state the name of your business, yourcontact information and what you do, but it should also state something aboutyou. Not in a written sense, but more so on the overall image it creates aboutyou.SOME TIPS: Don’t put absolutely everything on your card. Too much informationruins the design of your card and please refrain from adding clichéd missionstatements or values on the back. All the additionalinformation should be onyour website (which should be prominent and easy to find).
A good business card is one of the best marketing tools you’ll ever invest in, andshould be considered as such an investment.http://www.askbizdex.com/ABD%20Business%20Card%20Design%20Checklist.pdfQuestions to ask the Client: What is your budget for the business card? What design ideas have you in mind such as font, graphic shapes, images and colours for the business card? What is the target market or audience? What is the timeframe expected to complete the business card. How many cards do you want? Do you have a colour palette? What type of layout do you require? Do you have your own images or would you like me to handle that? Have you got your own logo or one can be designed for you? What type of card (stock) will it be printed on?Business Card Design: 7 Essentials to Consider1. The Issue of Size and ColourDecide on a business card printer before you begin the design process. You canfind out the size of their cards (and whether it is what you are looking for) andtheir supported file types. The most common card size is 84 mm x 55 mm, sothe best document size to work on is 1039 x 697 pixels; remember that youneed to take Bleed (more on this after the break) into account. Ensure anyimages you use are at least 300dpi for a high quality result.It’s a good idea to work in CMYK colour mode as opposed to RGB. CMYK standsfor Cyan, Magenta,Yellow and Black (Black is known as Key), and is used incolour printing. CMYK is a subtractive colour model, which works by maskingcolours on a light or white background, reducing the amount and colour of thelight that is reflected by the paper.2. Prepare the Bleed AreaUnless your design background colour is white you need to prepare the Bleedarea for your carddesign. Preparing the Bleed (yes, it sounds like a heavy metalband) involves highlighting an area surrounding the document, usually 3 mmthick (this may vary depending on the printing company) with the same colouras the background colour of your card design. This prevents any ugly borderstrips from turning up on the edge of the cards.3. Avoid Using Borders
In fact, it’s best to try to avoid using borders on your business card designs atall. They may look good, but when the cards are cut, you will most likely havesome ‘lop-sided’ edges. All printers have a margin of error for cutting your cards,which can be as much as a few millimetres, so expect some variance in the areawhere the blade falls.4. Use Complimentary ColoursChoose colours that are aesthetically pleasing. A mish-mash of bright and boldcolours may make your card stand out in a stack of 50, but it could be for thewrong reasons. It’s also worthwhile to think beyond your business cards: try tokeep your colour scheme consistent throughout your media (website, twitter,email signature) to develop a professional image of yourself.There are plenty of tools available on the Web to help you create the perfectscheme.COLOURlovers is a community-driven website where people can createcolour palettes and allow others to vote and comment on them. It’s a greatsource of inspiration, with some impressive tools to boot.5. Ensure Your Text Is ReadableThis is a pretty vital (sometimes overlooked) element in business card design.You wouldn’t want your clients to have to strain their eyes to read your websiteaddress or email. Make sure your text is at least 8 pt., in a clear readable fontand in bold colour. Anything smaller than 8 pt. may look fine on your monitor,but may be printed as a fuzzy, smudged-out line. You could also try toaccentuate your name or important contact information by making it slightlybigger or bolder than the rest of your information.6. Include Important InformationMake sure you include all the information on the back of your card that you thinkthe client would find useful. We’ve provided a quick checklist, but you may haveother things you want to throw in as well. Your name – Put the name your contacts know you by. What you do – Remember to include what you do or what defines your job scope. Include the organization you are currently attached to if you wish. Contact information – Phone number, e-mail, work address, social media profiles etc. QR Code – QR codes are a great way to visually present web addresses, phone numbers or vCards. There are plenty of free QR code generators on the Web to help you with this.7. Saving Your Design
