Free design proof on every custom order: no templates, no stock SKUs
Standard tickets are sized and formatted the way most people picture an event ticket. A compact rectangle with a perforated stub, sequential numbering and room for the event name, date, time and admission details. That familiar format is useful precisely because it's familiar: door staff, ushers and attendees all know how to handle it without instruction. Standard sizing also keeps costs down compared to custom or jumbo formats, since the die and layout don't need to be built from scratch. This is the right choice for concerts, conferences, school events and trade shows that don't need a nonstandard size or added security features.
A standard ticket is the format most people already know how to use without being told. A compact rectangle with a perforated stub on one end, a sequential number, and space for the event name, date, time, venue and any seating or admission details. That familiarity is a practical advantage: door staff and ushers can process a line quickly, and attendees know to hold onto the ticket and hand over the stub without instruction.
Concerts, conferences, school functions, trade shows and stage performances are the most common settings for this format, since each of these events needs the same basic things from a ticket. Proof of admission, an identifying number for reconciliation, and a stub that stays with the organizer for headcount and accounting. Because the size and layout are standard rather than custom-built, production is faster and less expensive than a fully custom job, which matters for events working with a tighter print budget or a shorter lead time.
Construction includes a clean perforation between stub and ticket, matching numbers on both halves, and a cardstock weight sturdy enough to survive handling at the door without bending or tearing prematurely. Printing can run single-color for a straightforward, low-cost order or full-color when the ticket doubles as a keepsake or needs to carry a sponsor logo or event artwork.
When ordering, it's worth deciding what belongs on the stub versus the main ticket. The stub typically needs just enough to reconcile headcount, while the ticket itself carries the event details the attendee needs to reference. If an event has multiple price tiers or entry types (general admission versus VIP, for example), planning a numbering or color scheme to distinguish them before printing avoids confusion at the door. As with any ticketed event, ordering a modest surplus above expected attendance covers walk-up sales and replacement needs.
A ticket lives in a pocket, a wallet or a fist between being bought and being torn, so it needs enough body to survive that without becoming stiff enough to resist tearing at the perforation. Card between roughly 250 and 350gsm is the working range. Too light and the stub crumples; too heavy and the perforation fights back rather than parting cleanly.
Why not use a heavier card? Because the perforation has to tear cleanly in one hand. Above about 350gsm it stops doing that reliably.
Sequential numbering is what turns a printed card into a ticket. The number is printed as variable data so every ticket in the run is unique, and on anything with a stub the same number appears on both halves, that matching pair is the entire mechanism by which a draw is verified or an entry is reconciled. Numbering usually runs in a contrasting color so it cannot be confused with the design.
Does the stub need the same number? On a raffle or a reconciled entry, yes. The matching pair is the whole point. Without it the stub proves nothing.
The perforation is a line of small cuts with uncut ties between them, and the tie length is set against the stock weight. Too few ties and tickets separate in the box before they are sold; too many and the stub tears raggedly or takes part of the ticket with it. It is a genuinely tuned specification rather than a standard line.
Why did my tickets tear in the box? Tie length too short for the stock. It is set against the card weight and the handling. Tell us if they ship loose.
Where a ticket has real value, it needs to be harder to copy than a photocopier makes it. Sequential numbering is the baseline. Beyond that, foil, a fine background pattern, a spot color that will not reproduce accurately, or printing on a colored or textured stock all raise the cost of forgery. Usually above the value of the ticket, which is all that is required.
How much security do I need? Enough that copying costs more than the ticket is worth. For most events, numbering plus one foil or spot element is plenty.
The format most people picture: a compact rectangle with a perforated stub, sequential numbering across both halves, and enough room for an event name, a date and a seat or entry reference. It is sized to be handed over, pocketed and torn at a door, which is the sequence the whole specification is built around.
How small can a ticket be? Small enough to pocket, large enough to read the number and date at arm's length. Shrinking past that makes them harder to check at a door.
Ask for samples before a long run. How a stock takes a perforation is the property that decides whether stubs tear cleanly.
A unique number on every ticket, printed in a contrasting color and repeated on the stub. It is the baseline security feature and the mechanism that makes reconciliation possible at all.
A line of cuts with tuned uncut ties so the stub separates cleanly in one hand. Tie length is set against the stock weight rather than being a fixed standard.
A metallic element or a spot color that does not reproduce accurately on a copier. Both raise the cost of forgery above the value of a typical ticket, which is all the security most events need.
