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The back of a business card is often ignored, but it can be a great place for extras that make your card even more memorable. No one knows more about the techniques and materials available—and new ones come out all the time. The standard sizes are 3.5 x 2 inches in the US and Canada, 85 x 55 mm in the European Union and 90 x 55 mm in Australia, New Zealand and Scandinavia. Unless you have some other use for your cards in mind (for example, a bookstore’s card that doubles as a bookmark), you’ll want to stay within those dimensions.
Any card (or any printed material for that matter) that isn’t a standard rectangle or that has holes in it is created by a technique known as die-cutting. This means that, in addition to the artwork, you will need to provide the printer with a custom shape to “punch out” your cards. The result can be as simple a round hole in the center of your card or as complex as a three-dimensional pop-out.
I’ll use die-cutting as an example, but most of these guidelines apply to the other finishes as well. The best applications to prepare files for any special print finishes are the industry-standard Adobe Illustrator and InDesign.
In Illustrator, when creating a new document, click on the “Advanced” options tab (in some versions this is already visible). Another thing to check is your black text and line art, if you are converting any of them from RGB. Let’s say your logo is a cloud, and you want the card to be cut in a cloud shape (not a very creative example but easy to explain). Notice how the logo has moved from the artwork layer to the dieline layer and is now also filled with the custom spot color. I won’t go into too much detail here, because bleed is a rather complex subject that deserves its own guide. On the same note, do not put any important elements (such as logo or text) too close to the edge. Usually, either a native file (AI, INDD, EPS) or high-resolution PDF is acceptable as the final file for printing. If you are unable to print locally (for example, because your client is remote), you have two options. The main criteria I use in choosing a printer is how responsive and knowledgeable they are. If you are not able to speak with the printer, add an email message or a file with instructions. You’ve probably noticed that most of these tips emphasize the importance of communicating with your printer. While pricing depends on many factors, there is usually a set-up fee when using a die-cut or other special finishing technique. The fee will be the same whether you print 50 or 500,000 cards, so printing larger quantities is much more cost-effective.
This may not be the case with certain popular formats (for example, rounded-corners business cards) because the printer would reuse the same template for multiple jobs, hence the special offers. I’ve devoted a big portion of this article to die-cutting because the file preparation and printing process described here is similar to many other techniques. This special finish is achieved by applying a clear varnish to an area of the card defined by you. File preparation is done the same way as for die-cutting, but instead of specifying a stroke, you specify a shape or area to apply the varnish to. Letterpressing is done by inking a raised surface and then pressing it into the paper, giving the design both color and depth.
Similar to die-cutting, a die is used to press the paper up, creating a three-dimensional raised effect.

File preparation for all of these effects is similar to that of die-cutting: you have to define the area to be coated, embossed or whatever the effect is.
When using photos for a special finish, create a clipping path in Photoshop before placing the photo in Illustrator or InDesign. This one is simple: just find a custom color you like by looking at the Pantone swatches, and add it to your document. Note: the easiest way to prepare photos with a special ink is to convert your image in Photoshop first to grayscale and then to duotone.
You won’t find many examples of this technique on the Internet because it doesn’t exactly translate as a photo. There are so many varieties that I wonder why most people still use the same white or off-white cardboard stock for their business cards.
File preparation is no different; except with colored paper stock, keep in mind that the colors will not display the same way in your software. If your service or product is related to a metal, you might want to consider using metal as a material. Again, check with the printer before preparing your artwork to find out what process they use to print on metal and which colors you can safely use. Sometimes, printing a highly customized card is simply not worth it, especially if you need only a small quantity.
You could print a standard card as the base of your idea and then customize smaller quantities by hand.
Incorporating something relevant to what you sell is a great idea, and there are plenty of ways to do this.
A paper clip would work for a business supply store or even a business consultant, while a dried or plastic flower would work for a flower or gift shopt. You could even invite the recipient to customize the card themselves; for example, by including cut and fold lines that transform your card into a unique shape. Hopefully this article offers enough information and inspiration for you to make business cards that are as creative as your imagination allows, and on any budget.
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The information is based on the detailed production records of five farmers growing crops such as bell peppers, cucumbers, eggplant, herbs, lettuce, and tomatoes. Many of these are beautifully done and well thought out, and they serve as inspiration for those who would like their business card to be more than the standard rectangular piece of paper. Don’t base your business card design on the fact that your printer has a special limited-time offer on round corners or metallic inks.
Do you think your name would really stand out in gold, even though your message is all about technology and recent code developments? Generally, printers are more than happy to give you all the industry news and advise you on techniques and materials. Smaller is okay, but anything too big won’t fit in most pockets, so consider going bigger only if you have reason to believe your cards will not be stored in wallets or holders. Maybe you’ve heard about die-cutting, varnishes, metallic inks, letterpressing and special materials but are unsure what they are exactly or which one is for you? The main differences are cited in the respective sections below, and I will provide links to help you read about the techniques in more detail. Photoshop is not suitable because it does not have the precision necessary for this kind of project. The latter refers strictly to printer hardware and its capability to reproduce dots on paper.
The only thing to make sure of is that the elements you insert in the document (such as photographs) are also at 300 PPI and use CMYK. Yes, both InDesign and Illustrator are perfectly capable of converting the output to CMYK when you export a file as PDF, but if you ever have to submit your source files to someone or use the images for something else, this extra step could save you hassles.
Make sure your outline for the die-cut uses a custom spot color, not CMYK; this allows the printer to extract the die-cut template when printing separations. You can bring up the options for Overprinting in InDesign by going to Window > Attributes, or in Illustrator by pressing F11 to bring up the “Attributes” window. For those of you interested in learning more, a couple of links are at the end of this article that explain it more thoroughly.
Leave a buffer margin (again, about 0.125 inch or 3 mm) around the dieline or document, to avoid the risk of something getting cropped.
Again, get in touch with them personally, rather than just submit the file via an online form, and make sure all your questions and concerns are addressed. Tell them about your project, and ask about technical specifications and any other questions you may have. You want someone who will actually check your file and contact you if there are any problems or questions; because no matter how great a printing deal you find, if your file has an error, that’s money thrown down the drain.
Native Illustrator files work well too, but be sure to check which versions of Illustrator your printer accepts.

