We worked with our friends at By Invitation Only in Little Rock, Arkansas to create this gorgeous suite. The invitation was entirely embossed on our plush 3-ply cotton stock, and finished with a winston shaped bevel and painted edge. The welcome dinner card features blind debossing, and marsala letterpress. Our roses pattern envelope liner in CMYK with a rosebud background complements the cards.
The Rainbow Room venue inspired Jessica Downs to create our Sherah design. She wanted to create a modern suite inspired by the city. The pattern is based on an art deco wallpaper with a subtle nod to the skyscraper skyline.
Below, the suite is reimagined in rich burgundy and bronze, perfect for a winter wedding.
The inspiration for the design was modern elegance – neutrals mixed with pops of bright color and a unique tile-style pattern. The structures and landscaping of the Inn at the Mission also helped to inspire the color palette.
Alyssa also reimagined the design: I thought it would be nice to step away from the bright colors and shiny foil and create a more traditional and sophisticated color palette.
We worked with our friends at Lee’s Paperie to bring Andria and Benedetto’s beautiful floral invitations to life. The color palette and botanical liner from our Augusta sample inspired the suite. The liner pattern is repeated on a stunning blind embossed pocketfold.
letterpress ink: navy | foil stamping: white matte | embossing: blind | fonts: aston + addington | paper: bella cotton bright white 2-ply + 1ply + bella blue 1-ply | invite size: f-8 | pocketfold: f-8 vertical pocket | liner: augusta pattern in gold matte on blue | envelope: bella cotton bright white
We worked with Diana to bring these stunning bridal shower invitations to life. Our Dendria suit was the starting point, but we swapped out the smooth cotton stock for our handmade paper. We kept the floral belly band, and coordinated it with a floral envelope liner, to match the bright floral decor of the event.
letterpress ink: chambray | embossing: blind | digital ink: cmyk | paper: bella handmade white + 40# vellum | fonts: diotima roman, madison street pro – regular | envelope + belly band: dendria pattern in cmyk | envelope: bella white cotton white pointed flap | customization # 66530
Debossing and Embossing are both great ways to add subtle design elements to your invitation suite, but they differ in process, look and cost.
Our Ivy design features the same motif debossed on the main invite card and embossed on the save the date
Debossing A debossed image is achieved by pressing into paper, and is essentially letterpressing without ink. We can also use debossing to create patterns printed under the other text in your suite, be it florals or geometric designs, to add an extra personal touch.
In our Bourne v.2 suite the liner pattern is echoed in the debossed back pattern on the save the date
We can also deboss a border on your pieces, for added interest. Debossing is better suited to detailed designs, compared to embossing.
The debossed border on our Arrebol invite brings the modern suite to life
Embossing
Unlike debossing, in which a printing plate is pushed into the paper, embossing uses two printing plates, pressure and heat to create a raised design.
We can use embossing as a border, duogram + wreath as shown on our Camber v.3 suite
Embossing adds a lush tactile element that pairs perfectly with letterpress and foil stamping. It is a higher cost than debossing, but can create a really show-stopping addition to your invitation suite.
Embossing can also be used to highlight large areas of text, or a prominent motifs
Our Iridian save the date features a bold embossed date
Embossing is best used for less detailed printing. Take a look at some of our samples featuring embossing here.
We are over the moon to announce that our Monet design by Sierra Detrick placed Bronze in the FSEA(Foil and Specialty Effects Association) Gold Leaf awards. The design placed in the best use of letterpress category. We’ll let the designer herself Sierra take it from here to tell us a little more about the makings of Monet:
What was the inspiration behind Monet?
I knew I wanted to do something a little more edgy, haphazard almost. I pictured this texturized, vibrant, modern suite in my head when I started. Projects begin by challenging myself internally. I’m usually a little more precise and controlled in my work so I wanted to see if I could create something that was the opposite of that.
How did you decide on the color palette you wanted to use?
I’m attracted to this fun, crazy late ’80s/ early 90’s vibe coming back on the scene. I thought back to my childhood with color palettes and patterns found in old cartoons like the Rugrats and my mother’s teal bridesmaid dresses with the puffed up sleeves. I felt the maroon grounded out the craziness of the other two colors. I knew the design itself was going to feel more modern so I was set on a retro color palette, but I was nervous about it. I wasn’t convinced it was going to be well-received because it was kinda out there!
What went into the technical process of making Monet?
My technical process was the exact opposite of technical. I went to the store, grabbed some acrylic paint, spread out a bunch of white Bristol paper and went to town for a few hours throwing paint on paper in an uncontrolled manner. I had no idea if this was going to work. I was just playing around and hoping I liked what landed on the page. The spare room in my apartment was covered with these heavily brush-stroked and texturized paintings that took days to dry because the paint was slathered on so thick. You couldn’t walk in that room for about a week.
How did it feel to find out you were nominated for an award and then how did it feel to find out you won Bronze?
I wasn’t in the office the day it was announced to the company so my friend and coworker texted me the news and I instantly started to cry. I was elated to find out I placed Bronze. It made me grateful for the mentorship and encouragement of my colleagues and everyone in the company who brought the suite to life. I have a seriously amazing team behind me that pushes me to be the absolute best designer I can be. Thanks for loving those crazy colors I was freaking out about!
Digital inks: Myrtle + CMYK | Embossing: Blind | Font: Surfside | Paper: Bella Smooth Cotton Bright White Duplexed 2-ply | Invite Size: F-8 | Edge Painting: Myrtle | Liner: Monet pattern in CMYK | Envelope: Bella Cotton Bright White