This is also an important part of the process, as you want to make sure all yourhard work shows in the final product. Make sure all text is embedded or outlined Don’t forget to remove any guidelines or colour scheme blocks For best results, save your design as a vector based PDF, to ensure crisp lines and high print quality Saving them in JPEG or PNG may result in fuzziness around edges and texthttp://www.hongkiat.com/blog/business-card-design-tips/Printing Terms -Before we begin, printing has an unusual terminology that is attached to it.Below is a small list of terms you will run into when talking with your printer.Although not totally complete, the terms listed below will get you well on yourway to understanding your printer and the language that they use.Bleed - A bleed occurs when your colour or image extends off of the printedpiece, typically bleeds are created when the printed piece is trimmed.CMYK - Cyan, Magenta, Yellow and Black are the colours used in 4 colourprocess printing. On the printing press they are run in a specific order. Black,Cyan, Magenta and Yellow, the most transparent of the four and containing themost varnish in the formula is yellow and is laid down last. The most opaquecolour, black, is laid down first. Following this sequence allows for brighterimaging and better control of colour.Colour Densitometer - A piece of equipment used by press personnel todetermine the density of the ink colour being laid down on the printed sheet. Ithas a numerical digital read out and the higher the readout on the densitometer,the greater the amount of ink that is being laid down on the sheet. While there isa wide variance in the numbers used, the average range is:Cyan and Magenta reading around 135 to 145......... Yellow around 105 andBlack anywhere from 175 to 210.............. This is only a generalization and thedensities that are run should be left up to the press personnel.Colour Density - The amount of ink printed on the sheet.CTP - Computer to Plate. A process that bypasses the use of film when creatingthe image that is receptive to ink on the printing plate.Emboss - Impressing an image by forming the paper using a die that is cast inthe shape of the image you want to create. When pressure is applied, the papertakes the form of the die.
Film - A sheet of material that is processed with the image on it. This materialwill be placed over the printing plate and with the use of light, burning the imageinto the printing plate, determining the ink receptive areas of the plate.Halftone - The screening of a continuous tone image, converting the image intodifferent sized, yet, equally spaced dots.Impression - Each time the sheet passes through the press and is printed, it isan impression. The terminology is useful in production scheduling and estimatingbecause it determines the quantity of the run and the efficiency and speed of thepress and the operator.Large Format - A term that describes the printing of large sized substrates.Printed pieces would include large posters, POP (Point of Purchase) signage andbanners. The printers that are used are typically inkjet or IRIS printers. This isan evolutionary segment of the print world and the technology, chemistries andequipment are constantly changing.Moiré - A pattern that is created from incorrect screen angles seen in the CMYKprinting processOffset - The printing process that uses a blanket to receive the ink from theplate and then impresses it onto a sheet of paper as the paper passes betweenthe blanket and a hard steel cylinder called an Impression Cylinder.Perfect Bind - A type of binding that combines the cover and the inside pageson the spine with glue. Magazine examples that are perfect bound are PhotoshopUser, Mac Design, Graphic Arts Monthly and Communication Arts.Registration - The alignment of dots in relation to each other. When the cyan,magenta, yellow and black plates are aligned and brought into focus, the printedpiece is considered to be in register.RIP - Raster Image processing............ a computer language that arranges thedots, solids, lines and type in a particular pattern concerning densities andangles. The function of the RIP is to send instructions to the film processor,telling the processor where to place each item and what angle each item is to beplaced in relation to the other items on the film or combination of films used increating the image.Saddle Stitch - The binding of a book using wire staples on the binding edge tohold the book together. Some magazine and flyer examples are PC Connection,Micro Warehouse and the Java Developers Journal.Score - A crease that is impressed into the paper. Scoring will allow for exactfolding on heavier stocks and helps to eliminate the cracking of somesubstrates.Separations - In four colour process printing you have a continuous tone imagethat is separated into four different colours, CMYK, enabling it to be printed. Theprocess begins with scanning an image. The scanned image is then separated
