You might remember Slate from this earlier version of their cards that we produced in 2010. Years have passed, but they still know how to design a beautiful card using multiple processes; this latest version incorporates foil, letterpress, and a peekaboo die cut.
A white foil was used on both sides of Mohawk Via Vellum Cyan 80# cover. A separate sheet of Crane Lettra Flo White 90# cover stock was letterpress printed with black ink before receiving an interior circle die cut. Now for the fun part: after all the printing and die cutting was completed the stocks were custom duplexed, allowing the foil “S” to show through the peekaboo die cut.
We’re extremely proud to finally share this project that we worked on a few years back.
Spring of 2011 Make Retail brought us in to partner on a project for Ace Hotel New York and Google for a special release of the Chromebook. You may remember, Ace Hotels partnered with Google to put a Chromebook in every room of their New York hotel that entire summer. It was free to use during your stay and had a custom app (designed by Superfuture) for those who needed a little supplementary New York knowledge.
We custom designed the sleek wool sleeve (can wool be sleek?) to give the Chromebook an easily transportable home. A coordinating mini-sleeve to houses the power cords was created to effortlessly keep things together on-the-go. With a wrap-around cording closure, meticulously chosen buttons and contrasting top stitching, the details really made this an enviable accessory.
You can find more of Studio On Fire’s handiwork tucked into the interior pockets of the sleeve. An instruction card filled with a cheery welcome message and helpful tips was letterpress printed with a cool gray ink on 110lb Crane Lettra Flo White cotton stock before being scored, folded and inserted.
In another interior sleeve pocket, letterpress printed journals are graced with a quote from John Milton, “A sable cloud turns forth its silver lining on the night,” that we pulled from wood type on our proof press before digitizing for final production (BONUS–guests were able to keep the journals after their stay was complete, whether they purchased the Chromebook or not). The covers have a tonal ink impression on a Mohawk Beckett Concept Wood Spice 130lb cover stock, while the interiors were offset printed on Domtar Cougar Opaque Smooth Natural 60lb text. Finished off with some curvy corners, we’re sure these were stolen by jealous friends when not guarded properly.
Cricket Design Works, located in Madison Wisconsin (the cheese capital of the world… at least in our eyes) designed this awesome poster for eatwisconsincheese.com. You may remember some of the other projects that Cricket has sent our way in the past, but this poster is probably one of the most coveted prints around the shop due to our over-the-top obsession with cheese.
This was letterpress printed using three inks on Crane Lettra 110# Cover stock, a cotton fiber stock that is one of Studio On Fire’s favorites due to the impression depth we can achieve on the soft surface. Be sure to take a a little time to check out the illustrations, they were created with a lot of attention to detail, however they’re pretty forgiving on registration due to their sketchy nature.
3 Advertising, based in Albuquerque, designed these ingenious business cards sleeves for photographer Michael Barley that we letterpress printed not long ago.
The sleeves were letterpress printed on French Speckletone Natural 80# cover stock. After printing the sleeves were custom diecut, including a window that showcased examples of Michael’s photography from the inserted card. To keep everything all together a small sticker was letterpress printed with a tonal ink on a kraft label stock that was then custom diecut and pinhole perforated.
The 2014 Studio On Fire letterpress printed desktop calendar, a project that has been happening annually for over a decade, has recently been completed and now ready for purchase over in our shop.
Each year we here at Studio On Fire select ink colors, paper stocks, and a come up with a theme before asking a slew of illustrators to join us in creating custom artwork for each month. This year we tackled January and October, the remaining months feature illustrations from the ever talented: Beeteeth, Lab Partners, Brian Gunderson, Jolby, and Kate Bingaman-Burt.
The theme for 2014 was “Happy Place,” playing on the concept that your happy place might be an actual place or maybe just something small in your life that brings you joy. From kittens to castles and coffee to burgers, this year is chock-full of delightful illustrations to keep you in a good mood all year (small disclaimer: you might get very hungry some months).
As for the nitty-gritty print specifications, there are two major components of this calendar: the easel stand and the calendar pages themselves. The production of the easel stand started with us creating a custom duplexed stock comprised of French PopTone Sno Cone 100# cover and French Construction Grout Grey 100# cover. After duplexing the stands were letterpress printed with a tonal ink before being diecut and hand assembled. Our favorite feature of the stand is on the back where the diecut allows you to get a peek at the Sno Cone blue paper.
The calendar pages were all printed at the same time on one press sheet, French Speckletone Starch White 140# cover, alongside the outer wrap that uses bits and pieces of imagery from the calendar months. Though the color palette is slightly more traditional than we’ve used in the past, (a pale blue, orangey red, mustardy yellow and a metallic champagne in place of black), we think the colors kept the everything feeling bright and cheery (and allowed for beautiful overprinting).
