These cards, printed for Los Angeles cycling studio BESPOKE, are printed on thick 600g Fluorescent White paper with tinted white on the front and two inks on the back. We finished them with a bright orange-red to match the ink.
A couple shots of BESPOKE's LA studio:
Over the past eight years, we've worked with Diane on baby shower invitations, thank you notes, and several rounds of business cards (see some here and here) for her business, Dyfari Interiors.
This round was by far the most ambitious. For the front we printed fluorescent pink letterpress ink and gold satin foil on 30pt white museum board. For the back we used the same satin foil on Astrobrights Fuchsia. Then we duplexed, trimmed, and finished the cards with gold edge paint.
Perhaps you've seen some of Chad Martin's design work on this very site in the past (here, here, here, or maybe here). For this set, we printed cards for Nequette Architecture & Design along with some similar cards for Chad's company, The G Brand.
These mini 1.75" x 3" cards feature gold ink on 30pt black museum board.
We first met Jen back in 2014 when we printed the wonderful invitation set she designed. Since then she's been hard at work building her cake-baking empire at Bakedown Cakery.
Check out her work below, and if you don't get too distracted by the cakes, scroll down to see the awesome duplexed letterpress + holographic foil business cards we printed for her.
These striking cards for Melbourne architecture firm Northbourne were printed on 600g Fluorescent White Lettra with a blind impression on the front and black and custom mint ink on the back. Finished with mint edges match. Printed by Parklife and designed by JT at A Door Ajar.
Another G Brand design, this one for design and builders Dixon Kirby. These are duplexed cards, printed with two inks on Pearl White Lettra for the front, and one ink on Adriatic Colorplan for the back.
Bax's cards presented a special challenge. Normally, to create an odd shape (basically anything non-rectangular), we'd make a die and die-cut the cards. But Bax wanted edge paint — and a die-cut edge isn't crisp enough to paint cleanly. So we (very carefully) knife-cut these 600g fluorescent white hexagons with our 19th century guillotine cutter, then edged them with metallic gold paint.
