Tag Archive for 'french'

Studio On Fire Capabilities Journal

Another goodie that we created to take with to the National Stationery Show was this pocket sized journal. We wanted to make something that not only explains all of the different process that we offer, but shows them. We sent the cover through the press over a handful of times to letterpress, foil stamp, engrave, foil emboss, tonal letterpress, emboss, deboss, and diecut. (We’ll do some additional posts in the near future to outline each of those processes in more detail.)

The cover is French Steel Grey 100# Cover with a French Banana Split 70# Text flysheet. For the gutt we letterpress printed a variety of text weight stocks with a tonal grid. To finish it off everything was saddle sewn together with a bright red thread and the corners rounded.

We had several people ask about getting these on our Instagram, so we’ve put all of the extras up in the store for only a dollar (plus shipping).

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All projects produced in our shop are custom. If you are interested in obtaining a quote for printing or design services, please use the request an estimate feature on our website.

2015 SOF Special Edition Letterpress Calendar

When we started planning what we were going to take to the National Stationery Show we decided to create a desktop calendar with all 12 months illustrated by Studio On Fire (no need to fret, we still plan on making our traditional calendar with a slew of illustrator friends). This special edition for 2015 features illustrations of some of our favorite things around the shop (though we must admit we struggled to make the entire thing not about food… we love food).

As for process, we sent the calendar stand into production first, giving ourselves enough time to duplex the stock (French Steel Grey 100# cover and French Banana Split 100# cover), letterpress print, diecut, and hand assemble each one. Simultaneously, all of the pages were letterpress printed with four inks (including one fluorescent and one metallic) on one press sheet (French Sweet Tooth 140# cover). The pages were then cut down, nestled into the stand, and packaged in the final letterpress printed wrap.

We ended up depleting most of our inventory at the show, however we do have a handful of these available for purchase in our online store.

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All projects produced in our shop are custom. If you are interested in obtaining a quote for printing or design services, please use the request an estimate feature on our website.

Custom Diecut Wedding Invitations

Whenever designer  Priya Patel, of Pomegranita, brings us a design to produce we know it’s going to be stunning (remember this?), and this invitation suite is no exception. Clean typography, a limited color palette, and a dash of pattern all show off the sexy custom diecuts. An important design detail to note is how the thin gold border on the invitation is a decent distant from the diecut edge, allowing for minuscule shits in registration during production without the border looking completely off kilter on the finished product.

A single gold ink was letterpress printed on French Poptone Pink Lemonade 140C before the pieces received the final diecut.


All projects produced in our shop are custom. If you are interested in obtaining a quote for printing or design services, please use the request an estimate feature on our website.

Studio On Fire Ink Knife Promo

When you have a pressroom full of gadgets (and more importantly, people who know how to use them) the possibilities for self promotion pieces are endless. Recently we decided to make an oversized business card based on one of our most used pressroom tools, the palette knife.

Orange ink was laid down first, followed by an overprinting of blue ink on the handle to make the brown woodgrain handle, in addition to giving it a dirty ink spattered quality. French PopTone Sweet Tooth 100# Cover was used on the outside, with a 100# Tangy Orange triplexed down the center, ending with a total thickness of 400# cover. A custom die cut finished the piece off nicely.

All projects produced in our shop are custom. If you are interested in obtaining a quote for printing or design services, please use the request an estimate feature on our website.

Mode Set Bus Cards

These business cards designed by Amy Kitt for Mode Set are a great example of how to sucessfully incorporate a splash of metallic foil into a project.

A single grey ink was printed on both sides of a French Durotone Steel Grey 200# cover stock. To finish things off a small metallic foil icon was imprinted on the front of the cards. Subtle. Classy.

All projects produced in our shop are custom. If you are interested in obtaining a quote for printing or design services, please use the request an estimate feature on our website.

2014 Studio On Fire Desk Calendar

The 2014 Studio On Fire letterpress printed desktop calendar, a project that has been happening annually for over a decade, has recently been completed and now ready for purchase over in our shop.

Each year we here at Studio On Fire select ink colors, paper stocks, and a come up with a theme before asking a slew of illustrators to join us in creating custom artwork for each month. This year we tackled January and October, the remaining months feature illustrations from the ever talented: Beeteeth, Lab Partners, Brian Gunderson, Jolby, and Kate Bingaman-Burt.

The theme for 2014 was “Happy Place,” playing on the concept that your happy place might be an actual place or maybe just something small in your life that brings you joy. From kittens to castles and coffee to burgers, this year is chock-full of delightful illustrations to keep you in a good mood all year (small disclaimer: you might get very hungry some months).

