For the New Jersey grooming gurus at Virile, we printed these thick two-sided cards on 600g pearl white Lettra with tinted white and black inks. We finished them with a rich brick edge paint.
To help the impression pop, we like to use white ink tinted with a little bit of silver rather than print a completely inkless blind impression.
Occasionally we design a custom invitation for a client, and we love it so much we decide to keep it for ourselves. This one, originally designed for Paige and Clayton's January wedding, will soon be added to Parklife's wedding collection.
The new Paige invitation set is printed with black ink and a blind impression on 300g Ecru White paper, paired here with a subtly metallic black envelope liner. Fonts are Neutra Caps and one of our favorite scripts, Parfumerie.
For designer and event consultant, Ilaria Ceresoli and her business Just a Dream, we printed these super-deluxe foil + letterpress business cards on 100% cotton Somerset paper.
Since Ilaria designed these with foil and a blind deboss on both sides, we printed the front and back on separate sheets of 330g Somerset paper, then duplexed them after printing so that the impressions didn't get flattened.
Canadian designer and photographer Amanda Benincasa (benincasadesign.com) designed these cards, complete with a letterpress QR code. We printed them with custom green and gray inks on thick 600g Fluorescent White Lettra.
Like pretty much everyone (Parklife included), Gritchelle recently relocated to Portland. We printed these cards for our new neighbor on 300g Fluorescent White Lettra.
Some super-deluxe cards for Chapel Hill brand gurus, Immortology: Three inks on 300g Lettra for the front and white foil + a blind deboss on 350g Ebony Colorplan for the back.
Finally, a business card reboot for Dyfari Interiors featuring Espresso and Periwinkle inks with Periwinkle edge paint on 600g Pearl White Lettra. This is the third iteration in a series of cards we've printed for Diane, starting with this version in 2010.
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.
Photo by Sarah Arneson
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.
This design is a testament to inspiration and collaboration, and to taking aspects from different designs to create your your dream union of design elements. To follow that metaphor, this set is a sort of marriage of the Californian and Vignette designs, with some art adopted from an earlier set.
The oak tree illustration is simple, yet incredibly detailed. Trees are common motifs for wedding invitations: they can represent vitality, strength, shelter, looking to the future. And they can also, of course, be more literal: depictions of the venue — in this case, a ranch in Calistoga, California — or they can be emblematic of a place special to the couple. The tree motif can embody all of these characteristics and connections.
This design is so clean and sophisticated. Because it has a lot of white space and isn't overly ornate, the little details really shine. The script has wonderful (in some case, overlapping) flourishes, and the custom double border really highlights the texture of the thick paper stock.
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.
