This invitation suite was designed by the bride, Stacey Averbuch. It is an elegant invitation in it’s typographic texture, mixing a coarse script font with a finely serifed engravers typeface. The ink is dark brown letterpress on Crane Lettra cotton paper. A cement green envelope color from French Paper was used for all the envelopes in the set. Email Stacey if you really like the design and would like her to work on a custom stationery set for you.
This a good wedding tip: Colored Envelopes. We like the simplicity of adding color to a wedding invitation set by using a colored envelope. It’s a great way to put some color in the set without the expense of letterpress printing more color.
The same dark brown color is printed on both the cards and the envelopes. We printed the invite cards together on a single press sheet and trimmed them to size after printing. That keeps the cost of all the cards more friendly. Also, don’t forget to include a thank you card while printing your inviations. That saves time and money in the long run. We specialize in printing custom sets brought to us by other designers and event planners. Thanks Stacey for a sharp looking invitation.
Adam Hudson Photo sent us these cards for letterpress printing. The unique narrow format really make them different in your hand. And the three color options of orange, green and gray on one side is a nice way to add some simple variety to an identity piece. We keep the plate set up on press and just add a couple wash ups to the printing process.
A thick 220lb cotton stock takes a beefy impression. When a two sided card is pressed with a solid color, we almost always print the solid side first, then the text. This makes for a better sculptural impression on a text only side. Putting an overall impression on a solid area has the effect of ironing the paper flat and will diminish any impression of artwork on the reverse.
Another ink effect we like on this card is the white ink on white paper. We are using a tinted white ink to create a nice subtle detail with just the right amount of contrast to keep it readable. Some times an inkless (blind) impression doesn’t have quite enough visibility to read clearly. We put a little bit of silver in the white ink to give it just the right amount of eye love.
Designer Aya Ikegaya created this beautiful invitation structure for a wedding in Tuscany, Italy. We produced this by combining letterpress printing with blind embossing. The outer sleeve is actually the invitation. Inside is a thick cotton card letterpress printed with Continue reading ‘Tuscany Semi Formal Wedding Invitation’
The esteemed fellows at Wilderness in Portland sent us an unusually simple business card for letterpress printing. Rather than load up the card with four telephone numbers, an email, a fax, a twitter, etc – they all simply share the same card. A nice solution for keeping cost down too. Wilderness is the new design trailhead of Aaron James Draplin, John Phemister and David Nakamoto. We can’t wait to see what they do next. Of course, simple design doesn’t always mean simple production. We printed these on 220lb Pearl White Lettra, 100% cotton. Flooding a dark color like this on letterpress is difficult to lay down and keep consistent over the course of the print run – especially on a stock that has some texture to the
surface. When we print a solid like this, we generally go to our Paul Bunyan of Heidelberg Windmill presses – the 13 x 18. Even so, there is still a salty, weathered look to how a stock like this will take a solid coverage on letterpress. But we like it that way, it ain’t offset.
The folks over at Cue don’t mess around. They designed this seriously good card with a cartouche-like outer shape. We printed a single color letterpress on each side and die cut the cards with a small punch in the center.
When you are printing a business card with letterpress on each side, usually one side is chosen as the “hero side” and gets a bit more impression. When die cutting the hero side also faces up. The side on which the knife enters the paper is more rounded – more noticeable on thick stocks. This card is 100% cotton Crane Cover 179lb Pearl White.
(Completely unrelated: when my angry and nerdy designer side comes out with an insult, I’m likely to call somebody a cartouche-bag.)
This is a poster designed and letterpressed at Studio On Fire. It was for a gallery show called the Poster Offensive put on by our good friends at Spunk Design at the Frank Stone gallery in Minneapolis.
A couple years ago when this poster was designed, our countries leaders were talking about “exporting democracy”. I thought this quote by Albert Einstein was a counterpoint that summed up my feelings nicely. If the USA instead decided to export compassion I believe we’d find a more beautiful world.
It is printed on cotton paper in 2 color letterpress, size is 18 x 26. Designed by Benjamin Levitz at Studio On Fire. You can get one in the store on our website.
Another poster design we letterpress printed for Poster Offensive this last year is here.
We love thick stocks. It is a friend with benefits. One of the challenges in letterpress printing is working with the “show through” of the impression to the opposite side of the page. When you have a thicker stock it becomes easier to show more impression and have less show through.
These pictures compare 110lb Cover (300gsm) with 220lb Cover (600 gsm) Crane Lettra which is 100% cotton. What you should notice is that they both have a sculptural impression. But the thinner stock on the top does have some show through, while the thicker stock below has even more impression and no showing on the opposite side. That becomes important if you are doing a two sided business card and wish to minimize showing. The depth of impression on letterpress is controled by varying the amount of packing material underneath the sheet being printed. A single sided design is easier to achieve heavy impression because there isn’t as much worry about the back of the paper.