Friday Happy Hour: The Lavender Ghost

Today’s cocktail recipe is a fancy version of a gin sour, but with the botanical addition of lavender.  Lavender can be a great addition to a cocktail; it’s flowery but also has an earthy flavor that can nicely complement gin or other spirits.  This cocktail is something of a specialty drink, one that demands a pretty specific ingredient, but if you can track some down (or make your own), it’s worth it: the Lavender Ghost.

Read below for the full recipe!

Lavender Ghost

2 oz Dry Gin (we like Plymouth)
1/2 oz Lavender Syrup
1/2 oz Lemon Juice

Combine the ingredients, shake with ice, strain into a chilled cocktail glass and enjoy!

Nole surprised me one day with a wonderful gift of some Royal Rose syrups, including their lavender-lemon syrup.  I gave their suggested cocktail recipes a try and found this one, the Lavender Ghost, was a real stand-out.

 

Royal Rose Lavender-Lemon syrup is sweet, flowery, and citrusy, but also has a botanical complexity to it that makes this more than just a sweetener and makes it pair well with dry gin.  The resulting drink is sweet, tart, flowery, botanical, and delicious.

The Lavender Ghost is basically a fancied-up gin sour.  Sours belong to one of the oldest, simplest, biggest, and best families of cocktail.  Each sour at its heart combines a spirit with a citrus and a sweetener.  Tweak any one of those ingredients and you basically get a new drink, whether it’s the Sidecar, or the Margarita, or the Daiquiri.  The gin sour is properly known as the White Lady, which is also a mythical name for a type of female ghost, making the Lavender Ghost a very clever name from the people at Royal Rose.

 

Photo Credits: Nole Garey for Oh So Beautiful Paper

{happy weekend!}

Woah, this was quite a week.  The end of the weekend saw me completely flattened by a terrible 24-hour virus, which left me unable to do anything but sleep during the early part of the week.  Ugh.  Thankfully I recovered in time for my flight out to Salt Lake City for Alt Summit – which is where I am right now!  I’m enjoying the beautiful mountains and catching up with friends before heading back home to DC at the end of the weekend.  But in the meantime…

Photo Credit: Aaron Huey

…a few links for your weekend!

This week on Oh So Beautiful Paper:

Finally, don’t forget to enter the Valentine’s Day giveaway from One Plus One – the contest ends Sunday!  And as an added bonus, One Plus One is offering free shipping from their Etsy shop from now until Friday, January 27!  Yay!  Just use the code LOVEISINTHEAIR at checkout!

Check back soon for today’s cocktail recipe!  I’ll see you back here on Monday! xoxo

The Printing Process: Edge Painting

Every morning this week, I’m running a series of guests posts about different printing methods – so if you’ve ever wondered why certain printing methods are best for certain kinds of designs (or cost more than others), this is for you!  You can read the previous installments covering digital printingengravingscreen printingletterpress printing with antique type, and foil stamping all right here.  Today Michael from Czar Press is here to walk us through edge painting!

What is Edge Painting?

Edge painting at its surface sounds pretty simple – it’s a process by which color is applied to the edges of cards, invitations, even books or journals.  Edge painting can be done in any color, including metallics and foils (!), and is usually mixed by hand to be matched to a specific Pantone color.

I’m a huge fan of edge painting for a bold pop of color on business cards and wedding invitations, like the new invitation collections from Bella Figura, Dauphine Press, and many others.  While edge painting is a commonly used technique, there is a whole lot of mystery surrounding the process – and printers seem to have different methods or processes for applying edge paint.  Today we have Michael from Czar Press walking us through his edge painting process and removing some of the mystery from this popular technique!

The Process

The edge painting process takes place after all graphics and text have been printed and all paper materials cut down to size.  For this example, we’re focusing in on a recent business card project.  I like to make sure my blade is especially nice and sharp when trimming out cards that are going to be edge painted.

Edge painting involves a padding press (pictured above), ink, and a brayer.  The cards should be stacked on the padding press, making sure that the cards are pressed against one wall of the padding press as evenly as possible.  Crank down the vice(s) on the press, applying pressure to the cards, making them nice and snug.  Remove the outer wall off the padding press, leaving one side exposed.  This the side that will receive the ink.

 

Then using just a little bit of ink, ink up your brayer.  Roll the brayer around and around on a piece of glass if possible in attempt to make the ink spread even across the brayer roller.  Then I apply the ink to the exposed side of the card, applying as little pressure as possible with the brayer to get good ink coverage on the cards.  Once the ink has been applied, I like to gently wipe down the inked side of the cards with a cotton cloth to remove any excess ink.

 

Let them dry for a while – maybe an hour, depending on conditions – until they are dry to the touch.  Put the outer wall back on the padding press, spin the cards around to the next side and repeat until all sides are complete.

Tips and Advice

Most printers recommend thicker papers – usually 160 lb and up – for maximum results with edge painting.  Edge painting can be done on thinner paper, but heavier (thicker) paper weights will better show the color and saturation of the ink color.

Similarly, most letterpress printers recommend darker or more saturated colors for edge painting.  Think bright red, cobalt blue, or even bright neon or metallic foils!  As with any custom process, most printers hand mix inks to match a specific Pantone color, so keep in mind that there may be slight variations in tone and saturation depending on the number of cards being painted.

Thanks Michael!  Check out more of Michael’s letterpress work right here!

Photo Credits: Example images via Bella Figura, process photos by Czar Press

DIY Tutorial: Rubber Stamp Vintage-Western Wedding Save the Dates + Invitations

It’s the ladies of Anti­quaria, back with their first fab­u­lous and cre­ative DIY project for you in the new year!  This week they’re sharing an awe­some DIY tutorial for Western rubber stamp wedding invitations and save the dates!

