Tag Archive for 'skull'

SXSW Squarespace Skull Cards

This is a letterpress card designed by Jessica Raley at Bantam Design for Squarespace. They are busy handing them out at SXSW Music Festival in Austin this weekend.

And they took some time to print, seven passes through the press to be exact. Due to the card volume, we printed them on  larger 13 x 20 press sheet 15up. They are printed on two paper stocks. Side one on Wausau Royal Complements Eclipse Black, printed with black, varnish, dark silver, light silver. Side two is Mohawk Via Scarlet Red printed with varnish, black and light silver. To hide impression show through we pasted them together after printing, adding thickness and rigidity with another 100lb cover sheet in the middle. The final three ply paper thickness is 280lbC. We trimmed the sheets down and edge colored them in a metallic silver.

Also check out the striking Squarespace business cards we’ve posted about previously.

Letterpress Poster Edition for Thinktopia

Thinktopia®, an idea generation company for some of today’s leading brands, commissioned this striking poster from illustrator Federico Jordan. Federico explains “The skull reflects our existence and interior vision: our vanitas.” He created this image for Thinktopia that explores the Shakespearian Yorick, San Jerónimo and mesoamerican skull racks called Tzompantli. There is an article on the back of the poster from Patrick Hanlon at Thinktopia that speaks about branding. (This poster print will serve Thinktopia as a new business tool – a mailing to prospective clients) More companies could learn from this – send out something cool to start a good conversation. We would say that an illustrated letterpress print is guaranteed way to get someones attention.

The 18 x 23 size poster is printed letterpress in four colors on Crane Lettra Pearl White cotton stock in both 110 and 220lb thicknesses on our Heidelberg Cylinder – quite possibly one of the most difficult jobs run in our shop recently. It was difficult because of the amount large areas of solid color, the thickness and size of the stock, and the tight registration. There is no overprinting of any of the colors, so all four color plates lock into each other with little forgiveness for shifts in register created by sheet distortion. Sheet distortion is physical stretching of the paper created under heavy impression. Each pass through the press creates slightly more distortion. So by the time we got to color number four, there was some colorful language as well. The 110lb stock ran pretty well but the 220lb stock is a bear to auto feed – especially five passes through the press.

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