These files can be imported into Adobe applications and will give you presets for exporting to PDF or EPS. Don’t forget to include your contact information so that they can call or email you if they have any questions! I cannot stress this enough: every project is different, and communication is the key to getting the best result possible. This is still done by filling it with a spot color and, in this case, setting the fill to overprint.
But you might need to submit two files: one with the artwork, and another with the area to apply the effect to. The easiest way to do this is to use a file with separate layers: one or more for the artwork, and another for the special finish guidelines (as described for the die-cutting file preparation above). Then you can use this same clipping path as the mask for your effect either by choosing to export the clipping paths to Illustrator or by right-clicking (PC) or Control-clicking (Mac) on the clipping path in InDesign and converting it to frame. Prepare your artwork as you normally would, but make absolutely certain that your output does not convert to CMYK if you are preparing a PDF (as described above). Combining this technique with die-cutting—budget permitting—gives an even more interesting result. If that is not enough (and money is no object), you can create a custom scent for an extra fee.
From soft-as-cloth finishes to cold-pressed textured paper, there are enough options for everyone’s needs. To simulate the effect, use a layer of a similar color below the artwork, and set the artwork layer to multiply; or to about 70% opacity with darker color stocks.
Alx Agency is a full-service agency equipped with an experts in the field of web, print, and marketing. Yet little explanation accompanies these examples, and figuring out just how to bring your idea to life can be overwhelming, to say the least.
You could include tips or a quick how-to guide relevant to your product, offer a free consultation, add a reminder for a date when you will offer discounts, or invite loyal customers to collect a stamp every time they purchase from you. The easiest way to think about this is to picture a giant hole-puncher, except that the holes are not necessarily round, but rather whatever shape you want them to be. I know this sounds like a no-brainer, but so many people forget to check the printed result. To create a custom color, click on the little arrow in the swatches palette, and click to make a new swatch. The best way to make sure everything goes according to plan is to ask questions, explain your requirements and look over the proofs in person.
Usually, the client will already have one lined up, but I strongly recommend you get in touch with that printer yourself, rather than just pass the files to the client and let them handle it.
Always check which versions of any Adobe software your printer uses if submitting native files. This is the easiest way to make sure that your final files are exactly the way your printer needs them. Hopefully this article has given you some ideas, and you will know how to start researching: by speaking with your printer.
Just make sure it’s relevant and fun, otherwise your recipients are unlikely to go through the trouble of cutting out and folding the card. This guide is meant to help you decide which technique is right for you, how to correctly prepare the files and what to look for in a printer. Or do you sell hand-crafted jewelry and want a design that reflects your latest silver creation? Think of something that would make them want to hang onto your business card and consult it often. In the dialog box that appears, choose any color that will stand out in your artwork, and then select “Spot color” from the drop-down menu next to “Color type.” The color can be anything you want. Ask questions, send over mock-ups, get a proof sent back to you—do what you can to make certain that the job prints the way it should. If they don’t have these files, both InDesign and Illustrator have presets for saving in PDF. If you think the back should be reserved for note-taking, why not mark a few dotted lines, titled “Notes,” rather than leave it blank? 100% magenta is quite popular because it usually stands out, but saving it as a spot color is important. Just make the necessary adjustments; for example, you will have to add the bleed to these presets manually (see the links at the end for step-by-step instructions). If you would like to learn more about DPI and PPI, see the link at the end for an article that explains it in much more depth.

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