Let Love Grow (above) inspired by Mumford & Sons Winter Winds:

Love, it will not betray you, dismay or enslave you, it will set you free…

Here is Mumford & Sons live with Sigh No More (inspired above) – you have to listen to the song change about half-way though and then go check it out on Amazon or iTunes. It’s truly magical.

Cards Letterpress printed on Arturo 4Bar notes with blank interior, paired with matching envelopes and sold in singles in our Etsy shop. 2 inks, deckle edge, it doesn’t get much better than this.
Calligraphy ©2011 Grace Edmands , Design ©2011 Dingbat Press

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Option 1: This design is more concept based, emphasizing the circles in the typography as well as the knocked-out ampersand between Jones & Vandermeer. We wanted a subtle hint of the circular motion of a ball of yarn rolling around but also wanted it to relate to a global shape symbolizing process and the travels invested in procuring this yarn. The typography has been manipulated so that the the balls in the letters have more motion and don’t feel so static but still providing a strong sophisticated brand that is not too crafty looking.

Option 2: This design is a mix of the casual stylistic watercolors that we were inspired by on the Hermes website (per the client’s suggestion). We wanted something that spoke to the handmade generation and yet still felt high end and regal. The typography was set and then hand traced to give it a more distressed and whimsical feel, then paired with a banner and seal option that brought in a hint of Edwardian flourish without feeling too stuffy. By putting the typography on a diagonal we felt it created a more playful look to the brand without getting too childish.

Option 3: The third option is more sentimental. After hearing about the business being named after the client pet doggies, I really wanted to give this design more meaning. Often one feels proud of a brand because it is a reflection of them. We took typography in this design that had really beautiful and elegant swashes – they almost double as a doggy’s tail. I felt like they were so playful and reflective of a pets love and excitement. Since the other two designs were more concept and theory based, with this design we also explored an illustration of a ball of yarn so that the client could compare imagery versus concept.

What is your favorite and why?

Stephanie is no exception to being a fun client to work with. I have really enjoyed developing her brand and here are RI proofs for you to peruse! Option 1 (above) was loosely based off of Stephanie’s current logo. We liked the signature that she had in there and wanted to explore some alternate and more fluid handwriting to continue to develop her current brand but take it to the next level. In reading her brief with her high end demographic and desire for a clean and modern/sophisticated brand we wanted to convey a Nicole Miller type look – something high fashion meets sophisticated casual. The color schemes here are a mix of lattes/greys and blush. We felt that in keeping the color palette neutral, it lent a more timeless aspect to her brand and helped soften the bold strokes of her name + juxtapose it with the light typeface of the “photography”.

Option 2 (above) is most definitely modern and clean. We explored an abstract camera lens with a rectangle backdrop. Symbolizing the movement of the lens capturing the moment in time. We felt that the mark could be used concurrently with the typography, or that the two could be used on their own as well – pending the application and use. Again we explored the blush/grey neutral, however also presented an option in black as we felt that black is often underestimated especially in the photography market. Right now everyone is going for bright and saturated colors, but everything will always cycle back to black.

This design strays a little from the clean look however we felt that by it’s organization and simplicity that it still reflected the modern Stephanie was going for. The biggest part of this option is the concept that reflected what she had indicated in her brief about the love she likes to capture in her clients sessions and the type of relationships she hopes to have with them. The care and devotion she put into her work was what we really wanted to focus on in this design and felt that it captured what she was describing for us regarding Steph’s client relationships.

This branding was developed as part of a branding starter pack from Dingbat Press.
All proofs + designs © 2010 Dingbat Press.

Letterpress wedding suite, printed on 110# softwhite lettra with pantone matches. Custom design – pieces included invitation, outer envelope, inner envelope, reply card and reply envelope, and directions insert. To inquire about custom work for your wedding suite contact us! All designs ©2010 Dingbat Press

This was a great job on press because although there is the heavy flood on the front with reversed type, we also had the pink pattern in the background to help with extra ink on the press and good coverage. Larger print areas can be tricky on press but the lighter coral pink worked well because there wasn’t as much contrast with the paper creating a good print (sometimes darker colors can get paper show-through that is more prominent).

It’s so fun taking a brand to the next level and seeing it applied in all it’s variations across the board. This letterhead is a 1/2 sheet (5.5×8.5″) perfect for those business notes and small invoices that don’t need to waste a whole sheet.

To request and estimate for custom letterpress business cards or letterpress CD/DVD sleeves (we’ll help you with branding too if you’d like) then start here to get a super speedy quote from us!

Printed on 110# Ecru paper with matte copper, matte metallic brown and a faux emboss on the cracker jack logo. Sized at 2.5 x 2.5″ square with 1/4″ rounded corners.

To get yourself a set of letterpress business cards from Dingbat Press, contact us!
To see more of our business cards that we’ve designed and printed via the
letterpress process please see our letterpress business card Flickr set.

While working on these designs we wanted to explore damask pattern and to juxtapose typography with a simple body layout and elegant script for hierarchy significance.

Often when designing, I go through a series of steps to establish hierarchy within a piece. Wedding invitations are easy as usually the bride & groom’s names are of the most importance. Followed by the Bride’s parents (or the hosting family), and then, if included, the groom’s family. Next the reception/ceremony information and then date/time/venue information.

Not all of these areas in a layout will receive different typographic treatments but it’s good to consider the importance of each element in a piece and where it stands in relation to the next element within the design.

All designs ©2010 Dingbat Press, reproduction or derivative works strictly prohibited.
If used in your own blog, please credit by linking to the image source and Dingbat Press.

Kelly already had her logo so we established layout and typography that was consistent with it. When I was working on these proofs I thought it would be SO awesome to print the brown tones in a matte copper ink in varying shades to make it look similar conceptually to a penny. If you are a creative and need a rockstar money strategist/accountant Kelly is your woman, and she has a lot of different pricing packages so for me it is TOTALLY worth my time. You can contact Kelly at Cracker Jack Accounting and read up on her offerings!