Just like that, December is upon us. How did this happen? Part of the reason it seems to have blindsided me is the fact that it’s still been so warm–any snow that dares fall is gone the next day. Speaking of blind, how about these business cards with a blind-deboss? The first one, from Fueled by Coffee design in Norway, shows the textural side of a blind impression. With lots of detail, the delicate scrolls of the pattern lend texture to the card without cluttering it up. The card for designer Joey Vestal uses the best possible (probably) typeface for a blind-deboss: big, bold, easy to read.
Chelsea from Go Forth Creative designed this lovely floral stationery for her friends at Bricolage Curated Florals in Austin, Texas. She based the art on the favorite flowers of the florist herself, and selected a gray stock so rich it’s almost lavender. For some nice tone-on-tone action, the ink is a dark charcoal gray. Both stocks are Colorplan, a delightful line of colorful papers from England. In Chelsea’s words: “This project had an ease about it that shows through in the end.” As is often the case with letterpress printing, less is more: sometimes all you need is a nice typeface and a good design (sounds easy, no?).
We love printing and designing books, but since the pleasure is a pretty rare one bringing this chapbook together was a treat. Poet Mark Jackley wanted us to create a keepsake edition of his collected poems, letterpress-printing not only the cover (which is far more common), but all the text pages as well. Entitled Appalachian Night, the chapbook contains more than twenty poems, set in Mrs Eaves and printed in crisp black ink on creamy, soft white Mohawk Superfine paper. To keep the production costs of the edition affordable, we had the books perfect-bound by local bookbinder Bindery Associates.
We like to say that the beautiful deboss letterpress speaks for itself. That’s especially true in this lovely A8-size invitation from our friends at Mia Lane Design. Alena made friends with the white space on this large, 5.5×8.5 inch invitation, keeping the type clean and minimal. The gold foil adds a ribbon of shine, and the blind deboss (that is, an impression of the printing plate without ink) adds texture as well as subtle embellishment. We used Lettra 220#c for its substantial heft and beautiful blind-debossability.
We’ll be at the second-annual Letterpress Printers’ Fair in downtown Lancaster, PA, this Sunday from 11-5. It’s the only printers’ fair in the area, and it’s a good one. We’ll be representing Ladies of Letterpress, and will be selling t-shirts, printers’ aprons, baby onesies, iron-on patches, and more. The fair is held behind Building Character, a neat old factory replete with antiques, crafts, as well as local printing outfit the .918 Club’s historical print shop. Food trucks will be there too! Come on out, enjoy the fall weather, and meet some real-live printers. Sounds good to me.
We love the designs over at A Printable Press. Their letterpress-ready invitations are a great way to get a custom-looking invitation at a less-than-custom price. This hand-drawn invitation for Christine is no exception. The mix of hand-drawn typefaces, digital typography, wreathes and arrows would look great on kraft paper, or on Pearl White Lettra, as shown here. There’s an increasing number of digital typefaces available that mimic hand-lettering and even calligraphy. And while we certainly don’t recommend replacing a skilled artisan with a machine (ahem), sometimes a healthy mix makes a beautiful invitation.
A little-known fact about letterpress printing is that we can print in any language. Take this bilingual invitation for an American and German couple. In the same way that we can easily print diacritical marks, such as umlauts, we can print Hebrew, Chinese, Arabic . . . any digital typeface available. As long as the type in the files you send to us for printing have been converted to outlines (almost a one-step process), any language can be letterpress printed. We are happy to help you prepare your files, if you need it.
Bettina and Patrick sent in a gatefold invitation, with two smaller flaps that open to reveal the wedding details–in two languages–on the inside. They chose a warm forest green ink and soft white cotton stock that scores and folds well.
It’s been a busy spring and summer: we moved our entire shop in late June to a brand-new building which is, thankfully, just about finished. I’ll post pictures of our new space in the coming weeks–hopefully while it is still clean and pristine, and before it starts looking like a busy print shop again.
In the meantime, feast your eyes on these clean and pristine three-color invitations printed recently for a Utah couple. Designed by the groom, the invitation has bold, declarative typography framed by banners. The event details have been set apart in their own spaces, and the ceremony details appear on a special card of their own. Cool gray, teal, and green are perfect choices for a summer event, and pop when printed on bright white cotton stock. These three-color invitations are well balanced enough that it’s hard to imagine them any other way.
One of the good things about our location is that we’re surrounded by a huge variety of local food and small farms; this menu we made for a recent local food dinner attests to that. The dinner benefited another great local program, L.E.A.F., which seeks to help local youngsters learn about organic farming. We printed this three-color card of deliciousness on tree-free, cotton stock in ecru, and included a tiny letterpress micro-green for the occasion. We were happy to contribute a small thing to the farmers and groups who do so much for so many!
We had a busy spring of business card printing interspersed with the usual spring wedding work. Noting a trend towards simplicity, we printed several tidy, one-color cards whose clean typography was accentuated with creamy or white cotton paper, or, in one case, a tiny green lettuce. We printed a dramatic card on super-thick 4pt Rising Museum Board using just a touch of transparent white for deboss definition, and then painted the edges a bright, cherry red. An artist‘s card also got the cherry-red edge treatment, which, when printed with a bleed off the edge, gave the cards a hand-dipped look.