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).
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.
More and more clients are starting to request split fountain printing, where we put two ink colors on the same roller to acheive a gradient. Craig Duffney, a longtime friend of Studio On Fire, designed these cards for Nara, a web personalization tool. In this instance, the pink to purple split fountain is a direct callback to the gradient background of the Nara website. After two passes through the press and duplexing back to themselves, the cards were finished with a custom rounded corner diecut.
Letterpress printed on Neenah Classic Crest Solar White 200C.
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).
These over sized plaid pattern business cards were designed by our good friend Mark Saunders for his new solo creative venture PlaidLab. They use some great vibrant colors and the overprinting inks make rich and saturated secondary colors.
We letterpress printed them on heavy 220lb Cover Crane Lettra Pearl White. We usually run smaller custom business card orders two cards up on a small press sheet, so it was easy to provide some variety by including two different patterns. The magenta color is the same on both cards, but a color change from orange to blue on one plate gave the cards even more variety. One thing we did to keep the quality of the type crisp and punchy was to print it as a separate pass. By printing the same color in two passes we could run the large graphic plaid with heavy ink density and light ink density on the type. Mark was shooting for something about the size of an iphone, so the final cards were round corner die cut to an over sized 4.5 x 2.25. See comparison pic alongside a standard 3.5 x 2 inch business card for scale.