This invitation suite was designed by the bride, Stacey Averbuch. It is an elegant invitation in it’s typographic texture, mixing a coarse script font with a finely serifed engravers typeface. The ink is dark brown letterpress on Crane Lettra cotton paper. A cement green envelope color from French Paper was used for all the envelopes in the set. Email Stacey if you really like the design and would like her to work on a custom stationery set for you.
This a good wedding tip: Colored Envelopes. We like the simplicity of adding color to a wedding invitation set by using a colored envelope. It’s a great way to put some color in the set without the expense of letterpress printing more color.
The same dark brown color is printed on both the cards and the envelopes. We printed the invite cards together on a single press sheet and trimmed them to size after printing. That keeps the cost of all the cards more friendly. Also, don’t forget to include a thank you card while printing your inviations. That saves time and money in the long run. We specialize in printing custom sets brought to us by other designers and event planners. Thanks Stacey for a sharp looking invitation.
This is a museum that most certainly needs the support of designers and printers. There are still 10 slots to fill for Jim Sherraden’s May 22, 23, 24 workshop at Hamilton Wood Type in Two Rivers Wisconsin. The cost is $400 with all proceeds being donated to the museum.
Fourteen lucky printers will have the chance to print from Hamilton’s collection under the watchful eye and wise cracking mouth of Hatch Show Print’s printing maestro. The fun will start Friday night starting at around 7, go all day (and into the night) Saturday and a half day Sunday. You can reserve a double occupancy room at the Light House Inn for a special workshop rate of $70.00 night. Call Greg Corrigan or Jim Moran at Hamilton Wood Type at 920-794-6272 to register and for more details.
And because we love this place, Studio On Fire taking part in a poster edition to commemorate the 10th anniversary of the Hamilton Museum. It will open Saturday, May 30th and run through Labor Day 2009 at the museum. Proceeds benefit the museum. Crap, it’s due this week and it ain’t finished!
And because it’s funny, here is a print for sale at Hamilton by Allyson Vanstone.
We’ve been busy with an AIGA student event this last weekend called Portfolio One-On-One. It’s an event for design students to tour studios in the Twin Cities, have their books looked at and attend some short workshops. We had a group through our studio to see the press room and we also did a workshop about “Planning design with specialty production techniques.” Good times.
We also printed a booklet cover for this AIGA event. We hit the bejesus out of an 80lb cover stock and thought we’d show what the other side looks like. Granted, we don’t run everything this heavy. But a thinner stock with a heavy impression is going to have more show through than a thicker stock with the same impression. On this booklet, nothing was on the reverse side, so it did not matter that the impression was extra hard.
A note about tours – We have student groups from all over the country take tours of our shop and we are happy to do it. However, none of them have ever sent us a box of chocolate with a thank you note. That is until Brigham Young University. Thanks BYU. And to all the other student groups inquiring about tours – we now expect some edibles! ;-)
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.
Wedding invitations need not be all typographic. This is a nice change in pace from most invites that tend to focus more on type than image. And we love letterpress printing lots of color, so this artwork does the trick. It was designed by Sheraton Green over at CSA Design. The peacock image comes from the CSA Image collection – an easy $40 bucks to license for wedding invites.
Since CSA also designs all the French Paper stuff, they sent over 140lb Cover Poptone Sweet Tooth paper stock. We printed four PMS colors, with some really beautiful overprinting happening inside the illustration. These kind of solid areas are always a challenge for letterpress. Note how the solid areas are a bit “salty” in the ink coverage.
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.
So what happens when you are happily letterpress printing along and accidentally pull a print on your top sheet? If you leave that ink there it gets on the back side of the next dozen impressions you pull. Even if you wipe it away with a rag, there can still be some residual ink transfer. We keep a bottle of baby powder in the press room to deal with the problem. After we wipe the top sheet with a rag to remove as much ink as possible, we break out the baby powder. A small shake of powder rubbed on the tympan paper top sheet helps stop the remaining ink from transferring on the backs of future impressions. And you’ll have the bonus of smelling like a clean babies bottom.
Now it’s even easier to get in touch with us for your custom letterpress project.
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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’