This invitation was designed by Julia Kostreva. We felt this was a unique wedding stationery set in both it’s design and production. Julie worked with us to lay out the press sheet for her design in a way that could utilize a split ink fountain. (That’s were a couple colors are loaded in the ink fountain and blended together in a single color pass on press.) It is printed on Crane Lettra Fluorescent White 110lb cover. It also has a unique halftone applied to the floral artwork that made additional visual texture within the letterpress printing.
PS. This is featured today on Martha Stewart Weddings.
These black and white wedding invitations dress up with a flashy little pink edge coloring. They were designed by the bride Laura Widmar. She incorporated both Spanish and English into each piece in the wedding suite by using the front and back sides of the cards.
We letterpress printed them on 110lb Crane Lettra Pearl White and pasted them Spanish to English after printing, making a thick 220lb cover stock. We then trimmed them to size and edge colored everything in a bright pink.
This wedding invitation for Andy and Drew is certainly a unique format. It was designed by Drew Hodgson for his wedding in Palm Springs, CA. The bold colors and contemporary shapes make the design both modern and masculine. The invite is actually a folder enclosure that opens to reveal the invitation text on the flap. The folder opens further to Continue reading ‘Modern Graphic Type Wedding’
This is a letterpress printed invitation for a destination party, complementing a custom wedding system we printed a while back. These are also designed by the groom Scott Peiffer.
The card is a thick 200lb Wausau bright white. It was printed on a cylinder press with a light blue flood of ink with a red ink mixed to match the envelope color. We printed the same red ink on the envelope flap for a tonal effect. Note the nice pop through details of the paper left white.
Travis at Lifelong Friendship Society in Brooklyn designed these invitations for his wedding. We love the vintage-yet-modern style with beautiful art nouveau title typography details. The text for the main invite card is nested into the unique and detailed illustration. The elaborate illustration is complete with birds and bees, spiders web, stylized portraits, and lots of geometric love.
We letterpress printed with brown and gold ink on Pearl White Crane Lettra 110lb. The three cards were printed together (in really tight register) as a press sheet and trimmed to size. The linear artwork paired perfectly with the letterpress process, creating sculptural impression highly detailed press work.
This invitation designed by the groom Tyler Thiessen at Neuhaus Design and illustrated by bride Jessie Turner makes their wedding invitation into a fresh art print. It is nice to see a wedding invitation that is illustration centric versus type heavy. They put all the text on the web. You can check out the couples wedding website here.
The illustration is simple with just a little overprinting of bright red and light blue inks. Most of the artwork knocks out, requiring very tight register. (like the blue dotted lines on the hot air ballon.) It is printed on Crane Lettra Flo. White 110lbC The card is like a small poster and folds up to a 5.5 x 5.5 square.
We won’t mince words, this was a hard invitation to print with letterpress. Registration was tight, and the paper does stretch with heavy impression over a solid graphic area. Plus, large areas of solid color are not ideal for letterpress. Letterpress is definitely not like screen printing these kind of solid colors. Most letterpress equipment will not be able to handle this kind of press work. We printed this one on a Heidelberg Cylinder that has the impressional strength to lay down some pressure. Chances are if you send an invitation our way with a lot of ink going down you will get an email with our handy disclaimer that goes something like this. Once all this is understood we can move to press. And as you can see, we DO print areas of solid color and it can turn out very beautiful. Just realize there WILL be variation within the job that is inherent to printing this type of work with letterpress.
This illustrated wedding invitation was influenced by the ultra baroque style of the church location for the marriage ceremony. Federico Jordan designed and illustrated in his unique graphic style. The event will be in the colonial city of San Luis Potosí. The Templo del Carmen was build in 1741 and looks amazing. Inside there is a small chapel know as Capilla de Nuestra señora del Carmen where the brides ancestors are buried.
The card is letterpress printed on Gruppo Cordenons, Canaletto Grana Grossa Bianco 111lbC.
We’ve also worked with Federico in the past on a little illustration promo card with a character that comes apart like a nesting matryoshka doll, with balls. Check out another post about the insane Shakespearian Thinktopia poster we printed, also illustrated by Federico.
This massive custom wedding system is exquisitely graphic. It was designed by the groom, Scott Peiffer. More of his design portfolio here. What is especially nice about this invitation set is the uniqueness of each card. Care was taken to bring together lots of different textures and graphics – beautifully combining, flourishes, coral patterns, florals, silhouettes, crests and even a bulldog.
We letterpress printed all the cards on a sheet together in two color on Cordenons Canaletto Grana Grossa Bianco 111lb C . It is a 20% cotton blend stock with a textural finish. The A7 folder is sized to fit inside an A7 envelope. It is letterpress printed in a coral pattern with a tone on tone blue ink and then die cut. The folder stock is a bright color 100lb cover stock from French Paper‘s Poptone line. The Save the Date Envelope is also a matching stock color, printed tone on tone.
This simple one color wedding invitation was designed by the groom for the couples December wedding in Kyoto, Japan. The head silhouettes have a unique anime / manga style. We also love the modern graphic crest containing the interlocking rings and the matrimony announcement. It’s a bold yet refined design – traditional subject with a modern presentation. Nice work Osamu!
The cards were layed out together on a large 13 x 18 Flo White Crane Lettra 110lbC press sheet. These were printed on our Vandercook Uni III. We letterpress printed two passes of the gold ink for better ink density . Here’s something to keep in mind when running a double pass on a cylinder press – don’t adjust the packing on the press between pass one and two. By adjusting the packing, you also change the circumference of the cylinder, making it very difficult to register the second pass. We like to run two passes of ink metallics to give a little better sheen. Metallic ink, especially on an uncoated cotton stock will never be shiny like a coated stock or approach the mirror finish of a foil stamp, but it is crisp in details and does offer a small amount of shine.
Designing your own wedding invitations has to be a designers most challenging project ever. And these are some to be proud of. The groom, Jefferson Perky of Perky Bros., designed these with an elegant typographic flair. They combine textural wood grain photography and letterpress printed type.
We produced these cards together on a 13 x 18 press sheet. The wedding invite was printed along with a save the date card, a thank you card, an accommodations card and a die cut vertical belly band. The stock was 100% cotton 110lbC Pearl White Crane Lettra. The wood grain was digitally printed, then the black type was letterpress printed.
When thinking about doing a letterpress wedding invitation it is important to consider all the cards you need upfront. We ultimately print everything together – saving us time and our clients cost. (Example – if you know you need a thank you card, plan to print it with the main invitation set.)
Not every wedding invite is so typographically unique as this one, with wedding birds too! Emily and Emory, the Bride and Groom designed these fun loving cards with display typography built from basic geometric forms overprinting each other. The warm color palette is three spot PMS colors which overlap and create additional letterpress texture. The cards are Crane Lettra Florecent White 110lbC 5 x 5 size – all printed together on a single large press sheet in tight register. They even included a little “eye spy” art print that turned out really sweet as well. The envelope is a metallic Stardream stock printed with silver metallic ink. Check out Emory’s site for even more illustrative work.