We have a lot of requests for blind (inkless) impression with letterpress plates. However, a tonal ink is often something we suggest rather than a truly blind impression. If the stock being printed does not lend itself to deep impression, the artwork needs some legibility or the art work is on both sides of the sheet, a blind hit can be ill advised. The amount of impression needed to clearly read a completely blind hit will create impression show through on the reverse side of the printed piece. One of the ways we get around this is to mix a tonal ink, shown here on both black and white business card samples. By printing a tone, we can lessen the impression and dial up the legibility a
bit. The black stock is 200lb Wausau Eclipse Black. It is letterpress printed with a black and silver ink mix. The white stock is 220lb Crane Lettra Flo. White. It is letterpress printed with opaque white ink contaminated with 877 silver.
Fuel is a great creative shop in Iowa that sent us this unique business card design for Whatsup Juggling. It is letterpress printed on thick 220lb Crane Lettra cotton paper. The inks are orange, blue and a custom contaminated opaque white. The card was then die cut into 2.5 inch circles. We then tried to juggle them. Business cards are really hard to juggle.
Some production notes: The original intent was to have the white printing be a blind (inkless) impression. However, where those blind areas of text line up to one another from one side of the card to the other, there is a push back on the impression. When there is no ink to even out the visual appearance, legibility can suffer where the impression overlaps from side one to side two. Putting a white ink down contaminated with a bit of silver ink helps even out the look and gives the general appearance of a blind hit. Check out the pics for comparison. Still subtle, but with a hair more contrast than a true blind impression.
Adam Hudson Photo sent us these cards for letterpress printing. The unique narrow format really make them different in your hand. And the three color options of orange, green and gray on one side is a nice way to add some simple variety to an identity piece. We keep the plate set up on press and just add a couple wash ups to the printing process.
A thick 220lb cotton stock takes a beefy impression. When a two sided card is pressed with a solid color, we almost always print the solid side first, then the text. This makes for a better sculptural impression on a text only side. Putting an overall impression on a solid area has the effect of ironing the paper flat and will diminish any impression of artwork on the reverse.
Another ink effect we like on this card is the white ink on white paper. We are using a tinted white ink to create a nice subtle detail with just the right amount of contrast to keep it readable. Some times an inkless (blind) impression doesn’t have quite enough visibility to read clearly. We put a little bit of silver in the white ink to give it just the right amount of eye love.
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.
When we work with designers on projects we have conversations about “production strategy.” Sometimes letterpress is a good fit for the design intent, sometimes not. And often times we combine other production methods to achieve the effect being sought after. Black business cards present a range of production challenges. Flooding a white paper with black ink doesn’t produce fine detail in small type sizes. Here are two projects featuring different ways to print on black paper by combining letterpress with other processes.
Jamie Wickard Card – Designed by our friends at Westwerk Design
This card was produced on black paper stock: Tonal Black letterpress ink and a gloss black FOIL (side 1) and Silver Letterpress (side 2)
Antitdote X Card – Designed by our friends at Antidote X
This card was produced on cream paper stock custom duplexed to black paper stock. (Black letterpress on the cream side and white ENGRAVING on the black side) Then it was finished with custom die cutting.
To achieve fine white type on a black background Engraving is the most premium (and most costly) printing method. By duplexing a black stock rather than printing black ink and reversing out the white we’ve achieved something letterpress and offset printing would not have done well – notice the fine 3 point serif type! White foil and screen printing can print on black, but not with detail like that. Letterpress printing does not do well printing opaque white on dark colored paper and achieving bright opacity either. Like offset printing, opaque white can be laid down with several passes and achieve a mottled looking white – not a bright white. As a rule for general production: only metallic inks have good opacity on dark stocks.
Of course this all combining of production methods comes at a cost. Which comes to a final point – KNOW YOUR CLIENT BUDGET. Our best production advice is to know what your client wants to spend before finalizing your design. If you have an extravagant design with multiple production steps and your client has only a $300 dollar budget, you’ve just wasted design time on something they can not afford to produce. But if you plan production along side design, you can present your client an option that doesn’t need rounds of compromise. That is what “production strategy” is all about.