Posted on

10 Tips for a Great Multipurpose Newsletter

10 Tips for Great Newsletters

In a steady, pervasive way, our economy has shifted from one where the greatest value is produced in the manufacture of goods and services to one where the greatest value is mined from data, ideas and knowledge. In such an information age, being generous with your knowledge and expertise carries a great reward. Get that information, advice, data and news out to your public with a newsletter – one that is printed, mailed and cross-purposed into an e-mail resource. You can compile the newsletter from your online blog content, or work in reverse… build your blog with the information you have gathered for your newsletter communications. While information about sales, new product lines and commerce is important, the talent and technical education you and your staff have in your field is perhaps even more valuable to your clients. Sharing it with them will make you trusted and remembered.

Content is king

For sure, all of this can be time-consuming. As small business owners, that time is precious and often scarce both for you and your staff. To help, below are some helpful tips for gathering and preparing great newsletter content.

  1. Name your newsletter. You don’t have to be overly catchy or clever, but think of your newsletter as your own magazine, with a unique title and a clear editorial focus. A suitable, memorable name will allow it to stand out and be recognized once you have loyal readers.
  2. Share your personality. No matter how clinical or technical your field, relay your excitement and interest in what you do for a living in a human voice. Inject your personality into the copy and let readers feel there is a person behind what is being written. Consider including a photo of yourself or your staff as well to establish that human connection with your readers.
  3. Write what you know – use who you know. The information you already possess in running your successful business is your richest source for content. Write about your company’s mission, goals, decision making process, failures and successes. And be sure to rely on your staff as well. Every employee is a source for topic ideas and stories based on their unique experience and knowledge within the company. At the very least, require each employee to submit one story idea a month. Make contacts with other industry blogs online and ask to “guest-blog” an article for them in exchange for one of their own.
  4. Take lots of photos – use them wisely. While stock photography serves a great purpose, nothing is more authentic than photographs you have taken yourself of relevant scenes, people, and products. Since you most likely have a great camera in your smartphone, remember to use it throught your work day. They can be used to illustrate your articles.
  5. Establish serialized columns. Familiarity is an asset when you are vying for a reader’s time. Set up one or two features that appear in every issue of your newsletter. For instance, “FAQ’s” or “Did You Know….” or “Ask an Expert” are all regular column ideas that people are comfortable with and can easily browse.
  6. Write smart headlines. To catch someone’s eye, headlines and graphics are at the top of the list. But remember a good headline also needs to accurately describes the topic of the article. I notice many publications rely on an incessant use of puns, song and movie titles or catchy “plays on words” as headlines. For instance, a story wind velocity and roof repair gets called “Gone With the Wind.” Is it really that funny? No. Does it explain what the article is about? Well, beyond the fact that it involves wind, no. It’s clear an editorial choice has been made that requires each article use this device as a headline. It becomes tiresome and misleading. A great pun can work well as a headline – feel free to get creative – but straight talk can also do the job.
  7. Be accessbile. Use your newsletter to provide as many ways as possible for someone to reach you: phone numbers, web addresses and links, maps to your locations both online and in the real world. Let people know you want them to be in touch.
  8. Do not think of your newsletter as a piece of paper. Yes, you will want to print, mail and distribute physical copies of your newsletters to employees, current clients and the public. But begin to think of the newsletter as the information itself. It will take the form of a printed piece, but can also be repurposed into blog posts, e-newsletters, and website information. Just be sure to learn the rules for email marketing and don’t let yourself inadvertently run afoul of the CAN-SPAM act.
  9. Employ social media and the internet. Staying in touch with your industry peers online through Twitter, Facebook, LinkedIn and relevant trade association or industry websites provides you with a wealth of topic information and inspiration for your content, as well as serving as an avenue to promote your newsletter/blog/website. Check out exmples of other newsletters and a plethora of blog posts like this one giving advice on how to write, design and distribute your newsletters. Stay connected.
  10. Be consistent. If you plan to publish a monthly newsletter, stick to your schedule. Do not miss a month, especially early on when you are hoping to gain reader loyalty. Also, be consistent in your editorial approach.

