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.
Cricket Design Works is a full-service visual communications consultancy based out of Madison, Wisconsin. We printed their multi-colored business cards a few years back and completed this tasty poster duo for them just this past winter.
Appealing to both our eyes and taste buds, these illustrative posters were letterpress printed on Crane Lettra Pearl White cotton stock wtih three inks, a green, an orange, and a brown common to both versions. Nestled amongst a massive amount of foodie knowledge, the illustrations keep solid areas of color to a minimum, really showing off the letterpress impression with some hand drawn line work.
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.
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).
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.
We were lucky to once again work with the kind folks over at Martha Stewart Weddings. For their Fall 2011 issue (on newsstands now!) we were asked to create a wedding suite with a distinctly geometric flair.
One of our more masculine suites, you won’t see any cursive fonts or extraneous illustration announcing the celebration of this union. The sleeve, made out of French Construction Nightshift Blue, has a custom peek-a-boo diecut that reveals wedding details as the card slides out the top. Navy blue and warm gray inks overprint each other on 110 lb Crane Lettra Ecru stock. Custom envelopes with delicate line work complete the suite.
Ready to pump up your type vocab and sound smart next time you bump into Matthew Carter? Well then, this beauty of a poster designed by Drew Binkley at 38pages is just for you. They have a nifty site called typographydeconstructed.com with great typographic anatomy content. This poster is for sale there too – ready to release the inner type freak in all of us. Get yours with promo code SOF2011 good for $10 off.
We letterpress printed this poster on our Heidelberg 21 x 28 cylinder. You can see in the photo details, the polymer plate is positioned in the press on a custom made full size 21 x 28 inch Boxcar Base. The poster is printed with extra tight register (no trapping) on 100% cotton Crane Lettra Fluorescent White 110lbC and trimmed to a final size of 16 x 24 inches.
This is a new letterpress print from Rilla Alexander. She’s been a part of our annual calendar project for several years, so we were super excited to be part of her Sozi character launch this month. This beauty as well as other well crafted Sozi items are available in her shop and also at Collette through the end of December.
We letterpress printed an edition of 100 in red ink on Pearl White Crane Lettra 110lb C. Actual size is 40cm x 30cm. Get one while they last.
This wedding invitation design by Project o3 channels the lettering stylings of illustrator Ralph Steadman, (think movie logotype for Fear And Loathing In Las Vegas.) There is hardly any text on this invitation, just the most basic info. We thought it was certainly one of the more free spirited invitations we’ve seen and loved it for it’s departure from the more typical ornate weddings.
It is printed on 220lb Crane Lettra Ecru with black, red and light gray ink. The die cut belly band that holds the three cards together is printed with black ink on French Poptone Wild Cherry 100lb cover.
We think getting letterpress printing is even better than a gold watch. It is a great production option for special corporate occasions too, not just weddings. This invitation to celebrate Dunhams 50 years in business was designed by Riley Hayes Advertising. The type driven design is accented with a matching bright red matching edge color.
These pieces were inked with 3 color on one side with a tonal varnish on the other. We printed an invitation and map card together on a new favorite sheet – French Poptone Sweet Tooth White 280lb Cover. We like it enough that we are now custom making it to keep on hand as a house sheet. The thickness is about 40 points (.038 inch) which is a matching thickness to Crane Lettra 220lb. The good things are that it is less expensive than a cotton sheet like Lettra and smoother in surface, not as toothy a finish. It takes a great impression and works great for edge coloring as well.
This stunning letterpress business card was designed by 485 inc. for an arts group called Artistaday. And as the name would imply, Artistaday is a website that has a daily fine artist featured. Great stuff too, make sure and check them out here.
The typographic design is nice and bold, making the blind (inkless) impression really stand out. These business cards do something that does take an extra production step – heavy impression on both sides that lines up from side to side. To get this blind type to look really look good and provide enough sculptural to keep it readable without ink, it needed to be printed as a single sheet, then pasted back to back after printing so the impression on one side wouldn’t flatten the impression on other. The cards were printed on 110lbC Crane Lettra, then glued together for the final 220lb thickness.