into the four process colours. These are processed on film flats with each flatrepresenting a separation.Sheet Fed Press - A printing press that prints individual sheets of paper asopposed to rolls.Signature - A parent sheet that consists of 4, 8 or 16 pages depending on thesize of the montage that is built for the press it is scheduled to run on. Thesignature is then folded, collated (depending on how many pages are needed tocomplete the project), glued or stitched and then trimmed.Spot Colour-PMS-Pantone - Colours that are mixed in batches and areidentified by a number. The number can be followed by a C (Coated) or U(Uncoated). The formula is designed for the type of substrate it is to be printedon taking into consideration the porosity of the paper.Trapping - The overlay or over printing of dots in relation to each other tocompensate for miss-registration on the printing press creating an illusion oftight register.Web Press - A printing press that prints rolls of paper.CHOOSING YOUR PRINTERThis is the biggest decision you will make when it comes to the overall success ofyour project. Once your files are in the printers hands your control has beenminimized and you are at their mercy. There needs to be a level of trustdeveloped, from the handling of your files, to completing your project on time.They can make you look like a hero or a villain and they can cause you to emptythe shelves of Excedrin. You have to believe what they are telling you is true andyou cannot leave any room for doubt.It is important to build a relationship with your printer, a relationship thatevolves into trust and even friendship. They are your partner and there areseveral things to look for when choosing one.It is rare to find a printer that can fulfil all of your print needs. Since you couldbe developing projects that range from a business card to an annual report let’sreview the different types of printers and what they are suited to produce.Turnaround time, price and quality will be estimated on a scale of 1-10. Tenbeing the highest price and quality and the quickest turn around. Please keep inmind we are covering printers that are the most common for print designers todeal with and that some printers out there offer a wide range of services andmay include one or more of the types of printing we will review.Well start with the instant print guy on the corner. They are probably afranchise or a family run outfit. The services they offer will include copy work,colour and black and white. The quality will be good, but since they are set upfor fast turnaround, dont expect them to offer a lot of specialized services. Theyhave a niche and they dont like to deviate from that. They have their set
inventory of copy and bond papers and PMS inks. Sizes of paper will be limitedto the size of the presses they run. Typically this will be 11.5 by 17.5. Eventhough you could have a finished piece of 11 by 17 with bleeds this is not theprint shop to get this done in. They will offer a limited Pantone colour choice asthey attempt to keep inventory at a minimum. They like to accept hard copy forartwork and you will find little support in the electronic file arena. So dont bedisappointed if you walk in with your latest upgrade or newest program and findthey dont support it. Not to say that they wont accept electronic files, just askfor a list of what they do support, first.Pricing will be very competitive and the atmosphere friendly. They are used todealing with the average citizen. The person down the street that is designing aChristmas card to send to the relatives or the new business owner that is savingmoney by having the secretary designing their business card and letterhead.The equipment they run will be small offset presses, colour copiers, B&Wcopiers, table top folders suited for half folds and tri-folds, drills and smallformat laminators. The types of work they are suited for will be business cards,letterheads, short run brochures with a low degree of difficulty, black and whitecopies, transparencies, 3 hole drill copies, coil bound books up to 125 pages,etc. Typical job quantities will run from 500 to 5,000. Pricing ranges from 4 - 6,turnaround time a 9 and quality a 6.Next, well examine the colour copy and large format shop. They are aspecialty shop that finds its niche in short run colour, big and small. So if yourdesigning trade show graphics or you have a presentation to prepare for a clientand you only need 1 or 20 or 50 pieces, then this is the shop to look for.Typical equipment will be laser colour copiers, large format inkjet printerssupported by laminating and mounting machines. Typically, colour copy sizes willrange up to 11" by 17". Large format inkjets will run in sizes from 13" in widthto 72" in width. Since they run roll material as opposed to sheeted material theycan run almost any length. Most rolls come in 150 lengths. Although impractical,with the right RIP and software, extreme lengths can be achieved. Usually theysupport a well-rounded choice of programs and since they deal with images theylike vector programs and .eps or .tiff filesThe types of work they are suited for are posters, POP (point of purchase)displays, colour copies or transparencies, banners or short run colour brochuresor letterheads.I want to add the sign shop in this section. With the development of new inksand substrates large format ink jets are being introduced into the outdoor andtrade show signage arena with success. Pricing ranges from 6 to 9, turnaroundtime a 7 and quality has a wide range due to the variables involved which wouldgive them a rating of 4 to 9.