Rely on your printer for advice and direction in creating and distributing your newsletters, by mail or online. They should be able to provide you with everything from encouragement all the way to the complete design, layout, copywriting, production, multi-purposing and distribution of your periodic marketing outreach. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

 

ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
Posted on

Print & Proofing: Typos Make Way for the Photoshop FAIL

If you work in the print or design business for any length of time, you will acquire a few stories to tell about typos, mistakes, and gaffes that escaped undetected by the proofing process. We proof carefully, and we encourage clients to be diligent in proofing before signing off on even the simplest of jobs. But even the sharpest proofreader lets a mistake slip by occasionally, and we are powerless once the ink hits the paper and the paper leaves the building. It says something about the power of print that once these mistakes are out in the public domain, they seem to carry so much weight. Today, with Photoshop and the ease of photo editing, the problems that use to exist with typos and misspelled words have now moved into the realm of images. Careless photo editing can result in some really humorous and costly mistakes.

The New Typo: the Photoshop Fail
Glad I saw these legs hiding among the pool furniture before showing the client a proof.

My most recent flub involved the photograph above. This time, I caught it before it made it’s way to the client or, even worse, the press. In removing a person from the background of a larger photograph at the customer’s request, I neglected to remove the bottom part of her legs. There they stand amongst the deck furniture, smirking… an innocent, though sloppy, oversight.

Many times, however, edits are not the result of mistakes, and are viewed by the public in a much more negative manner. The fashion industry receives harsh criticism for their over-zealous use of the Photoshop edit in their print marketing. Many have taken already thin models and edited them down to impossibly thin results. Magazine covers routinely edit away the size and curves of women. The effect of these industry practices on the body image of young girls and women is troublesome to many. Companies like Ralph Lauren and Ann Taylor have suffered negative effects from public backlash by going too far with these edits. (Check out this video, Killing Us Softly 4: Advertising’s Image of Women.)

In an odd twist on the topic of “Photoshopping,” the New York Department of Health recently fell under fire for using a stock photo of an overweight man from Getty Images and digitally “removing” his leg to make him look like an amputee. The photo was used as part of a controversially graphic ad campaign that sought to link soda consumption to Diabetes. In this case, the photo edits were done well, but the fact that the photo was assumed to be non-edited drew the complaints of many who thought the ad campaign either inaccurate or too graphic.

We seem to want to trust that photographs are telling a story of fact – that they are evidence of a slice of reality. Yet we know photographs can be altered in perfectly convincing ways to tell whatever story we want them to. The result is we take some satisfaction in spotting the mistakes of a sloppy Photoshop guru – almost as if we uncovered someone trying to dupe us by the manipulation of the photo.

Check out these sites for some really entertaining photo gaffes: the “11 Biggest Photoshop Fails of All Time” and “The Funniest Photoshop FAILs of All Time,” courtesy of the Huffington Post. There’s even a website (of course) that keeps you up to date with the latest Photoshop disasters.

ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
Posted on

10 Tips for Designing Vehicle Wraps with Adobe Illustrator

Adobe Illustrator is a great tool for designing vehicle wraps, and with the help of Adobe PhotoShop you can achieve beautiful, high impact results. Perhaps the most important tip for the designer is to begin with an accurate template and work closely with your print provider to follow their required quidelines. Installation and print considerations can sometimes trump an interesting design idea when it comes down to the practicality of applying images on vinyl to metal. Below are 10 tips to bear in mind while working with wrap designs.

Vinyl Vehicle Wrap of Snake on a City Bus
Credit – Advertising Agency: Bates Y&R, Copenhagen, Denmark. Creative Director: Ib Borup. Art Director: Peder Schack. Agency Producers: Josephine Winther-Poupinel, Steen Nøhr. Other credit: Erich Karsholt

 