As for the nitty-gritty print specifications, there are two major components of this calendar: the easel stand and the calendar pages themselves. The production of the easel stand started with us creating a custom duplexed stock comprised of French PopTone Sno Cone 100# cover and French Construction Grout Grey 100# cover. After duplexing the stands were letterpress printed with a tonal ink before being diecut and hand assembled. Our favorite feature of the stand is on the back where the diecut allows you to get a peek at the Sno Cone blue paper.

The calendar pages were all printed at the same time on one press sheet, French Speckletone Starch White 140# cover, alongside the outer wrap that uses bits and pieces of imagery from the calendar months. Though the color palette is slightly more traditional than we’ve used in the past, (a pale blue, orangey red, mustardy yellow and a metallic champagne in place of black), we think the colors kept the everything feeling bright and cheery (and allowed for beautiful overprinting).

Available for purchase right now in our store, and for a limited time the promo code SOF2014 will get you one for only $20 bucks!


Base Art Co Business Cards

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.

Weddingram Invitations

A few years back we were able to work with a great couple, Michelle and Brad, who wanted their wedding invitations to resemble old school telegrams. We went to town, turning small details from their life into design elements that really enhanced the suite; their dog was even incorporated as having given the “stamp of approval.”

Though the design is completely custom, we kept production costs to a minimum by using only one ink across the entire project (even on the envelopes, we used the same teal ink, which resulted in a great tonal effect). Letterpress printed on French PopTone Whipped Cream 1oo# cover, we duplexed these after printing to create a thick 200# stock. The envelopes are French’s Blu Raspberry A7 square flap.

Pivot Interiors 2013 Letterpress Calendar

Pivot Interiors once again embraced their California heritage when designing their 2013 desktop calendar that we produced for them. In 2012 they featured classic California architecture and this year they showcased some of the golden state’s most notable cultural treasures.

All of the monthly pages were run at the same time on one large press sheet, which helps keep some costs down (we only had to set up and wash up each color once), but can also cause some challenges on press. As sheets are run through the press over and over, the paper can begin to warp, wreaking havoc on registration. Taking the time to properly trap all of the artwork in the prepress stage and watching the amount of impression while on press can help quell this.

The pages and outer folding wrap were printed on one of our large cylinder presses with four inks on Mohawk Via Vellum Bright White 100# cover. The desktop stand was letterpress printed with one ink on a custom duplexed stock comprised of Mohawk Bright White 100# cover and French Poptone Blu Raspberry 100# cover. After printing the stand was custom diecut and hand assembled.

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.

 

Kate Arends Wedding Roundup

We’ve had the pleasure of printing several wedding suites designed by local Minneapolis creative Kate Arends. A full-time designer over at Cue, Kate also freelances and does a beautiful job curating her blog Wit + Delight.

Sized to fit in preexisting #10 envelope, the first suite is printed with three inks on Neenah Classic Crest Natural white 165C with a flash of metallic gold edge coloring. No checkboxes in sight, the RSVP is cleverly designed as one card perforated down the middle–allowing the guest to respond with a hearty “YES” response card or use the alternate “Regretfully Decline” postcard.

 

We love the bold graphic nature, humorous wording and great use of an inline font on this second suite. Printed on French Poptone Sweet Tooth 140C, the invitation card scores twice to z-fold into the envelope. Though the cards use only black ink, the fluorescent green envelope, Mohawk’s BridteHue in UltraLime, adds a punch of color.

Update // See Jon and Alecia’s entire wedding over on 100 Layer Cake.

 

Lastly, there’s a wedding suite and save the date Kate designed for an Australian bride out of Adelaide. Filled with elegant typographic lockups and textured backgrounds, this was printed with gold ink on French Poptone Whipped Cream 140C .

Howler Business Cards

Designed by Priest + Grace for Howler magazine, these oversize business cards are an amazing example of what a good design and a little tonal ink can do. Howler magazine is a quarterly publication for soccer enthusiasts in North America, so it only made sense for these cards to reference the size and color of actual penalty cards used in soccer.

There are several production techniques we used to successfully produce these cards. First, instead of printing all of the information blind we used a tonal ink color (a red ink on the red, yellow on the yellow). When something is printed blind it relies solely on good lighting conditions to be legible. Our solution is to print using a tonal ink, which creates just enough contrast between the artwork and the paper to make your contact information visible. Secondly, these cards were printed with fronts and backs up on the same sheet, duplexing the sheet after printing. This allowed us to run a heavy impression on press but then conceal the impression show through by duplexing the sheet back to itself.

The red cards are printed on Mohawk Via Scarlet Vellum 80C (duplexed to make 160C) and the yellow cards are on French Poptone Lemon Drop 100C (duplexed to make 200C).