Utilizing their existing logo, we designed and produced these cards for Ilumini Photography Arts, a wedding and fine art photographer based out of Hawaii. After creating a type lockup for the contact information we designed a custom diecut that would elegantly frame the ornate “I” logo.
Letterpress printed with metallic silver ink on Neenah Classic Crest Solar White 110C and a tonal varnish on the Wausau Royal Complements Eclipse Black 100C, these stocks were duplexed after printing before receiving the final diecut.
With Memorial Day weekend staring us in the face, it only made sense to share this bbq related project. If you live in the Twin Cities you have probably come across the stylish orange Natedog’s food cart, stocked with quality wieners, tasty hand crafted mustards, and manned by the friendly proprietor, Nate Beck. We were lucky to have him at our open house in February and recently letterpress printed the labels for Nate’s honey-spiced mustard, now bottled and available for purchase.
Holmberg Design Co, who we most recently worked with on these Dogwood Coffee labels, is behind the Natedog’s identity and label design. Letterpress printed with two inks on an existing label stock, these were kisscut after printing with a custom made die that mimics the bottle shape.
CBS recently ran a nice feature of on Natedog’s that can be viewed here.
A new product we’ve been asking for (for several years) has finally arrived. Crane Lettra is now available as a 90lb cover stock that is thick, but not so thick, and good for duplexing.
Being the paper nerds that we are, we busted out our calipers to compare the thickness of duplexed Lettra stocks. Our 220lb Lettra stock calipers at .039″ (40pt) and the new 180lb cover stock calipers at .031″ (30pt), roughly a 25% reduction. Available in fluorescent white, pearl white and ecru, we’ve added this to our list of preferred house stocks.
Our first project to hit press with this new stock was for director Nathaniel Freeman. Letterpress printed with a navy ink and a custom varnish, the 90lb pearl white stock was duplexed after printing–concealing the impression show through in the center of the card. The finished product features a nice sculptural impression, but with slightly less bulk to the card.
We’ve had the pleasure of printing several wedding suites designed by local Minneapolis creative Kate Arends. A full-time designer over at Cue, Kate also freelances and does a beautiful job curating her blog Wit + Delight.
Sized to fit in preexisting #10 envelope, the first suite is printed with three inks on Neenah Classic Crest Natural white 165C with a flash of metallic gold edge coloring. No checkboxes in sight, the RSVP is cleverly designed as one card perforated down the middle–allowing the guest to respond with a hearty “YES” response card or use the alternate “Regretfully Decline” postcard.
We love the bold graphic nature, humorous wording and great use of an inline font on this second suite. Printed on French Poptone Sweet Tooth 140C, the invitation card scores twice to z-fold into the envelope. Though the cards use only black ink, the fluorescent green envelope, Mohawk’s BridteHue in UltraLime, adds a punch of color.
Update // See Jon and Alecia’s entire wedding over on 100 Layer Cake.
Lastly, there’s a wedding suite and save the date Kate designed for an Australian bride out of Adelaide. Filled with elegant typographic lockups and textured backgrounds, this was printed with gold ink on French Poptone Whipped Cream 140C .
For those of you who might not know, printing has a pretty shady past. At one point it was considered the work of Satan (how else could you explain being able to reproduce the Bible so easily?), which is how the profession earned the nickname the “Black Arts.” In full disclosure, there are some who claim this moniker came about because printers were often covered with black ink. Could be, but we like to believe the story with a bit more mystery behind it.
Enter the newest addition to the Studio On Fire shop: our homage to the black arts. Silver ink on a 100% cotton black tee shirt, this is a perfect purchase for anyone wanting rock a little bit of printing history. Buy it here.
Local Mpls designers Ross Bruggink and Jessica Keintz were married last year and we were pumped to print their invites that utilized beautiful eclectic typography.
An arrow theme, which we have a hunch is based on the bride’s wrapping arrow engagement ring, runs throughout this two color suite. Printed on Crane Lettra Fluorescent White 110C stock, the cards custom duplexed after printing, allowing us to run a heavy impression on the flood of pattern without completely killing the delicate type on the opposite side of the card.
Can’t get enough? They also created one of the coolest wedding websites we’ve seen.
additional photography provided by Ross and Jess.
This wedding suite, designed by the bride and groom, shows that you can have playful invitations while keeping the aesthetic classy. The main invitation was mailed with an accompanying information card–cleverly designed with a perforation line, allowing the attached RSVP card to be removed and returned. With many brides shying away from complicated wedding systems, it’s a practical way cut down on the number of pieces recipients will pull out of the envelope. Additional tags and cards printed on the same press sheet were used at the actual event
Printed with two inks, antique brown and a bright zip of yellow, on Crane Lettra Pearl White 110C (one of our house stocks).
Using the format we designed for our Studio On Fire calendars, the marketing team over at Pivot Interiors designed this 2012 calendar in celebration of their expansion into southern California. Created as a tribute to California architecture, this was used as a gift for their clients and was a great way for them to showcase their ties to the architectural and design communities. The beautifully detailed illustrations required us to keep a critical eye on the registration while on press and we’re thrilled with how tight the prints came out.
The interior pages and outer wrap were printed together on one press sheet using four inks on Mohawk Via Vellum Bright White 100C. The stand was printed with one ink on a custom duplexed paper made of Mohawk Via Vellum Bright Wht 100C and Mohawk Loop Vellum Thai Gold 100C before being diecut and hand assembled.
This print is the result of a collaboration between illustrator/painter/art maker Oliver Jeffers and swissmiss’ Tina Roth Eisenberg. Quirky and fun, this three color poster measures out at 11″ x 14,” printed in our Minneapolis studio on Crane Lettra Flo White 110lb cover stock. Does anybody else think popcorn sounds really good right now?
Available for purchase over on Swiss Miss.
If you haven’t had the pleasure of exploring Jessica Hische’s work, you should really go check it out. Her remarkable talent and wit permeates everything she does, a prime example being this poster she designed last year asking the age old question “should i work for free?” Every designer has asked themselves this at some point and Jessica has taken the time to break it down for you in this FIVE color poster she had us letterpress. Printed on Crane Lettra Flo White 110c (one of our house stocks), each 15″ x 25″ print is signed and editioned. Available for purchase in Jessica’s store.
Another side project Jessica produced is inkerlinker, a site dedicated to finding an awesome printer to fit your needs. We’re pretty pumped about the love people have shown us on the site and always enjoy reading the comments people leave. Go ahead and “like” us… you know you want to.
Who can resist a wedding invitation with flamingos? We can’t, that’s for sure. Designer Scott Peiffer created this elegant, yet whimsical, wedding suite we printed for an upcoming Miami wedding. There are a lot of pieces to this system, similar to the suite Scott designed for his own wedding we printed a couple years back, but each card effortlessly coordinates without being matchy-matchy.
All of the cards, along with the belly band, were printed together on one press sheet with two inks on Crane Lettra Pearl White 110c. The pattern on the folder was created by using one tonal ink on Arturo Pale Pink 260gsm. The folder was custom diecut and hand assembled after printing.