Available for purchase right now in our store, and for a limited time the promo code SOF2014 will get you one for only $20 bucks!
We couldn’t wait until spring to see you all again, so we’re turning up the heat, opening our doors, and inviting you in for a wintery helping of letterpress goodness.
Friday, December 6th we are once again joining forces with our basement neighbors, Westwerk Design and Hennepin Made to host a basement block party of fabled proportions. Hennepin Made is holding their annual sample sale, Westwerk is partying down with their recently refreshed identity, and, as per tradition, Studio On Fire will be letterpress printing a poster for you to take home (possible holiday re-gift?).
Be sure to come hungry, as Natedogs will still be serving his quality wieners, Dogwood Coffee will be crafting beverages to thaw your Grinch-y heart, and we’ll have several beers on tap. It’s a family friendly-ish event (we’ll have a kids activity) that starts at 5pm and runs until we give up. So grab a coworker, a friend, and/or your mom and come on down.
1621 East Hennepin Avenue, Minneapolis MN 55414
Enter the building on 16th Avenue SE, proceed downstairs.
We put this up as a Facebook event, too, if you’re into that.
SHIFT LAB, a web and mobile developer, embraced the beauty of materials when designing their business cards that we produced a while back.
For the logo side of the card we used Mohawk Via Vellum Safety Yellow, in an 80# cover, which is a stock that is vibrant in color without being fluorescent. The logo was printed using a tonal ink, creating just a subtle color change between paper and logo.
The information side of the business card was letterpress printed on Neenah Classic Crest Solar White Smooth 165# cover with a black letterpress ink as well as a custom mixed yellow ink that matches the Mohawk stock on the reverse.
After printing the two stocks were custom duplexed together, for a card with a total thickness of 245#, and the edges were colored black.
Blok Design, with offices in Toronto and Mexico city, have sent us several jobs over the years, but this stationery system for VUHL has got to be one of our favorites. Blok created the entire entity for what the VUHL website calls “a road-legal lightweight supercar.” You read that correctly, a SUPERCAR.
Blok always does a great job choosing materials and this was no exception. Two paper stocks were used, a rich Royal Blue and crisp Pristine White, both from the Colorplan line. The stocks started at a 270 gsm thickness and were duplexed after printing, making the final product a hefty 540 gsm. Silver ink was used for all of the letterpress printing and all the foiling was done using a transparent foil. The transparent foil created a subtle tonal shift and a slight change in sheen. The end result is both bold and elegant.
The folks over at Base Art Co do some great work ranging from book covers to responsive web design, though our favorite project is probably these business cards they designed for themselves and sent our way for production.
A card comprised of two stocks that we custom duplexed together after printing, the final weight of this card ended up being a sturdy 320# cover. The white side of the card is Crane Lettra Flo White 220# cover stock with hit of tonal letterpress varnish, while the grey is French Durotone Steel Grey 100# cover letterpress printed with a silver ink and white foil. After duplexing and getting trimmed down to their slightly undersized dimensions of 3″ x 1.75,” a bright yellow edge color was applied, which added a splash of color in addition to hiding the seam of the custom duplex.
That’s right folks, we’ve added hot foil stamping to our repertoire of specialty in-house processes.
One of the best things about foil is, unlike our letterpress inks which are transparent, foil is opaque, allowing us to apply a lighter color on a dark background (see this blog post to read about letterpress printing with white inks on black stocks).
As designers we love(!) tiny type, but as printers, we know there are limits to what is realistically achievable. With that in mind we created a set of specimen cards, exploring different type sizes using the two fonts we use for our identity. From the reasonable 11pt type all the way down to the petite 5pt italic Baskerville, the foil held up pretty well, though the fidelity at these sizes can’t always be guaranteed–it’s going to change from typeface to typeface.
With letterpress printing we recommend tracking out your type (at least to 25 or 50) to give room for impression between letters. For foiling we recommend the same, this keeps letterforms from merging into one blobby mess on press.
We found that the metallic foils (gold, silver, copper, etc) released a lot cleaner than some of the pigment foils (colored foils, such as the blue foil shown below). We definitely wouldn’t recommend getting too tiny with the pigment foils.
A few years back we were able to work with a great couple, Michelle and Brad, who wanted their wedding invitations to resemble old school telegrams. We went to town, turning small details from their life into design elements that really enhanced the suite; their dog was even incorporated as having given the “stamp of approval.”
Though the design is completely custom, we kept production costs to a minimum by using only one ink across the entire project (even on the envelopes, we used the same teal ink, which resulted in a great tonal effect). Letterpress printed on French PopTone Whipped Cream 1oo# cover, we duplexed these after printing to create a thick 200# stock. The envelopes are French’s Blu Raspberry A7 square flap.