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
Tag Archive for 'edge coloring'
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
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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.
These cards designed by Villainy and Associates really make you stop and turn the thing over in your hand. The understated typographic design gives the letterpress production value emphasis. It’s simple and pseudo executive – flashy without being too flashy.
We printed letterpress metallic gold for the information and letterpress varnish on the logotype. We like using a varnish on dark stocks for a tone on tone effect. That gives a slightly better legibility than a totally blind, inkless impression. The stock is a thick 200lb Wausau Eclipse Black with metallic gold edge coloring.
For some illustration inspiration and silk screen goodness check out the Heads of State from Philadelphia. They designed these business cards with an insignia that turns the national USA seal on its ear, adding an extra head and replacing the olive branch and arrows with a pencil and x-acto knife. We letterpress printed in black and dark silver on both sides of Crane Lettra 220lb FLo White and edge colored to match the silver – it’s a card thick enough to plant a listening device inside. And maybe we did that too… maybe.
A strikingly simple business card designed by Blok Design out of Mexico City. Sweet type. We letterpress printed on some heavy 4 ply cotton museum board. Edged colored in a delicious yellow. A modern and materially elegant card indeed.
Abbie at Passing Notes is a master of refined print design. Her type is always exquisite and these cards for her client Aphro Chic were a pleasure to print. They are on a thick 60pt blotter stock with a flood of bold geometric pattern on the back and two color letterpress on the front. The blotter sheet has a pulpy appearance with lots of soft fiber texture. We printed the business cards along with a note card on the same press sheet so the print dollar went a bit further. The business cards were edge colored in a PMS match yellow for the perfect finishing accent.
These cards were designed by Reddoor Creative in LA. Finely designed and printed business cards speak volumes about a business or an individual – and there are no half measures here. These cards are letterpress printed 2 pms colors each side plus a blind hit. The paper is custom duplexed Fluorescent White 268lb 100% cotton Crane Cover Kid Finish. We’d say they have a “thump factor”. Duplex means pasting two sheets of paper back to back. In this case, we had the sheets pasted AFTER they were printed. We started with a press sheet for the front of the cards and another press
sheet for the back
of the cards, each sheet being at 134lb Cover weight. What this accomplishes is deep impression on both sides of the card with out show through from a heavy letterpress impression. Custom duplex pasting a sheet is the best way to achieve that heavy impression both sides and get a nice thick card with the artwork on both sides looking top notch. After pasting the press sheets together they were trimmed to size and edges were colored to match the printed pms. Coloring the edge of paper that thick really makes the most of the edge coloring effect. I think I want to
buy a house from this guy.
We just love folks that can blur the line between the disciplines of design and illustration. Jessica Hische is certainly one of those rarities. Be sure and check out her site for more great hand lettering and typography. She designed these business cards for new project by Mischa and Jacob DeHart called Culinary Culture – A Site for Serious & Aspiring Foodies. We letterpress printed these cards on 220lb Crane Lettra, 100% cotton stock. They are printed three colors on the logo side and two colors on the text side. Additionally, the logo side needed the dark red run as two passes – something we often do in letterpress when there is a solid area of color and text on the same
plate. The heavy ink density needed to cover a solid versus the light ink density for text lets the type remain crisp and the solid run as saturated as possible. (That means this piece of paper ran through the press six times – four on front, two on back.) And of course they just wouldn’t be complete without some edge coloring. These have a contrasting green edge which is nice and noticeable on the thick 220lb stock. We usually recommend edge coloring be applied to stock heavier than 160lbC. Coloring can be applied to thinner sheets, but the effect is more pronounced with thicker paper.