Mid-Size sheet fed offset printing shops are the most popular with the averagedesigner. They are suited for booklets with low page counts........ 8, 16 or 24pages that would be saddle stitched with a finished size of 8.5" by 11" and a flator open size of 11" by 17", brochures, small posters, low volume annual reports,corporate identity packages, etc. They offer complete prepress servicessupporting a wide range of design software including, InDesign, Quark,PageMaker, FreeHand, Photoshop......... you get the picture. The prepress areais equipped with several work stations on a network, high end scanners with aseparate RIP station. Various proofing options would include a continuous toneprint, either with laser, inkjet or a Fuji Pictro, bluelines and matchprints with astrip-up (film assembly) department. Some offer design services, which isinvaluable if youre a distance away and there are some minor changes thatneed to be made. You did give them the native application file with fonts andimages, didnt you?The equipment in the pressroom can vary. The largest press would be a 20" by28" offset press ranging from 2 to 6 printing units usually with a coaterattached. There is probably a 2 colour unit there for 1 and 2 colour jobs. Allpresses may be equipped with perfecting capabilities allowing for the printing ofboth sides of the sheet in one pass. There is also a small press department onsite to handle business card imprints, letterheads, small quantity forms, etc.You can look for this shop to have a DI or Digital Imaging printing press on thefloor. These press runs DTP (direct to plate technology) with no film processincluded in the preliminary set up. The computer on board reads your files andburns the images onto silicon based plates that reside on the printing cylinder. Itis designed for quick, short-run colour work with quantities that range from 500to 5,000 where sizes typically do not exceed 11.5" by 17.5". DTP printing hascome a long way and gains ground every day. At this point, it is not for colourcritical work and proofing remains a hurdle. The latter is my opinion; severalprinters out there will disagree.This is all supported by a bindery department equipped with a cutter for thetrimming of parent sheets, folders, booklet machinery and a shippingdepartment.You will probably deal with a customer service representative or salesrepresentative depending on the quantity/size of the job or the volume of workyou do with the company.The pricing can range from 6 to 9 with the turnaround time at a 6 and qualityanywhere from 7 to 9.Full Size sheet fed offset printing shops are much the same as the Mid-Sizeshops except for the volume they are designed to handle and the size of thepresses that are on the production floor. The printing presses in this type of shoprun a 16 page signature as opposed to an 8 page layout. The typical parent
sheet size is 26" by 40". They can run large size posters and they are designedfor runs of 10,000 impressions or more. The next step in volume would be theweb press, so this puts the full size shop at a pinnacle of competitiveness in theoffset world. At the designed quantity they are the most efficient while producinga high quality printed piece.The types of work they are set up to handle would include full colour catalogueswith page counts of 16 to 64 pages, brochure runs of 25,000 to 150,000, annualreports, maps, POP (Point of Purchase) and trade show graphics.The pricing will range from 7 -10 with the turnaround time a 6 and qualityFrom 8 - 10.There is a large group of printers that fall into the Full Size category; howeverthe trend in the industry shows that the move is toward mid-size equipment.Web Printing is in an arena that the average freelance designer will not findthemselves using. They are for extremely large runs and the degree of difficultyin putting a layout together means that you are working in a large group andany decisions made will be made by your art director or production manager.Web presses include everything from black and white to full colour. They may berunning standard offset technology or it may be gravure or flexography.You will be dealing with a CSR (customer service representative) or salesrepresentative and may meet with the production manager of the shop.The types of work would include large volume catalogues, newspapers,magazines and Sunday newspaper inserts.Pricing will range between 7 - 10 with turnaround time 5 - 10 and quality at3 (newsprint) - 10 (National Geographic)I have given you a very general run down on the types of offset printers thatmost designers will use, their abilities coupled with a price range and acceptablequality rating for the particular type or category that they fall into. There aremany types of shops that include all of the services listed above and it isrecommended that you visit and tour your prospective printers shop anddetermine the core competency of the printer. You do not want a printer thatspecializes in business cards and letterheads to be printing your 48 page fullcolour annual report. It is not a good fit quality and price wise.Location is the final consideration I will include and probably the mostimportant. With the internet there are a lot of printers offering their servicesonline. Although this is convenient, it is a practice I would not recommendunless you are a seasoned professional that understands the printing processand knows the particular printers core competency.
