Simple but spectacular one-color invitations designed by the bride, Jessica, and printed by us.
PAPER 300g and 600g Pearl White
If you thought the letterpress save the dates we printed for Randi & Ben this spring were cool, I think you're gonna like the follow-up.
This was truly a collaborative project. Randi designed the two-sided invitation and sleeve, and sent the specs off to us.
We printed the front of the invitation on 300g Pearl White paper with midnight ink and gold foil, and the back with gold foil on a separate sheet. Then we duplexed the two sheets by hand, let them dry, and trimmed off the edges. This allowed us to get a two-sided piece with heavy artwork and no impression show-through.
Randi designed the sleeve to double as a direction card. We printed those with midnight ink on a 4" x 15" sheet, then scored, folded, and glued them.
Randi finished off the set on her end with gold string and a custom wax seal. Photos of the completed invitation are below.
It's great when we get to work with a wedding client from the very beginning – starting with the save the dates, moving on to the invitations, and then following through to the wedding day pieces. We did this for Elisa and Alexander, shifting the design vision slightly throughout the process while still maintaining a cohesive aesthetic.
For the save the date, we printed tinted white and Espresso inks on an oversized 600g Pearl White card, tucking the text in the corner and emphasizing the dandelion motif.
Moving to the invitation set, we got a bit more elaborate and less minimalistic. The alligator-print-lined envelopes housed a gatefold card, guarded by a pair of blind-pressed gators. Inside was a 3-ink + gold foil invitation on thick Fluorescent White paper, a 2-ink + foil pre-party card, and a 2-ink reply card with a lined reply envelope.
We unfortunately don't have photos of the (awesome) programs, menus, and place cards, but we did snag a shot of these custom die-cut hanging door tags that the bride and groom gave to their guests staying at the venue.
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.