Local Mpls designers Ross Bruggink and Jessica Keintz were married last year and we were pumped to print their invites that utilized beautiful eclectic typography.
An arrow theme, which we have a hunch is based on the bride’s wrapping arrow engagement ring, runs throughout this two color suite. Printed on Crane Lettra Fluorescent White 110C stock, the cards custom duplexed after printing, allowing us to run a heavy impression on the flood of pattern without completely killing the delicate type on the opposite side of the card.
Can’t get enough? They also created one of the coolest wedding websites we’ve seen.
additional photography provided by Ross and Jess.
We printed these for New Found Original – a new online shop selling a carefully selected and ever changing collection of graphic products. They commissioned artist and designer Ryan Todd to design a set of four luxury letterpress coasters for their first collaboration project and introductory collection. The coasters are now for sale at NewFoundOriginal.com and Ryantodd.com
These were letterpress printed in two colors on extra heavy 60pt blotter stock. With the colors common to all four coasters, they were printed together and die cut four up out of the press sheets. We were really happy with how well the overprinting colors actually create a much darker third color. This is overprinting at it’s best – when the illustration is really planned to make use of that third color. Complementary colors do that best.
Final reminder for our Love Machine Open House Party tonight. Hope to see you soon.
Leaving you with a beautiful thought about machines from Winter’s Tale by Mark Helprin:
“Machines challenge certainty so well. They should not be able to move. But they do. They turn, and move, and never cease — there is always an engine going, somewhere — like generations of silver hearts they keep the faith of the world and stoke imagination in its continued and splendid rebellion.” Quote from “Winter’s Tale” by Mark Helprin ©1983
We’ve worked with BAKER here in Minneapolis on a few really fun letterpress projects over the last year or so. And they’ve designed some beautiful things for pressing. Most recently, their second installment of the bird themed holiday ornament cards rolled off the press. It is a little bird (a good luck Cardinal) with an ornate frame that die cuts and punches out of thick 60 point blotter stock. It is printed two color each side.
Last years card for Baker was a die cut bird ornament as well. The same production specs, but featuring a punch out owl.
Also in the last few months, we worked through the letterpress printing of the new Baker identity on their business cards. And is was quite the undertaking. They have an interesting post about the process of icon development here. Each employee has their own icon and each card has four color ways. With over 60 employees that was a lot of icons and business cards! They are a custom duplexed 200lbC black and white stock in an undersized narrow card format. (1 x 3.5 inches) BAKER is printed in silver on the black side and the white side receives the four different color variations.
BAKER is a Minneapolis based Branding + Design firm specializing in package design. On the web: bkrdsn.com or tweet: @bkrdsn
Lots of printmakers are sauntering about Minneapolis / St Paul this week for the Mid America Print Council conference. We welcome these attendees to visit our studio during the conference on Friday this week from 5-8 PM. Studio On Fire is one of the largest and most vibrant commercial letterpress shops in the Midwest. We produce custom letterpress work from designers around the world. Join us during these hours to talk shop, see the presses and ask questions. Sorry, our production schedule will not permit other visiting hours.
Studio On Fire, 1621 East Hennepin Avenue Suite B10, Minneapolis MN 55414
phone 612 379 3000
Note: make sure you map us for EAST Hennepin Ave. – We are on the edge of Northeast, at 16th Ave SE and E. Hennepin. It’s about a 10 minute ride from downtown Minneapolis.
Hatch Design created these invitation cards for the upcoming leaders of design lecture with Joel Templin at my alma mater, College of Visual Arts. Should be a top notch talk.
We letterpress printed these 4 x 6 sized cards on French Muscletone Construction Pure White. One of the things we really like about this sheet is that it is a single ply 140lb Cover rather than a pasted, multi ply sheet. Most other commercial papers from other mills achieve a thicker paper by pasting a 2 ply sheet for thicknesses of 130lb and up. That makes the sheets stiff. Since the French sheet is a single ply, it is a bit softer and less rigid – both qualities desirable for letterpress. However, since French is achieving that thickness with a single ply, there is more evident pulp formation within the sheet. This means that the pressure needed to print a solid area of color is significant and results in a “salty” more textured printed appearance. That texture in large inked areas is something we like and embrace in printing with letterpress. HOWEVER, read this disclaimer before you send us art with lots of ink going down.
And letterpress printing isn’t just for small runs. Twenty thousand cards just rolled off the press. But, it is important to understand that for letterpress, each color is a separate pass through the press. This job was able to print both of these cards two-up on a press sheet. Still, these sheets had four separate passes for 3 color /one color. That’s a lil bit of printing.
This wedding invitation for Andy and Drew is certainly a unique format. It was designed by Drew Hodgson for his wedding in Palm Springs, CA. The bold colors and contemporary shapes make the design both modern and masculine. The invite is actually a folder enclosure that opens to reveal the invitation text on the flap. The folder opens further to Continue reading ‘Modern Graphic Type Wedding’
Sometimes it’s possible to get an oversize sheet on an undersized platen letterpress. What is important to keep in mind is the distance between the arms on either side of the platen. As long as the sheet is smaller than that dimension, it could fit.
This is a long 4 x 18 inch card that needs to fold in half to 4 x 9 inch and fit into a standard #10 envelope. We are set up in this photo to run a 3 point matrix score, but this works for printing as well. To fit this sheet size onto our 10 x 15 size C&P platen press required a special McGill gauge pin for the side guide that fits between the tympan bail and the side of the platen. It extends beyond the platen and adds the couple inches needed to get the sheet to land inside the working area. It is a good solution to handle smaller hand fed jobs.
These guides came with equipment we purchased several years ago and we can not find more. Although, it could be rigged up from hardware store material pretty easily. If anyone has a source for these guides, please share! Someday we’ll just get a bigger hand fed press, but then there will be an even bigger sheet.