Imagine holding a tiny magnet, or a small tag, out at arm length; the way you read the graphic will change dramatically. Something that looks great on the computer may not work once the item is cut and mounted. A small souvenir, therefore, needs fewer words and greater contrast than a larger design. It may be a small object, but it needs to get the idea across without being difficult to decipher.
Often the graphic is the first thing to become cluttered. A phrase that looks great on a full size print design may become too dense to read on a keychain, sticker, corner of a postcard, or a small backing. Instead of trying to fit everything in, select the words that convey your main concept. Often a shorter place name, date, label or simple message works better than a full sentence. In addition, a souvenir may have a graphic motif or illustration; the words and graphic should work together so one does not compete with the other.
It also helps to have good contrast, since souvenir materials can sometimes present challenges. Ink may be absorbed slightly by cardstock, natural wood blanks add grain and color, or acrylic may reflect the surrounding area. Similarly, bright colors may appear differently on a black or dark background. Gray text on a light beige tag may seem fine at face value, but the design may appear washed out when the item is put in a display sleeve, or is viewed from a normal viewing distance. Testing lighter and darker versions of the color palette, before making a final selection, can make the difference between a legible or muddy souvenir graphic.
A good practice is to try the full layout design inside the actual size template. View the font size, line spacing, scale of any image, and the position of the trim line. If the lettering extends all the way to the cut line, the design can feel crowded. If the motif is too close to the text, neither element will be as strong as it would be on a larger format design. It often helps to allow for additional spacing; space on a miniature design is not wasted space, but is necessary to guide the viewer, and create visual breathing room for the main design elements.
To check your design, print or sketch it, then step back from it. Do not view the design while hunched over the work table; hold the sample up at eye level, or put the mockup into a product bag, or hold it next to a display sleeve. Ask yourself, does one part stand out over the other? If the decorative elements draw the eye more than the phrase, it might need to be reduced. If the text is difficult to decipher, consider adding more contrast or editing the copy. Similarly, if the central graphic is too busy, try removing or replacing one element rather than redesigning the whole thing.
Occasionally a beginner may try to increase low contrast by adding more decorative elements, but the effect can actually make the message more difficult to comprehend. A better approach is to be intentional about design choices: a singular motif, easy to read text, and color choices that have high contrast on your chosen material. It is important, especially when working with magnets, tags, stickers, or keychain blanks that are handled quickly, to present an easily understood item. In these cases, the message needs to be clear before every minor design element is noticed.
Before applying glue, transferring or laminating, take a final look at the graphic for legibility. Look for small fonts, low contrast elements, crowded corners, and minor details that will get lost under lamination, inside packaging, or with an overcoat. A good design does not have to say everything; it is much better to have one simple concept, with ample spacing and contrast, that is easy to read after the graphic is converted into the actual souvenir.