No matter how convenient, there is no replacement for actually meeting withyour printer and touring their plant. It gives you the opportunity for onsite pressproofs and if you run into any problems with your files or media youre onlyminutes away from your studio, making it easy to correct whatever problem youhave incurred, burn another CD and get it back to your printer. When you areunder a tight deadline the day or two that you lose in the mail can make a hugedifference.This is not to say that you cannot work with online printers and do itsuccessfully, as many professional designers are. It is a matter of choice, but itis something that needs to be given careful consideration.Information for your PrinterYour printer is going to need some very specific details and the more informationyou provide, the more success youre going to have in completing your projectwithout problems. Listed below are specifics that you will need to include withyour files. Please keep in mind this is only a guideline and it would be to youradvantage to communicate your needs to your specific printer and follow theguidelines they give you.1 Complete billing address and phone number with a personal contact2 Sales tax resellers ID number. It is recommended that you obtain one if youcurrently are not registered with your state3 P.O. number. This is important for your own records.4 Give your job a name and or a form number5 Arrangements for payment with a signed contract that includes pricing/deadline/ any additional charges that you may incur /*In the printing industry it is a standard 10% over or under the quantityspecified and you are responsible for payment of the overrun up to 10%6 Type of artwork supplied - Electronic Files / Camera Ready Art -6a a colour proof to show layout, colour breaks and what the finished productwill look like7 Content of files - fonts, images, bleeds, trapping..... Also include the estimatedamount of ink coverage8 Type of job and quantity needed- example; booklet (# of pages and type ofbinding), brochure, business card, etc. Include with that the finished flat sizeand the finished size 8a Type of stock or paper/substrate
9 Number of ink colours and whether it prints one side or two10 Finishing aspects - saddle stitch, perfect bind, fold and type of fold, emboss,stamp, etc.11 Packaging instructions12 Shipping Instructions complete with address, contact name and phone #13 Deadline/Schedule - Date you are to deliver artwork, time of first proof anddate of job completionOut of your hands and into the printersOnce you have decided on a printer, received and accepted an estimate andagreed upon a deadline, you deliver your files with a hard copy colour proof andmock up. Your printer will take in the materials and a customer service rep willwrite up a job ticket. This ticket will be numbered and contain all of theinformation that is critical to your project. Once your job has been put into thesystem it will move from the customer service area and into the prepressdepartment.PrepressThe first thing they will do is scan your disk for viruses, pre-flight your files toensure that all of the files are workable and contain all of the images and fontsneeded to print the job.There are three ways that your job can be prepared for print depending on thetype of artwork you supply and the press it is going to be printed on.Your files can be arranged and setup to run on a digital press, Ripped to beoutput to film, or your hard copy can be prepared for a small press using a paperplate.Once that decision is made, a proof will be prepared for you to review andapprove.If your file is going to a DI (Digital press) the typical proof will be a continuoustone proof. Pictro is an example and is a Fuji process print that is a very close,but not exact colour proof of your files. With the advancements in inkjettechnology you may receive an inkjet proof. Both are created with a CMYKoutput which is what the printing press uses for offset colour.If it is going to film you will receive two proofs, a blue line proof which looks likea blueprint and represents the layout and finished size of your job. It is createdwith the film that is output from your files which is the same film that will beused to burn the plates that will be mounted on the printing press. The blue lineinsures that the layout works and that all pages, folds and bleeds work correctly.You will then receive a match print or colourmatch proof that is the colour built