  1. Your design starts with an accurate template of your vehicle — they are available from the manufacturer or online and are essential for creation of your design at the correct size. Most templates come drawn at a scale of 1:20. Change the scale from 1:20 to 1:10 by selecting all and increasing the size by 200%. Now the scale is 1:10, where 1 inch onscreen equals 10 inches in real life. When the files are output, they are scaled at 1000%. It keeps the math simple.
  2. Begin by setting up your template with the correct layers. One layer will need to include all the bumpers, windows and elements that allow you to view the design in a realistic way, but are really not needed for printing. This layer should be at the top of the Layers palette. You can keep it locked while you work. Create separate layers for each of the different views that will be printed out: passenger side, drivers side, front, back and top. On each layer you will need to place a copy of the vehicle outline of that view to clip the images/artwork placed there. Create a Clipping Layer (not just a clipping path). That way, all art placed on that layer will be clipped, regardless of its order in the palette. When it comes time for output the clipping mask can be turned off. Also, name each layer clearly. Keeping all of this organized is the key to creating usable files that your printer can use for output.
  3. Keep in perspective how your wrapped vehicle will be seen – usually while in motion, or from a driver’s level view while sitting in traffic. Bolder colors and one main point of focus might work best to make your design eye-catching. Extensive text will probably not be very useful. By the way, if your vehicle has a sliding door, be sure any text or images don’t create an unexpected result when the door is open… you don’t want to be surprised by what might inadvertently be created!
  4. Be careful of the corners! Bear in mind that your design has to be tiled into panels which are generally 52 inches wide, and your print provider or installer will need to discuss with you any concerns they have about how difficult the crossovers on these panels will be to line up during application. When you design a side view, it will have to connect with the front and back view. These “corners” will have to either match or have some allowance made for one image ending and the other beginning. If you can work in a solid color in these areas, or white space, it may prevent an awkward crossover in the finished product.
  5. If you work with Photoshop to bring in image or pixel-based artwork for your wrap, be sure you are using a high resolution image. The preferred resolution for an image placed at 100% in this 1:10 scale is 720dpi – much higher than what is preferred for standard offset printing. The reason is that these files will be output at 1000%. File sizes will be large. Green gar with vinyl car wrap
  6. Some parts of your vehicle cannot be wrapped: state laws effect which windows can be covered with 50/50 window graphic material, and some plastic components will not allow the vinyl material to properly adhere. Consult the installer to find out these limitations, and to determine whether handles, chrome, and other decorative pieces can be removed, covered, or cut around.
  7. Keep it simple. Overly complex designs will often defeat your purpose, both in being visually confusing and difficult to install. Car wraps have great proven recall rates, but too much information will work against a good impression.
  8. Allow for at least 3 inches of bleed area outside the outline of the vehicle – that translates to .3 inches at the 1:10 scale you are working with. When in doubt, leave even more.
  9. Avoid use of spot colors – go ahead and convert them to CMYK or RGB (whichever mode in which your provider suggests you work). The use of spot colors where any transparency is involved can result in some strange and unexpected results when printed.
  10. Save a copy of your file to keep. Then turn all your fonts to outlines, save it as an eps and turn that in, along with ALL linked or placed image files, to your print provider.

Expect your printer to make some adjustments, with your approval, to your files in order to achieve the best results. It is also a good idea to doublecheck measurements between your digital template and the actual vehicle to avoid any costly mistakes. Designing “flat” artwork to fit over an irregular three dimensional object can be tricky, so work closely with your printer and installer to achieve the best possible outcome.

Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.
Posted on

Easy Adobe PhotoShop Tips: Keyboard Shortcuts

The first steps in learning Adobe Creative Suite’s PhotoShop are always exploring the tool bar and scanning through the drop down menus. But if you use PhotoShop with any regularity, you soon discover common tasks you are performing over and over with each image, and the repetition of those ‘click patterns’ can quickly become tedious. By learning and using even a few keyboard shortcuts you will be amazed at the speed with which you can accomplish your edits.

Everyone develops their own signature style and knowledge base in using PhotoShop, and we all settle on our own set of keyboard shortcuts that become second nature. For anyone new to PhotoShop, experiment with some of the most common. Many simple tasks, such as switching tools, can be accessed just by hitting a letter. The shortcuts are often obvious, some a little less so. You can hover over the tool icon on the tool palette and PhotoShop will tell you both the name of the tool and its keyboard shortcut in parentheses:

  • M = Marquee Keyboard Shortcuts in Adobe Photoshop Save Time
  • C = Crop
  • L = Lasso
  • B = Brush
  • E = Eraser
  • P = Pen
  • W = Magic Wand
  • V = Move
  • A = Direct Selection
  • I = Eyedropper
  • U = Rounded Rectangle
  • R = Rotate View

