Letterpress and sunshine! Spring in Portland is no joke — vibrant like just about no other place I’ve been. And there’s nothing better than natural light to bring out the texture of our work.
Above we’ve got black and tinted white letterpress on pillowy 2-ply Lettra paper for SF design firm BAMO. More carefully curated springtime/letterpress pairings below.
Espresso ink on Colorplan Harvest paper for Tyson Terrain.
Reflex Blue on 500g Brilliant White Savoy. Design by There There Co.
Gold Satin and White foils on Colorplan Ebony paper for Spring Mountain Vineyard.
White foil on Keaykolour Biscuit.
Black and tennis-ball green letterpress on Brilliant White Savoy
The first of two business cards we printed for clients of the incomparable designer Chad Makerson Micheal. This one’s kinda nuts: A duplexed card with three letterpress inks plus sliver foil on the front, three letterpress inks on the back, glued and die-cut. Super tight registration on the inks and foil all around.
PAPER Duplexed Gmund Matt 46
INK Black, PMS 2035U, PMS 2327U
FOIL Silver Shine
FINISHING Duplex, Die-cut
This next one for Sespe Creek is another duplexed card with three letterpress inks both front and back. Such an awesome level of detail in Chad’s designs — perfect for letterpress printing.
PAPER Duplexed Gmund Matt 50
INK Tinted White, PMS 3015U, PMS 2035U
FINISHING Duplex, Die-cut
Intricate yet simple two-sided client-designed invites for their Victoria, Australia wedding.
PAPER 350g Colorplan Cool Blue
INK Pantone 709 custom mix
Sixgill's logo uses a gradation of green — from light on the left to dark on the right. Normally that's not the sort of thing letterpress does well. But using a fine halftone screen, we printed two shades of green on top of one another to achieve the gradation effect.
These might be my favorite client-designed invitations this year. The bride, Nisha, designed three different invites for her various California wedding festivities.
All three have a common feel — employing the same border art, black ink, and copperplate type. But Nisha used different title art for each and we printed them with three different fluorescent letterpress inks — neon orange, deep magenta, a bright pink. We finished each set with three different edge paints — electric blue, highlighter yellow, and metallic silver.
Finally, we used the neon orange ink to print the flap of the fluorescent white envelope.
And what the hell, how about a few more photos...
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.
Walt's stationery design is simple, but deceivingly so. We printed the three-color piece on 5x7 cotton paper with a fine halftone screen in the lighter blue ink pass, creating the illusion of a third blue — lighter than the lines that outline the abstract wave shape.
