| Big things come in little packages. Postcard design | | | | message. Pictures or well-designed graphics can truly |
| uses small wonders to create large impact on the | | | | enhance the meaning you want and communicate the |
| sales of your business. | | | | concept you were after. |
| Don’t mistake the seeming simplicity of the | | | | • The graphic design of the postcards is well |
| postcard for granted. The captivating design wins your | | | | chosen to enhance and draw attention to the copy. |
| audience over. You can enjoy their full attention, and | | | | Although it helps to have a picture hinting at your |
| the short, no frills, easy to read copy sets the bait. | | | | products and services, the picture itself should not be |
| With Postcards Less is More | | | | expected to make the final sale. Although at times, |
| Postcards, when not used for advertising, are often | | | | truly great images or graphics can make the |
| purchased as souvenirs for hotspots and vacation | | | | difference. |
| areas. This might give you the idea that postcards are | | | | • Some postcards that go overboard with effects |
| frivolous and cute with no other goal than to be | | | | and computer graphics tend to upstage their marketing |
| aesthetically pleasing. But when used for advertising, | | | | message and end up with nothing more than pretty |
| postcards are a minimalist’s dream project. The | | | | images. |
| saying,”less is more” holds true. | | | | Building Tension |
| • When designing for postcards, you have to | | | | • Avoid boring designs that are too well balanced |
| remember that the goal is to send a marketing | | | | and stable. They do little to draw your clients’ |
| message to an individual person. | | | | interest. If you want to create interesting designs, you |
| • Because the postcard will land right at your | | | | have to build up tension. |
| customers’ doorstep, they have to spend the time | | | | • Tension is created when you make elements |
| picking up the postcard and inspecting it before they | | | | compete with one another, but in a way that their |
| can decide to keep or throw the postcard. | | | | forces are so equally balanced that neither side wins. |
| • This assurance of a few seconds of attention | | | | For instance, placing a small red flower near the lower |
| means your short messages get read. Your | | | | left corner of a photograph creates interesting |
| small-scale yet effective postcards aren’t | | | | contrast to a plain, solid background. |
| anywhere near of becoming like a tacky poster | | | | • Tension plays with ambivalence and dynamism. It |
| screaming for attention. | | | | turns simple photographs into powerful images. There |
| Understanding Postcard Graphics | | | | are many ways to build up tension. With postcards, |
| • The shock value referred to by other advertising | | | | you may choose to do it with pictures and illustrations. |
| materials should be left to posters and other outdoor | | | | But since most product shots are most likely to appear |
| advertisements. Postcards should be tasteful and | | | | commercialized, you can choose to find tension with |
| classy. It should be inviting, tempting, intriguing. Pictures | | | | your choice of materials. |
| play and create the careful balance of having clear | | | | Postcards may be simple advertising materials but |
| short images that produces the much needed interest | | | | they can make the dent in your cash register when |
| to hold your client’s attention. | | | | used correctly. Work with creating an interesting |
| • It also has the ability to enhance and amplify your | | | | postcard design and create big impressions. |