Common Keyboard Shortcuts for Adobe Photoshop Save Time

Common actions for editing that become very useful to know as a shortcut include:

  • Command-J (PC: Ctrl-J) duplicates the pixels you have selected to their own new layer.
  • Option-Delete (PC: Alt-Backspace) fill with foreground color
  • Command-Delete (PC: Ctrl-Backspace) fill with background color
  • Command-L brings up the Levels dialogue box
  • Command-M brings up the Curves dialogue box
  • Command-F5 brings up the Fill dialogue box

To move around quickly without changing tools on the toolbar, press and hold the Space Bar to temporarily activate the hand tool. To zoom in or out without the magnifying glass, try Command-+ or Command-– (PC: Crol-+ and Ctrl-–). To fit everything on screen, use Command-0.

Most shortcuts are listed under the drop down menus, or can be found in PhotoShop Help. To be honest, I stumble across most of them by accident – bumping the wrong key and wondering “Now how did that happen?” No harm done in fumbling around and finding out for yourself! Make friends with the shortcuts, and don’t feel pressure to learn them all (no one actually does that, do they?). Learn the ones that save you the most aggravation.

Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

 

Posted on

How to Make a Print-Ready PDF/X1a File: Save Time and Money

PDF stands for Portable Document Format… a friend of mine says it really stand for “Pretty Darn Fast.” And they do travel with much lower file size than your root documents and images. However there are many different “flavors” of pdfs that can be created with different end-uses in mind. Think of a pdf as a suitcase – you will have to decide what and how much to “stuff” into that suitcase so that everything needed at its destination will be there… and nothing that is not needed (therefore saving on file size).

Creating a print-ready PDF/X-1a file from your desktop application will save you time, money, and is your best bet to ensure error-free printing from your digital files. Unless you want your printer to be able to alter or edit your documents, just follow these easy steps to “pdf” your files.

  1. Choose File – Export. At the bottom of the dialog box, for Format choose Adobe PDF (Print). See Fig. A below.
  2. In the Export Adobe PDF window, you will initially start on the General tab (they are listed at the left). On this tab, at the top under Adobe PDF Preset, choose [Adobe PDF/X1-a: 2001]. This will adjust ALMOST all of the settings you need to create your print-ready file. See Fig. B below.
  3. Click on the Marks and Bleeds tab. Under the Marks section, check the box for crop marks, leaving the others unchecked. Notice that the Offset is set to 0.0833 in. by default. Under the Bleed and Slug area, enter 0.5 in. bleed for all four sides and leave other boxes unchecked. Whether or not your document has a bleed, we prefer all PDF/X-1a files to be submitted with crop marks and the 1/2 inch bleed area around the outside edges. See Fig. C below.

 

And that’s it!

File Export to PDF from InDesign
Figure A: File – Export
Step 2: the Export Adobe PDF window
Figure B: the Export Adobe PDF window
Marks and Bleed Area
Figure C: Crop Marks and 1/2 inch Bleed Area

These steps are specifically for Adobe’s Creative Suite and InDesign. You can create your pdf files directly out of PhotoShop and Illustrator as well. If you are using another desktop application, such as QuarkXpress or even Microsoft Word or Excel, all these controls will be there in different locations… you will still need to find where to select the PDF/X-1a preset and the accomodations for crop marks and bleed area.

We have many tools and tricks to adjust and control the output of properly made print-ready pdf files for offset printing. By using the pdf workflow, we bypass the problems of the past that included unwanted font substitutions, missing images, and accidental changes that could occur when reopening or editing root documents.

Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

 

Posted on

5 Reasons to Love the Vector Version of Your Logo

Yes… you need a vector version of your logo! You may not be able to place or use it in a Word document, but for any high quality printing or output (or for spot or “2-color” printing) you should insist your designer supply you with the vector logo. Preferably, it will be the way your logo was originally created, and you will not have to pay or struggle to convert it from a pixel-based image after it has already become an integral part of your brand. Here are the reasons why:

  • Vector artwork can be scaled to any size needed and maintain its perfect clarity. They have crisp edges at any size as they are based on mathematical formulas rather than a bed of pixels.
  • They maintain a clear, transparent background when placed over other artwork or elements in your design. PNG files also have this ability but are pixel based so… (see reason #1)
  • They can function either in RGB or CMYK color modes as well as carry spot color definitions. You can select exact PMS color matches so that your brand is always reproduced consistently. While there are methods to include spot color information in a pixel-based file (DCS files from PhotoShop with spot color channels) they are, again, not resizeable and do not include easy trap information for printing.
  • You can easily switch a vector logo to a pixel-based file (.TIF, .JPG, .PNG, etc.) for manipulation, web use or other instances… but it is difficult and sometimes impossible to travel from pixel to vector in a satisfactory manner.
  • This last reason can be debatable and I am sure there are exceptions to the rule, but: as most logos need to be clean, vivid and memorable, vector shapes readily lend themselves to these qualities. The logos you know and remember are almost always designed as vector shapes rather than fuzzy, artistic brushstrokes or photographic effects.

WARNING: pixel-based files can be saved as EPS files, but be aware that just because it has an EPS suffix it has not been magically converted to a vector file. Also, pixel images can be placed into vector draw programs like Illustrator and saved as .AI or .EPS files. Again, not vector!

Vector shapes can be resized
both of these images are .EPS files, but the one on the left is pixellated. The one on the right is a true vector logo.
Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, high impact graphics and marketing solutions.

 

Posted on

When printed halftone screen angles conflict, THAT’S A “MOIRÉ”!

You have encountered moiré (pronounced ‘more-ray’) patterns many times and perhaps not known the term for what you were witnessing. When a television is photographed or videotaped, those annoying interference patterns and running lines are a moiré effect. If you have ever seen a person on television wearing a striped or patterned piece of clothing and it appears to undulate or move in a strange optical illusion – that is a moiré as well (specifically called “strobing”). The moiré appears whenever two grids are overlaid at a conflicting angle, or if they have differing mesh sizes.

Moiré samples
Left: Overlapping concentric lines create a moiré effect. Center: a scan of an offset printed photo reveals a repeating pattern effect or moiré, rather than a smooth color. Right: The 'rosette' dot pattern created by overlying halftone screen angles.

In the world of offset print and graphics, moiré patterns arise in two main ways. First, and most commonly, when a preprinted image is scanned, interference occurs between the ruling of the dot pattern of the original print and the scanner’s sample pattern. Filters can be used during the scan process to “descreen” the result and minimize the moiré, however it is always best in printing to avoid scans of pre-printed pieces for your artwork. Even descreening results in a less sharp image, and a ‘softer’ or fuzzier appearance.

Second, and less common thanks to Raster Image Processors (RIPs) and their digital control over imaging, are the moiré patterns than can occur when the four screen angles used in offset printing conflict. Each color in 4-color process printing is screened into a pattern of dots, and then angled differently to form a full color image. A standard set of screen angles to avoid a moiré is 105° cyan, 75° magenta, 90° yellow and 45° black, although the visibility of moiré is not always predictable, with some images exhibiting a moiré where others do not.

A great way to see how a moiré pattern works is to check out the demos at mathematik.com and mathworld.com. For a great explanation about screen angles and halftone patterns, be sure and read the Quality in Print blog.

Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, high impact graphics and marketing solutions.

 

Posted on

How to Set Up Tri-Fold Brochures that Fold Correctly

If you layout your 8.5 x 11 brochure for a tri-fold by splitting your page into 3 equal columns, it will NOT fold correctly. Text and images will appear off center once folded on several of the panels. The thickness of the paper during the fold must be accounted for to achieve a finished panel that is centered. The panels on the inside, being a mirror image in placement of the ones on the outside, must also be offset an equal but opposite (in the other direction) amount. The amount of offset, however, can vary depending on if you are printing on text weight, cover stock, or other paper types. Below you will find a general setup that works for a tri-fold brochure. (With InDesign, multiple page sizes are supported within one document so you can set up your different sized panels there as a 6 page document as well).

