Two-Toned Edgecoloring

We recently produced this stationery suite  designed by Together We Create for the Massachusetts based film company Mystic Artists. The design called for two-toned edgecoloring–a production first for our studio–with two edges colored bright teal and the remaining two sporting a nearly-flourescent red. The outcome is fairly stunning, if we do say so ourselves.

The business cards were printed on Crane Lettra Flo White 90C custom duplexed after printing to make a 180lb thickness. Letterhead was printed on Neenah Classic Crest Solar White 80T with a coordinating 70T pre-converted square flap #10 envelope.

 

Beautiful Blind Impression

Based out of San Francisco, Passing Notes designed this beautiful stationery system for Muhs Home, an online store retailing elegant home furnishings and accessories. Refined typography utilized two inks alongside chic illustrations. Since the illustrations were printed with no ink, what is referred to as a blind impression, we used a thick Crane Lettra Flo White 220 lb cover stock, allowing us to really go deep with the impression while reducing show through.

Other projects we have produced for Passing Notes include this Aphro Chic system and Patti Schmidt business card.

Measure Promo Cards

These cheeky promotional cards, designed by the folks over at Measure, are a great example of how fluorescent and metallic inks appear when printed on white paper. Day-glo pink and metallic silver ink were letterpress printed on Crane Lettra Flo White 110c that we duplexed after printing for a finished thickness of 220c. One card then received two perforation lines, allowing it to break down into smaller cards.

Finessence Photography Identity and Stationery

A husband and wife photography team, Finessence Photography had just adopted a new moniker and was looking for a fresh look when they approached us to handle their rebrand and produce their print collateral. While we spend a lot of time (happily) printing for other designers, it’s always a treat for us to act as the design firm behind a project that hits our pressroom.

For the business cards we created a custom stock, duplexing Crane Lettra Flo White 110C and Beckett Concept Mohagany 130C. The rich mahogany stock was a great way for us to counterbalance the ultra-feminine flourish filled “F” we created  for the main logo with something a little more masculine.  A custom brown ink was mixed to match the mahogany stock for the crisp letterpress printed type sandwiched between two bands of a sculptural teal pattern. We were also able to use one of our favorite finishing techniques, giving the slightly undersized cards a splash of teal edge coloring.

After completing the business cards we proceeded to create a photo folio and gift certificate to round out their set of presentation materials. The structure of the photo folio is a call back to the flimsy paper sleeves drugstore prints used to come in, but this version is a bit fancier. A custom steel rule die line was created, which included an interior diecut to hold the business card, letterpress printed with two inks, hand assembled and kept closed with a velcro closure.

We’re also pretty proud to say this system was a winner in the 2010 FPO Awards.

Nara Business Cards

More and more clients are starting to request split fountain printing, where we put two ink colors on the same roller to acheive a gradient. Craig Duffney, a longtime friend of Studio On Fire, designed these cards for Nara, a web personalization tool. In this instance, the pink to purple split fountain is a direct callback to the gradient background of the Nara website. After two passes through the press and duplexing back to themselves, the cards were finished with a custom rounded corner diecut.

Letterpress printed on Neenah Classic Crest Solar White 200C.

Beautifully Patterned Business Cards

These beautifully patterned, slightly oversized, cards for Julie Dasher Rugs were created by Minneapolis designer Laurie DeMartino. With a common brown and yellow footer on each card, each rug inspired pattern features a different color from Julie’s brand identity. The reverse of each card shares a common pattern with the front,  but is printed using a tonal varnish, allowing the contact information along the bottom to spring forward as the focal point.

Letterpress printed on French Poptone Whipped Cream 140C, custom duplexed after printing to make 280C.

Wondermade Marshmallow Packaging

Heads of State designed this identity and packaging for newly launched artisan confectioners Wondermade. They wanted this truly tasty marshmallow treat to be bold and fantastic on the crowded shelves at confection stores. With a unique assortment of flavors Wondermade needed a really special little box.

We letterpress printed this packaging assortment on French Papers. Using Speckletone Madero Beach 80lbC custom duplexed to six different Poptone 65lbC colors we achieved a 145lbC hefty box, still able to pack flat and fold up sturdy. On press, we used the same plates for all the boxes, just adding a color wash up on the diagonal strip plate as we rotated through the Poptone colors. That way the outside and inside of the package coordinate and the colors can be matched up with flavors. The boxes are sealed with a digitally printed label that Wondermade can add as they create new flavors. We think the letterpress craft of these boxes makes the ritual of opening and enjoying even more special. You should try them now.

 

Venn Diagram Wedding

This suite, designed for Lindsay and Ben by their good friend Nicolas Carbonaro, is a great example of how to utilize overprinting inks. Since letterpress inks are not opaque, with the exception of metallics, a third color is created wherever two colors overlap–and in this instance, creating a great visual metaphor for love.

Another thing to note is the heavy ink coverage throughout the suite, so we required acknowledgment of our solid areas disclaimer before we proceeded into production. Printed with two inks, along with a blind pass, on Mohwak Loop Ivory  Smooth 160c, the cards were duplexed after printing to create a hefty 320c stock.

Oh So Beautiful Paper also featured these, be sure to pop over to check out some additional pictures of the complete suite.

A Collection of Radii

Designed for the ARTCRANK MSP 2012 show, our newest poster is an ode to all the radial objects in our life. With a bicycle wheel at the hub of the design, a hindu goddess, a space station and even a nipple made it on to the final print (not to be confused with the aureole that also appears, but we digress).

These were printed on one of our six Heidelberg cylinder presses (insert bragging here) on Crane Lettra Flo White 110c stock with one ink. Every print also got a blind hit of our studio seal, which required a second inkless run through the press.

Yes, you can buy one in our store.

 

Vintage Vehicle Logotypes

We believe a logo is at its best with a little dimension. Combine typography and machines and you have yourself a real shindig. The custom lettering adorning the sides vintage vehicles is a design category all to itself.  At this weekends “Back to the 50′s” car show at the Minnesota State Fair Grounds, we collected this gallery of logotypes. For those with a serious script fetish, this might not be safe for work.

Ilumini Photography Arts Business Card

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.

 

 

Split Fountain Summer Invites

These invites, designed by Douglas Behl for his upcoming nuptials, ooze summer. We can’t decide what we like more, the blazing split fountain color palette or the melty popsicle motif.

Split fountain printing is when we put two colors on the same roller, one on each end, allowing them to blend naturally in the middle, creating a gradient across the press sheet. This is a good way to get an extra color into your design without adding an extra plate. When planning a project that uses a split fountain across several pieces, keep in mind that the cards on either end of the press sheet end up being fairly one color. You can see in this instance the RSVP and Thank You cards were at opposite ends of the sheet, whereas the Invite and Details cards were placed in the middle where the color transition happened.

You can see split fountain printing in action in this video we took a few years back.