from your separate film flats (CMYK). This colour proof is what is going to beused by the press personnel to match colour off of the printing press.If you have PMS or pantone colours in your job, typically they will be built out ofthe CMYK process film flats and are a very close resemblance to your pantonecolour. If your work is colour critical it is recommended that you build your filesand specify your pantone colour as a separate flat using the pantone inknumber. This requires an additional printing unit or a separate run if it is run ona 4 colour press (a printing press with 4 printing units). Many printers have orare installing 5 and 6 or even 8 colour presses enabling the printer to print thepantone colour separately without a second pass on the sheet.Beware; there is not an exact way to proof a pantone colour without doing anink rub. This entails taking the actual PMS ink and smearing or printing it on thepaper to be used in the manufacture of your product.Some printers offer on-site press proofs. This is where the designer or artdirector works with the press personnel in determining the level of ink densitiesand registration. This is usually an extra charge but if your work is colour criticaland the cost of the job is high it is worth the money spent. This ensures that yousee and approve exactly what your end product will look like.If your job is going on a digital press the process is called CTP or computer toplate. The files are sent to an on board computer to the press and then theimages are burned into a special silicon plate that is on the press unit.For conventional offset printing, once you have approved the blue line and colourprint the film is then stripped up on a flat of material that holds the film in place.Then the flat is placed onto a plate burning machine. Each film flat is punched sothat the position of the film in relation to the plate is exact. The plate has analuminium base with a coating that is sensitive to light and water. The plate isthen burned with the film which determines the amount of light that is passedthrough the film and onto the plate. This in turn, determines the image that willbe receptive to ink when it is on the press, which is the image that will beprinted on the sheet of paper or substrate.Ink is not the only thing that can be printed on your substrate or paper. You canspot varnish or overall coat your sheet with the use of a printing plate. Spotvarnish is a popular technique that enters into the design of a printed piece ofartwork.In the PressroomThe plates are placed into a large job folder. When your job reaches the end ofthe queue and your job is ready to print, the press personnel will take each plateand mount them onto the printing units with respect to the colour theyrepresent. The Sheet begins at the front of the press (the feeder area) and it ispassed through the printing units moving between an impression cylinder and
blanket. Each colour is printed onto the sheet and ends up at the delivery end ofthe press with the printed colour image.Due to the variables involved the complexity of the process and the wide varietyof equipment that is used in printing I will not get into any more detail. If youare interested in the actual printing process or have specific questions about theprinting process and the different types of printing presses, contact me and I willgive you the resources that will explain it in as much detail as you need.The Finishing AreaOnce your sheet has the printed image on it, it is time for the finishing of yourproduct. There are many different techniques that can be used to finish yourpiece but the typical processes include trimming or cutting your job to size,folding your piece into a brochure or booklet signature, collating, stitching,perfect binding, coil binding, scoring, embossing, etc.The finishing area is important because the job has been printed and if thewrong information reaches the bindery or finishing department it can cause thejob to be scratched due to incorrect assembly.DistributionAfter your work has been completed it is time to package it and either store orships the materials. There are several options available depending on the type ofjob. Your materials are sensitive to the environmental conditions that surround itso you need to be very clear in what you want to do with your work and how youwant to do it.After Burn - The Job is done and it is time to clean upAlways ask for at least 10 samples. Eight of the samples should be of thefinished piece and two should be press sheets with the colour bars andregistration marks viewable. Ask for them to be pulled at different intervals ofthe run. The samples can be used as a future reference to your job, a backup,(in case your files get damaged you have a viewable reference) and samples arevery useful for your portfolio. The reason for asking for a flat sheet with colourbars and registration marks on it is that it is more impressive when showing apotential client your work. Anyone can pull a brochure or booklet off of a shelfand say they designed it, but if you have the press sheet, it is pretty clear thatyou were involved in the creation of that work.While youre asking for your samples, be sure to ask for your artwork and/orfiles to be returned.The film is your property. Yours or your customers, that is. Let your printer storethem in case you have a re-run, just make sure there is an understandingbetween you and your printer that you "own" the film. This is a touchy subjectso be careful how you approach it.