How to set-up a tri-fold, 8.5 x 11 brochure:

Allow a .375” margin on all four sides of the paper (unless you are sure you are printing on oversized paper to accommodate a bleed.) Two panels are 1/16” larger than the third. Pages 1 & 2 of your document must be set up INDIVIDUALLY with different panel widths, being mirror images of each other – see the diagrams below. Unless you are using heavy paper, an amount more than 1/16” will be far too much for a fold allowance.

The FRONT COVER or outside panels:

Panels 2 & 3 must be slightly larger than Panel 1.

Brochure Trifold

 

The Back or INSIDE PANELS:

Panels 1 & 2 must be slightly larger than Panel 3 (the mirror image of the outisde setup)

Trifold brochure dimensions
Dimensions for the inside panels of a Tri-Fold brochure
Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, high impact marketing solutions.

 

Posted on

Rack Cards – 6 Tips to Rack Up Profits

Rack cards are one of the most concise, effective and affordable marketing tools to put information into the hands of your customers. You can maximize their impact by keeping a few key issues of content and design in focus. Include a QR code, and you have bridged the gap between your printed marketing and your online presence.

High Impact, Low Cost, Full Color – The Benefits of Rack Cards

Rack Card Full Color
Full Color, Low Cost, High Impact Rack Cards

The very simplicity and size of rack cards make them a powerful, straightforward marketing tool. Standard rack card size is 4″ x 9″, suitable for easy display in high traffic areas and convenient to pick up and carry. They also fit nicely into a #10 envelope for mailing. Eyecatching color and graphics can work to ensure your content is noticed. Some rack card subject ideas include: company overviews & introductions, mission statements, sales events & promotions, specific product information,  announcements, and informational/educational content. They should also encourage connection to online content and purchasing.

6 Tips for Designing & Printing Rack Cards

The size of rack cards encourages you to be specific about the information you include – keeping content focused, clear and effective. Here are a few tips for creating your layout – some are common to all printing projects, some unique to rack cards:

  1. Maximize use of color and photographs. You only have a second to catch the eye of a consumer passing your rack card display and you will want to make the card something they pick up and enjoy visually. The top portion of the card needs to include either your logo or the title of the card’s content, and an eye-catching colorful image. Maximize use of unique, original photos of your business or subject matter, minimizing use of stock photography when possible. A good tip for inspiration: visit rack card displays and notice the cards that pop out and make you want to pick them up — study those!
  2. Brand your work. Rack cards are a “high touch” marketing tool, and many people will see your card, even if they do not pick it up and carry it with them. It is essential your rack cards are designed to maintain the standards of your brand in both color, quality and content. To select a generic template online that does not match your brand, or to throw together a quick layout may save you money in the short run, but will establish a perception that is confusing and/or negative to many potential clients or customers.
  3. Focus your content. Before you begin to write copy, be clear about the message you want to relate and your target audience. A specific message, directed to a specific type of consumer, increases your card’s chances of being picked up and remembered. Practice defining the subject of your copy in five words or less. If you can’t do it effectively, you need to narrow the focus of your subject matter.
  4. Don’t limit print with low-tech assumptions. Printed pieces are a time-proven means of getting your information into the public. But they can now be the essential link between a hands-on contact and your online marketing. Use QR codes on your cards to drive traffic to online promotions or websites. You can then track exactly who, by clicking their smartphone’s camera, is coming to your site, and judge the effectiveness of your rack card promotion. At the very least, include your web address and direct people to find you online.
  5. Multipurpose. A run of rack cards can and should be used in several different ways to maximize their effect. You can arrange a display at your business and find as many appropriate places as possible in public areas to display your cards. Ask vendors, neighboring businesses, and related but non-competitive businesses if you can leave some cards in their lobby. Also, use the cards for bulk, targeted mailings.
  6. Don’t forget to include the basics… and proofread! You have limited space left after your photos and branding but you need to include the information a potential customer will need to contact you. Include a map (they are easy to get your hands on these days) to your location. If you want to push traffic to your website instead, replace the map with a LARGE version of your web address and a QR code. Phone numbers, fax numbers, mailing address… check and double-check for errors. The amount of waste due to one misplaced character is incalculable.
Contact us at ImageSmith for quotes on rack cards, and more useful tips on how to create custom, high impact marketing solutions.