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.
Tag Archive for 'stock'
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.


Next time the public transit looks a little sketchy, you’re leaving the bar late and alone or your co workers simply won’t shut it – here is a gift we now ship with each custom project we letterpress. With tongue planted ever so firmly in cheek we present our very own 220lb, 100% cotton throwing star business card. It may not be deadly, but it will get the point across.

NOTICE: It is all fun and games till someone loses an eye. Don’t throw it at anyone unless you intend to use deadly force.
This post shows a card we letterpress printed for Grass Fed Cattle Company designed by a good friend and design mentor over the years – Michael Skjei. We love the commitment to local farmers and free range meats. If you are local, give these guys a try.

We seem to be getting an aweful lot of requests to print business designs with floods of solid color. It can work on letterpress – with a couple big caveats.
Will the color be consistent?
We will have a wider range of ink density variation in the print run than an offset press. We do not have computers sitting on press monitoring this, it is all by eye. We matching to a print at the beginning of the run and keep it as a target, adjusting as we go to keep everything as close as we can. But there will be variation.
The heavier the ink density, the more difficult it becomes to hold the detail of fine typographic detail. So if you are flooding, more robust type works better.

Will my color print solid?
This depends on the type of stock and the color. Lighter colors and smoother paper stocks generally print with less “saltiness” in a solid area of coverage. Since letterpress prints with pressure, we are much more subject to the texture and formation of the sheet of paper to achieve an even solid.
Will there be impression on the text?
Generally, no there will not be impression. Letterpress works best with text and artwork that is pressing into the sheet. If you are looking for impression while flooding a color, this is not a great use of letterpress. Notice how the logo and gray ink have impression, the green flood of color does not.

Is the cost the same?
A flood of color takes much more time to set up on letterpress than a card that has text only. Generally, this involves making ready the ink fountain and double the amount of makeready sheets to get color up to speed. Since we charge based on press time, printing a flood of color will cost more than printing a text only design.
However, most small offset printers can’t make a 160lb or heavier sheet of paper run through their press. So that leaves letterpress as a viable method to print to handle these heavier stock thickness. You have to get on a much larger offset press to touch that kind of stock thickness, which means also means bigger quantities and costs.
So yes, we can print solid colors IF you are comfortable with the variations that are inherent to the letterpress process.
Setting the tone for a black tie event with rich black paper just seems logical. Black paper should actually be a requirement if you are having a reception in a castle. (insert jealous sigh here) This contemporary type and linear design is letterpress printed with silver ink on 250gsm Stonehenge Black Paper in a horizontal format. It’s nice to see the type arranged outside typical wedding layouts. These invites were designed by a fantastic design firm – Field - based out of Copenhagen and Dublin. Which goes to show we are happy to letterpress print custom work for designers everywhere.



Edge coloring is an amazing addition to a letterpress project. These are a couple thousand cards stacked up, just completed for GS Design in Milwaukee. They designed these for their client Dohmen. The radial dots are a nice contemporary design on the face of the card and the sides are a matching vibrant green. They are printed in two PMS colors on thick 165lb Neenah Solar White.
We can match edges to any printed PMS color. And the effect looks at it’s best on stock 160lb or thicker. It’s taken us a few years of practice to get the edge coloring production process just right, so we are purposefully a bit elusive about exactly how we do this. It has something to do with unicorn tears and hens teeth. ;) The effect is much more subtle when seen as a single business card and always makes people take a closer look.



Designer Aya Ikegaya created this beautiful invitation structure for a wedding in Tuscany, Italy. We produced this by combining letterpress printing with blind embossing. The outer sleeve is actually the invitation. Inside is a thick cotton card letterpress printed with Continue reading ‘Tuscany Semi Formal Wedding Invitation’
The esteemed fellows at Wilderness in Portland sent us an unusually simple business card for letterpress printing. Rather than load up the card with four telephone numbers, an email, a fax, a twitter, etc – they all simply share the same card. A nice solution for keeping cost down too. Wilderness is the new design trailhead of Aaron James Draplin, John Phemister and David Nakamoto. We can’t wait to see what they do next.
Of course, simple design doesn’t always mean simple production. We printed these on 220lb Pearl White Lettra, 100% cotton. Flooding a dark color like this on letterpress is difficult to lay down and keep consistent over the course of the print run – especially on a stock that has some texture to the surface. When we print a solid like this, we generally go to our Paul Bunyan of Heidelberg Windmill presses – the 13 x 18. Even so, there is still a salty, weathered look to how a stock like this will take a solid coverage on letterpress. But we like it that way, it ain’t offset.













































