You know how sometimes you have to move thousands of pounds of antique machinery from one edge of the country to another, and then get it all set up properly so you can keep your business running? Wait, you don't? Ah ... count yourself lucky. Parklife Press moved from lovely North Carolina to beautiful Portland, Oregon this summer, and setting up the new studio was a f… a fun opportunity for greatness! And truly, it turned out great. But it was a challenge. And you know who you need in your corner when facing challenging situations? (Especially ones which involve basic elemental needs like heat, power, and protection from the elements?) Talented professionals. You know it ... here begins a good old-fashioned business card round-up!
We did these cards as thank yous for the electrician and contractor who renovated the new studio. They were great to work with. They kept us dry, and (seasonally) warm or cool.
Each card has tiny graphic representations on blind deboss (ink-free) impressions — hammers for the contractor and electric bolts for the electrician. It was fun to get to work with these fellow craftsmen and small-business owners.
Speaking of growing a business: cards we did for Grow. These involved three custom letterpress inks on the front, offset flood and one letterpress ink on the back. They were hand-duplexed (two different paper stocks glued together) and edge-painted in a corresponding brick-colored ink. That sounds like a lot of press runs, right? Three runs just to make one side of this card! Oh, and, we did cards for 28 employees. Nothing says "we're glad you work here" than the boss handing an employee a box of beautiful, hand-crafted letterpress business cards.
Some detail shots are below. Check out Grow's subtle plant motif in black-on-black.
Listen, we're a bit late on giving thanks on this blog, but we figure gratitude shouldn't be limited to one month of the year. So to our new neighbors, fellow business owners, new clients and old: we are thankful for you. Thank you for your business, and for helping us (directly or indirectly) fix the roof over our heads and the electrical outlets for our presses. Wishing you and yours a happy, healthy and prosperous New Year.
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.
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.
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.
Parklife Press is grateful to have earned a lot of repeat business for business cards — new hires, change of information, and promotions all require updates and re-orders. But seeing and working on cards for new clients is always fun, and here are a few new ones to show you.
Using the "dessert first" philosophy, we open with this confection of a card for Seaside Macarons of La Jolla, California. The logo and design were custom-made by Parklife Press. The card features three custom inks printed on 450g Wild stock (a brown, a cheerful robin's egg blue, and a lighter tint of that blue, used as the pattern on the lower half of the card).
Next we have Broker/Realtor Van Fletcher, of Raleigh. Each side is printed with two custom inks. The sides are then glued back to back (a process called "duplexing"), trimmed to size, then edge-painted. The front features a two-color logo with key illustration and the back has two letterpress inks printed on top of a flat offset-printed flood. This gives the back a textured, almost quilted appearance. They are truly luxurious cards.
And last but not least, we have these art deco inspired cards for Leyla Gans of Morrisville. The cards are eye-catching for many reasons, perhaps most notably the die-cut rounded edges — the angular graphic starburst design is balanced by the card's contours. They're printed in Midnight and Gold inks on 500g Radient White Somerset stock.
Alexandra and Michael were planning a black-tie, traditional Catholic wedding, and wanted their invitation to reflect that style. Alex was drawn to the Fountain design — seeing how the layout's simplicity put the elaborate font on display, she was, as she put it, "hooked."
Deceptively simple in design, the typeface features intricate and playful ligatures and flourishes. The extra thick invitation cards were edged in gold, and that subtle sparkle was echoed by the envelopes' antique gold liners.
Alex found Parklife Press on the Martha Stewart Weddings website. As with any wedding, there were many decisions to be made — but when it came to the invitations, whether to use letterpress was never really a question. "My Mom is a calligrapher and has instilled a reverence to paper products in me that I was sure to embrace in our wedding planning process." The effect was everything she and Michael were looking for: formal and traditional, with impact.