This business card was designed by Webb de Vlam as part of their new identity launch. With design offices in both London and Chicago, they wanted a card that would surprise and delight clients and employees. The variety of bright accent color truly brings this project to life. The overlapping colors in the logo mark also create dimension by overprinting ink colors – a nice print interpretation of the online media logo.
The business cards are letterpress printed on Neenah Classic Crest Solar White 165lb C with four spot Pantone colors. There are three spot gray colors common to all the cards – that was the easy part. What made things interesting were the ten additional accent colors that switch out on the logo and edges – each person in the company receiving a palette of four color versions.
There has definitely been a trend toward larger companies using letterpress printing in their identities. We manage business card projects for companies with one person, or several hundred employees. These type of projects are most effective when they are planned with shell sheets in mind. A shell is a sheet with multiple cards ganged up that has all the common colors and logo already printed. That way, when a new hire or reorder occurs, we have those sheets on hand and ready to imprint on future orders. Typically, this works best and is most cost effective when the variable information on a card is planned in only one color. We advise companies to think about their card needs inside the next 18-24 months when ordering shells. Contact us to establish a letterpress business card production plan for your company.
We designed this wedding invitation for the lucky couple that won our giveaway with Martha Stewart. It’s only too fitting that the couple we chose to work with will be jumping fires on their wedding night. Besides complimenting our studio name, their scheduled wedding night activities (get your mind out of the gutter) lends perfectly to the orange and white color palette featured by Martha Stewart.
Juan and Irma will be getting married in Madrid on the 24th of June, the night of “San Juan,” traditionally a night when friends and family gather to build bonfires and leap across them in celebration of the summer solstice. (We did some intense Googling and it appears that in many parts of Spain this is a party night not to be missed). They wanted to keep the invitations informal (reflecting the backyard bbq reception), to the point where it doesn’t even use the word wedding–we had to imply celebration and union strictly through the design.
With fire as a central part of the celebration, a matchbook format for the actual invitation seemed only natural. The whole letterpress printed suite is designed in physical layers, causing the viewer to interact as they unfold the invitation setting the stage for the matchbook sitting in the center of a custom frame. The invitation itself is a two and a half inch by three and a quarter inch matchbook that opens to reveal french folded text weight sheets (spanish on the front, english on the back), an intimate piece meant to directly reflect the fires that will be sparking that night.
The copy inside reads “Celebrating the arrival of the summer solstice (amongst other astronomical events),” so we created custom illustrations based around the sun, the moon and the stars to give the suite a celestial feel.
The wrap features the graphic sun inspired emblem with a smattering of stars making their way to a moon icon on the inside flap.
Several diecut papers and a pop of edge coloring create a custom built A7 size frame surrounding the matchbook invitation for mailing.
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.
We made some new friends in London at a digital agency called Forward. They rebranded themselves recently and designed these cards that feel very undigital and textural, and that is what we do best. They are printed on Ahlstrom Blotter stock with custom duplexing to bring the thickness to about 50pt. This blotter board has an uneven pulp formation that gives the flood of ink a washed, almost denim feel on the soft paper stock. The cards are edge colored in a matching purple. And this was no small task, an office of over forty people is a lot of cards. We ran them 10 cards up on press five press forms.
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.
The fresh New Media firm, FRWD, from the other side of the city sent us their cards to get printed recently. They were designed by Justin Mckinley. Color choices and high-design sensibility really make these ones pop extra hard. Another prime application of edge coloring in a very tasteful way.