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.
When family friends Paul and Andrea called us with a top-secret project, we knew something great was afoot. They wanted something whimsical, neon, and tiny to share the news of their surprise wedding–a little piece that belied the big-ness of their excellent announcement. We came up with a business-card-sized card in an equally diminutive envelope, all enclosed in an aqua envelope that was the right size for mailing.
The icing on this cupcake was the chance to use Tilda, the typeface designed by Jessica Hische for the movie Moonrise Kingdom. While the typeface will be officially released later this year, the intrepid Paul was able to purchase the beta version of the face so that he and Andrea could have the script of their dreams!
Every year, we get to print a broadside for Dickinson College’s Stellfox Residency, one of the largest literary awards of its kind in the U.S. We choose an artist, the Stellfox honoree picks one of his or her works, and the artist creates a unique piece that we print up for the occasion. This year’s winner was Irish poet Paul Muldoon, and the artist was Deborah Harris. Split-fountains are one of my favorite printing techniques–you can see a past example here–and I thought the effect would be perfect for this project to infuse the hay bale with a soft glow. The results are somewhat unpredictable and various, as the printer is blending two ink colors by hand on press. The goal is to make one ink color blend subtly into the other. In this case, I chose a soft gray and a metallic gold, and printed 50 copies on Somerset Velvet.
I’d like to take a small break from wedding invitation posts to show off these neon beauts, printed for our friends at design firm Creat-Ink in Florida. The yellow doesn’t seem to photograph as brightly as the orange (referred to here fondly as “electric salmon”), but both are quite bright and really pop on the fluorescent-white paper. We printed one set for both partners in her color of choice; each card includes a blind deboss (an impression without ink), a run for the black, and a run for the neon on 220# Lettra. That extra-thick stock allows for a good amount of the edge painting to show, too:
There are traditional wedding invitations with flowers and bouquets, and then there are these fresh patterns from our friends at Mia Maria Design. (You can see more images from the event these were made for here.) We printed these on 220#c to allow a bit more thickness for texture; ecru was chosen to compliment the warm terracotta and tomato red. The second example is a bold floral pattern highlighted with softly shining gold foil and art deco typography. Unlikely textures and saturated color may be a bolder choice than classic florals, but invitations this tasty are hard to resist.
Letterpress printing can (usually) only run one ink color at a time. That’s what makes an invitation with multiple ink colors sometimes less than affordable: each ink color not only requires a separate run, but also a separate printing plate, more paper, more waste, more labor, etc. A handy way to get around this is to overprint two (or more) colors to achieve a third. (Remember the color wheel from elementary school?) Corinne designed her own invitations, and to get three colors of beach glass, we overprinted the aqua with the pale green to achieve a third teal-ish color, which is visible in the detail shots below. We’ll sometimes make the inks a bit transparent to enhance the overprinting. Still waiting on the perfect plaid invitation, which this technique would be perfect for!