Tickets bound into books, usually in fifties or hundreds, with a stiff cover. Books keep tickets in sequence and make counting sold against unsold straightforward at the end of a sale.
Same family, genuinely different jobs. Your current selection is highlighted.
| Ticket | From | Build | Order it when |
|---|---|---|---|
| Standard Tickets | $180 | Compact, perforated, numbered | Event entry, torn at the door |
| Jumbo Tickets | $210 | Larger, writable stub | Someone writes a name on the stub |
| Raffle Tickets | $170 | Matched numbers, both halves | A drawn stub must find its owner |
| Custom Tickets | $230 | Your size, numbering, security | Presets or numbering do not fit |
Small enough to pocket comfortably, large enough that the number and date can be read at arm's length at a door in poor light. Shrinking past that saves very little and makes checking slower, which is where queues form.
If tickets are sold, counted or reconciled, yes. Without a number there is no way to tell a genuine ticket from a copy, or to know how many were actually sold rather than printed.
Yes on anything reconciled. The matching pair is what lets you tie a retained stub back to a specific ticket, which is the entire reason a stub exists.
Around 300gsm. Lighter and the stub crumples in a pocket; heavier and the perforation stops tearing cleanly, which is the one thing a ticket absolutely has to do.
Pricing for standard tickets starts at $180 and moves with quantity, size, material and finish rather than sitting on a fixed list. Setup is shared across the run, so the per-unit price drops steeply as the quantity rises: the gap between a few hundred and a few thousand is usually the significant one. Send the size, quantity and what it has to do and you get a firm figure back, not a range.
There is a practical minimum rather than a hard one. Every run carries artwork checks, a proof and a press setup, so a very small quantity of standard tickets prices poorly per unit even though we will still make it. If you are ordering a small batch, ask for pricing at two or three quantities at once: the curve usually shows that a modest increase costs very little more in total.
The clock starts when you approve the proof, not when the order is placed, which is the part most people are surprised by. You get a proof first: a digital proof showing both halves with the perforation line and a sample of the numbering. This is where a stub with no room to write, or a number falling under artwork, gets caught. Turnaround after approval depends on the finish: anything laminated, foiled or die-cut adds a stage that cannot be compressed without causing problems later. Tell us the date you actually need them and we will work backwards from it rather than quoting a generic lead time.
Print-ready artwork with bleed and a safe margin, supplied as a PDF, AI or EPS. Photographic elements should be supplied at the resolution the finished size needs, not the resolution that looks sharp on screen. If your file is not print-ready, say so when you order. We would rather fix it before the proof than after the run.
Yes. Compact, perforated stub is the standard build, and the dimensions around it are yours to set. A size that sits efficiently on the press sheet often costs no more than a standard one, while an awkward proportion that wastes half the sheet does. Ask before you commit and we will tell you whether a small change to the dimensions saves a disproportionate amount.
In most cases they are the same product under a different name: the trade uses several terms for it depending on the region and the supplier. What actually defines this one is the build: compact, perforated, numbered. Order it when event entry, torn at the door. If you have seen it called standard tickets printing elsewhere, describe what it has to do rather than which name you found, and we will match the specification.
Yes. We provide free samples, and on standard tickets it is worth asking for one, because the difference between card and card is obvious in the hand and invisible on a screen. Most orders run on card, but ask for whichever you are weighing up. You also get a free design proof before anything goes to press, so nothing is printed that you have not seen.
The usual choices are sequential numbering, perforation, foil and spot color. Finish is not decoration on this product so much as a decision about how long it survives and how it reads in the hand, so it is worth choosing against the job rather than the budget. Tell us where the finished piece ends up and we will say which finish is doing real work and which is only adding cost.
Yes, and that is what almost every order here is. Nothing in this catalogue is a stock item: standard tickets are manufactured to the specification you give us, with your artwork on them. Send your logo as vector artwork where you have it, since that scales to any size without softening. If all you have is a low-resolution file, tell us and we will say what it needs before it reaches the press.
Yes, and a repeat run is simpler than the first one. We keep your approved specification on file, so a reorder skips the setup decisions and goes straight to production. If nothing about the artwork or the specification has changed, there is nothing to re-approve. Tell us the previous order and we will match it rather than starting the specification again.
Yes. Regalo Print has been producing custom commercial print for businesses across the USA and Canada since 2008, and every order ships tracked. The tracking number reaches you the day the job leaves, not the day it arrives. If you are working to a fixed date, say so when you order so the production schedule is built around the delivery date rather than the other way round.