I would also like to recommend that you write up some sort of general contractto be signed by you and your printer. A rule of thumb as to how youre going todo business. One thing you need to include is a confidentiality agreement.Your customer is your customer and you dont want your customer or yourprinter doing an end run, by-passing you on any future work or re-run.ConclusionIn a few words I made an attempt at explaining how to choose a printer,information that is important for your printer to give you a quote andmanufacture your job, what happens to your files once you have accepted acontract on your manufacturing and a little on the manufacturing process itself.One point I want to make very clear is that your view while designing wasrepresentative of a "light source" made up of Red, Green and Blue. Your printedpiece will be viewed with the "reflection of light", using the printed colours Cyan,Magenta, Yellow and Black. The printing process uses three incompatiblematerials, oil- based ink, water and paper. Keep this in mind when developingyour expectations of colour match and quality. It never is and never will be anexact match to what you view on your monitor. Colour match across viewing andmanufacturing platforms is one of the biggest; if not "the biggest" challengesdesigners and printers face today.This only skims the surface of the variables and technology involved in thecreation and manufacturing of your printed artwork.While this may be a guide that gets you started in finding and building arelationship with a printer, there is no replacement for communicating with yourprinter. Ask questions about every aspect of your job. Know the limitations ofyour printer and ask for the expectations they have of you. Most of the printersout there are very knowledgeable and helpful. They dont want to make your lifea living hell. They want your printed product to look as great as you do. Theywant your customer as happy as you do. Believe it! They are on your side.Finding the right printer for the right job is the most important advice I can give.Ask for samples and a tour. Find your printers core competency and use it as aguide. Usually you will want to find three types of printers to use. The fast, smallprinting outfit for business cards, letterheads and 1 or 2 colour short runbrochures, the offset printer that is capable of high quality work at a reasonableprice and reasonable deadlines, and of course, the large format colour copy shopthat can provide you with short run colour lasers and large colour posters andsignage.http://www.photoshopcafe.com/tutorials/printing/printing.htmTools for creating a business card would include: Adobe Photoshop
Adobe Illustrator Adobe InDesign Microsoft Word Sketch book Digital Camera Pencils Printer Ink (Online printing an option)8 Ideas for Unique and Affordable Business Cards1. Rounded CornersHaving all or some of the corners on your business card rounded can make ahuge difference in the overall look and feel of your cards.2. MagnetsIt’s not a new idea, but making magnets out of your business cards is a way tocreate a useful product with your contact information. And they are more likelyto be stuck on the fridge and less likely to be tossed in the trash.3. FoldedFolded cards let you stand them up like a table tent on an exhibit or display, andyou can make them mini brochures with additional information about yourcompany or services.4. Mini CardsMini cards are business cards that are smaller than the standard size. This canmake the cards stand out, yet those receiving them can still stick them in theirpocket or stack them with other business cards.5. Die CutJust like mini cards, business cards in a different shape can be especiallymemorable. You can try something as simple as a circular card or create acustom shape.6. Rip CardsRip cards are traditionally used as door hangers or rack cards with a tear-offpiece at the bottom that can be a coupon or business card. But you can createyour own rip cards in business card size. Use it for a tear-off basic HTML cheatsheet, a hex code colour table, or even a list of resource sites for your clients.You can do this by using the back of your cards, too.7. Plastic
For a stand-out card, try a clear plastic design. Not only are they creative anddifferent than most other cards, but they are extremely durable.8. RecycledRecycled cards are a great way to lessen your carbon footprint while creating aunique image for your business. There are a lot of options out there fromrecycled paper, to soy-based ink, to reused paper and materials.http://www.sitepoint.com/unique-business-card-ideas/