Robert Bennett’s business card utilized a variety of print methods. The bold U, which takes center stage on the card, is die cut out, creating not only an iconic logo, but a useful tool; the business card can now be used as a bookmark. Printed on Eames Natural White Cover, with letterpress printing on one side and offset printing on the other, we think these business cards are sturdy, useful, and most importantly, memorable.
Wednesday June 1, 2011
For those of you who do not know, the School of Visual Concepts graciously hosts an Annual Wayzgoose Celebration. Events in the past have included a Letterpress Equipment Swap, tables of letterpress deliciousness for sale, and –the MAIN EVENT- a Steamrolling Smackdown Print Extravaganza! Much to our joy, we just completed the coveted SVC Wayzgoose invitations. Letterpress printed, gold foiled and diecut to a vintage ticket shape all on luscious Reich Savoy 236# Cotton. Designed by Jenny Wilkson.
Wednesday May 25, 2011
Last week we put our split fountain pants on and printed the Seattle Symphony Closing Night Invitation Symphonys Iwona Konarski worked closely with Evolution to assure the design delivered the correct blend and balance of colors. We enjoyed the spontaneous process, and love the result!
Wednesday April 27, 2011
Subtlety can have a big impact in print. James Beard utilized sophisticated detail to make this special occasion menu stand out. The palm border was created with a blind deboss which adds varying degrees of dimension and detail, and is combined with letterpress in a cool teal shade to add the feel of tropical elegance. We chose 118# Savoy Natural White for this piece for its softness and malleability. 100% cotton makes this paper a great medium for the impression of deboss and letterpress.
Friday February 25, 2011
Nordstrom Marketing designed this exclusive invitation for Poncho and we think it has the WOW factor a deboss can deliver. To ensure maximum deboss WOWness for the logo we went with a copper die, which has very hard chiseled edges that allow for a super clean impression. Paper was also key: something too light would tend to buckle, so we used Savoy 236# cover from Reich Paper. 236# Savoy is super heavy and is 100% cotton, this was the first job run on the new 236# Savoy cover and we were really impressed how it absorbed the deboss strike.
Friday February 11, 2011
A clean yet bold business card designed by Javas Lehn. The use of visually appealing sans serif type and an iconic black vehicle rendered through letterpress gives this card a clean and textural appeal. Eskaboard is FSC Certified and sturdy. Letterpress printing on Eskaboard gives this card a vintage feel.
Tuesday February 8, 2011
TKTJ Design chose wisely when creating this geometrically pleasing farewell to twenty-ten. There is a unique balance that comes from the combination of Foil and Letterpress techniques. Here the impression created turns negative space into competing shape and form on the page. The paper 118# Savoy by Reich Paper is our choice for pieces that fold, it doesn’t crack on the score, which helps achieve a clean look. Savoy was also key in getting the desired dimensional look. 100# cotton means paper with soft flexibility, and looking at these photos you can see – and almost feel – the texture. Utilizing color, technique, and materials makes this piece really stand out.
Tuesday February 8, 2011
TKTJ Design combined two print methods to achieve this luxurious card on 110# Crane’s Lettra cover. First we letterpress printed the tree line art in cool grey 11 and then added the subtle coverage of pearl foil. The ability to combine two print methods under one roof gave TKTJ Design the creative freedom to obtain both the unique coverage of foil stamping and the deep impression of letterpress, all under a tight holiday deadline.
Tuesday February 8, 2011
Nothing enhances a celebration quite like a collection of letterpress printed Drink Coasters. This featured collection was designed and printed in-house, with the festive holiday spirit in mind. We chose 220# Crane’s Crest 100# Cotton paper for its stability and thickness.At double the weight of their standard 110# sheet, the letterpress impression is especially emphasized with depth and texture.In addition to its soft look and touch, Crane’s Crest 220# has stability, which is especially important for a Coaster project.
The darker paper used was Eskaboard – a heavy duty kraftboard that has the appearance of chipboard, but with more sturdiness and a more calandered surface area. Eskaboard – like 220# Crane’s Crest – has the ability to stand up to the demands of use and handling, while retaining a luxurious look and feel.
Friday February 4, 2011
Here at Evolution Press we believe there is a fine line between fashion and print. Where there is form, texture, and color, there is inspiration.
Since the invitation for The Bravern’sevent Fashion’s Night Out uses color and texture, our client, Square Tomato, wanted a premium paper that would show off their design. They chose 179# Crane’s Cover in Fluorescent White – a hefty cotton sheet that provides great stability for multiple press runs. First, we laid the Spot colors down on our offset press. Next, we debossed both sides of the sheet -including the fine texture of a woman’s scarf and the top of her couture gown- which created a voluptuous, tactile look. The final touch came when we die-cut the card to give it its elegant, rounded corners. It’s the fine detail that makes this piece not just unique but a stand-out.