Custom Monogram in Santa Fe

Ah, the blind-pressed monogram. Hard to go wrong when you use a lightly tinted white ink with a deep impression on thick cotton paper.

We carried the variations of the monogram through to each piece — an accommodations card with a tear-off reply card, a menu, table numbers with a blind chevron pattern and inkjet numbers, and programs with silver ink on navy cotton paper.

Most letterpress inks are transparent, so we can't print light ink on dark paper. But silver is an exception — it's about 75% opaque. Not quite as opaque as foil, but not as pricey either.

Photos by Sarah Arneson

Lavender & Mint in Scappoose

Here's a lovely wedding set for Parklife's favorite brother and his favorite new wife. For the save the date we used two custom inks on thick 600g ecru paper.

For the invitations, we carried through the same inks, paper, along with a few variations on the Gotham typeface.

On the back of the invitation we added a hand-duplexed backing that's letterpress printed with a tonal ink and a fine halftone screen. The image is adapted from an early nineteenth century drawing of Portland.

Photos by Sarah Arneson

Leaves in Motion

This cheerful set was based on Parklife's Antiquity. It's one of our most popular designs. As we describe on the site, "The overlapping light and dark motifs give this invitation a sense of motion that's unlike anything else in our collection." This version has been modified a bit: the couple chose pearl white paper and a vertical orientation. By the way: we love it when people ask for modifications; our designs are a jumping-off point, but we want our clients to have exactly what they want.

This set had a fun combination of a traditional-looking calligraphic script paired with a modern, expressionistic contour drawing of leaves and garlands.

The thin parts of the script's stroke mirror the line art of the flora design. The two inks, midnight and peacock, compliment each other beautifully, and pop off the pearl white stock. The pieces are edge-painted in midnight.

Along with the invitation and RSVP card and printed return envelope, the set included these two additional pieces. An information card detailed directions and accommodations, and a separate card invited guests to a welcome dinner and a farewell brunch.

The dancing vines weren't the only graphic elements of this set. The RSVP card used playful icons — a cow, a fish, some carrots — for guests to select either the beef, seafood, or vegetarian dinner options. And, the "additional events" card featured custom illustrations done by Parklife Press. For the welcome dinner: a homey, old-school charcoal barbecue; and for the farewell brunch: a bloody mary, complete with celery stalk.

Photos by Sarah Arneson


Perforation Perfection

This was a really fun set. Designed by graphic designer (and groom) Derek Howles — who, incidentally, also designs these super-cool cartography poster prints — it was interesting and unconventional. And art-y! Which is fitting, since they got married at the North Carolina Museum of Art. The set was comprised of a save the date card and a combination invitation/tear-off RSVP.

First, the save the date card. The who, where and when details have the blind-deboss look, but they were actually printed with a tinted white ink. This method gives a slightly deeper look to the impression, and sets the text off a bit more than just making an impression alone. The playful pink wording puts the stats in conversational context, and the text concludes with a URL for more information.

The invitation followed the same format: large, white-tinted block text for the event's pertinent details, and tiny pops of pink filling in the rest of the words. The unconventional style is carried through to the RSVP's wording, with the options "Can't wait to be there!" or "Won't be able to make it."

The extra heavy paper stock is a great showcase for the dramatic edge painting, which ties together the set's color palette. The thick stock also helps the perforation stability — the RSVP card easily separates from the invitation for return mailing.

Photos by Sarah Arneson

Roses in Rockville Centre

This was a set based on the Franklin design. Printed on 600g Pearl White stock in Marine and Periwinkle inks, the design has striking text printed over a delicate, floral background. The invitation, along with a reception card, RSVP card and envelope, were held together within the outer envelope by a monogrammed belly band in the lighter blue accent color.

The design is of the invitation is traditional, but the off-center artwork bleeding off the bottom edge and the generous white space on the right gives it an unexpected modern feel.

An informational card, giving details the reception, echoes the design of the invitation. Ad graceful dingbat, flanked by to thin rules, divides the reception and accomodations information.

The corresponding response cardand printed return envelope set — text only, without accent art or color — is simple and traditional.

The details of this set are lovely: the fine lines of the floral art; the couple's monogram on the pale blue belly band; the simple, classic wording of the response card; the dingbats and flourishes of the typography. The fresh, bright palette of blues is perfect for a summer wedding on Long Island.

Photos by Sarah McCarty Arneson

Mapping Napa

Nick and Hadley were drawn to the ever-popular Bookplate, and chose a color palette of fresh green paired with a soft gray (apple and dust inks). Their set included a map, custom-designed by Parklife Press, to guide their guests around the Napa Valley wedding events.

The set is comprised of three pieces printed on extra thick, 600g paper: an invitation, an RSVP card with a printed return envelope, and a map to the wedding site. The map shows both an overview of the area in Napa — with all-points directions and major roads — and a detail section of the Inn and resort grounds, noting entrance and parking areas and the specific reception hall.

Bookplate has always been a popular style for Parklife Press; its clean, simple design — with plenty of white space — really highlights the beauty of the typography, and the color pop on the couple's names really draws the eye. And perhaps because the design is so elegant and uncluttered, the tiny flourishes pack a (visual) punch. Below, the edge painting on each the piece (the invitation, RSVP card, and map) shows off the extra-thick paper stock and unifies the color theme; the tiny green dingbat preceeding "Dinner to follow" draws attention to the reception note while adding visual interest; the typeface's blink-or-you'll-miss-them ligatures lend an old-world charm to a very modern design; and the extra-thin double rules on the map divide the sections in a beautifully understated way.

Bonus points for any fellow print nerds who noticed that our map design delivered two shades of green for the price of one, with the water — the Pacific Ocean, San Pablo Bay, and San Francisco Bay — shown in what appears to be a lighter tint. How did they do that, you ask? What alchemy have these mad geniuses wrested from their printing press? Short answer: a halftone screen. Longer answer here.

Photos by Sarah McCarty Arneson

Soiree for 70th

This was a fun invitation set to print. Designed by graphic designer Sarah Scott, it was a festive and classy way to invite guests to Suman's 70th birthday. Guests opened the outer envelope to find a sleeve — an Envelopments Portable Pocket with charcoal linen exterior and ecru linen interior, overprinted with fog ink – and withdrew the card. The striking invitation was printed in black and a custom green ink on heavy, 600g pearl white stock.

The design's details and touches abound — the v-opening of the pocket, the tiny script "and," the hat on the 70, the tone-on-tone printing over the textured enclosure — and it must surely have set the tone for a great party.

Photos by Sarah McCarty Arneson