It really is true that the second you start sending out your save the dates, you begin setting the tone for your wedding.  It’s always important to think about your venue, colors and tone of the day before deciding on any of your wedding stationery.  Today’s DIY tutorial is for complementing save the dates and wedding invitations!  We utilized many different stamps & paper components to illustrate our theme: A Vintage-Western Wedding Fete!  Here’s how to put it all together:

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 1: Starting with the save the date, use A2 cards or cut paper to 4.25″ x 5.5″”.  Ink the stamp (we used our “Typography” Save the Date stamp) thoroughly and make a print.  When you are making the print, be sure to center the stamp on the paper.  You will want to apply moderate and even pressure to the stamp in order to get a good print.  Also, it is important to stamp on a solid and stable surface.  Any movement can cause shifting.  Let each print dry to avoid smearing.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 2: Make the tags for the save the date.  We stamped our website card (“Old West” web card stamp) on a grommeted gift tag.  For our monogram tag, we used a small shipping tag and stamped our “Lucky in Love” Initial Monogram stamp on it.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 3: This save the date has a fabulous mix of textures and really sets the stage for the invitation and event to come.  To combine all the pieces, simply tie basic thin kitchen twine around the save the date, going around multiple times.  Secure it with a basic knot and trim the ends to desired length.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 4: A great way to save a little money on your wedding paper (and who doesn’t love doing that!) is to get one return address stamp for all of your envelopes.  You will potentially be able to use it on your save the dates, invitations (even if you have them professionally printed), reply envelopes and lastly, your thank you notes.  It can really help your bottom line in the long run.  Once you’ve stamped your envelopes, simply address them, add postage (there are some fabulous new 2012 stamps out), and send them to your loved ones.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 5: Now on to the Invitation suite!  Use and A6 card or cut paper into 4.5″ x 6.25″ rectangles.  Following the same steps as the save the date, make prints of the stamp (we used our “Old West” Invitation stamp) on your cards.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 6: Vintage postcards are a great way to incorporate color and personality into your invitation suite.  We chose a great image of the Grand Canyon and had it copied on linen card stock.  On the back, we stamped our “Old West” Reply Postcard stamp.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 7: To tie it all together, we chose to create a monogram belly band.  To do this, cut a piece of kraft card stock into 2″x11″ pieces (you’ll get 4 out of each 8.5″x11″ sheet).  Then stamp your monogram (we used “Lucky in Love” Name monogram) in the center.

DIY Rubber Stamp Western Save the Dates and Wedding Invitations

Step 8: Place the invitation, reply postcard, & a feather in a bundle.  Wrap the belly band around the suite, centering the monogram.  When you’re happy with the placement, make hard folds with your nail or a bone folder.  Flip the suite over and secure the belly band with a 1.5″ long piece of double stick tape.  Use the same return address (we used our “Navajo” return address stamp), stamping it this time on a beautiful coral envelope.  Again, address, add postage to your invitation and let the compliments roll in!!

Materials:

Customized Rubber Stamps:

“Typography” Save the Date

“Old West” Web Card

“Lucky in Love” Initial Monogram

“Navajo” Return Address

“Old West” Invitation

“Old West” Reply, postcard option

“Lucky in Love” Names Monogram

Stamp Pad (we used a combination of chestnut and cocoa throughout this tutorial)

A6 Ivory Cards

A2 Ivory Cards

A2 Kraft Envelopes

Pearl White Grommet Tags

Shipping Tags, small

Kitchen Twine

A6 Coral Envelopes

Linen Card Stock (you can find vintage designs online on websites like Café Press)

Kraft Card Stock

Scissors

Feathers

Bone Folder

Double Stick Tape

Anti­quaria is a mem­ber of the Designer Rolodex – you can see more of their beau­ti­ful work right here!

Photo Credits: Antiquaria

p.s. Have you entered the giveaway from One Plus One yet?  Check out the details right here!

The Printing Process: Offset Printing

Every morning this week, I’m running a series of guests posts about different printing methods – so if you’ve ever wondered why certain printing methods are best for certain kinds of designs (or cost more than others), this is for you!  You can read the previous installments covering digital printingengravingscreen printingletterpress printing with antique type, and foil stamping all right here.  Today we’re talking about offset printing, with help from Katie of Kelp Designs and Nicole of Barrington Printing.

Offset printing is often confused with digital printing – both are four-color flat printing methods, but the process is quite different!  While offset printing is incredibly common, the printing process and procedures are often not well known.  Barrington Printing, a family-owned print shop in Cranston, Rhode Island, provides offset printing to a range of clients around the United States, including Katie of Kelp Designs in Los Angeles, California.  Katie recently interviewed Nicole about the offset printing process.

What is Offset Printing?

Offset printing is one of the most common flat printing techniques, wherein ink is transferred from a plate to a rubber blanket, then back to the printing surface.  Like most types of printing, offset printing is a mix of art and science.   Although the process is very technical (the science part), the press operator also carries a lot of weight in achieving the desired outcome of the printed piece.

 

Offset printing (or lithography) is what you probably see most often in your day to day travels.  It is often used for direct mail postcards, business cards, brochures, pocket folders, signage and, yes, greeting cards and stationery.  Offset varies from other print methods in many ways including technology, process, cost, material options and turn around time.

The Printing Process

The most important part of the offset printing process is the very beginning.  It is important to ensure that you have very well prepared files.  One of the biggest mistakes we see is a simple one, files must be converted from RGB to CMYK in order to print offset.  This conversion will change the look of your piece, sometimes marginally, sometimes dramatically.  Many designers are unsure how to prepare their files for an offset print job and can end up running into unplanned prepress costs to correct them.  My best advice is to call your local printer and ask to speak with the pre-press manager.  These people are such valuable resources to an artist or designer and can help you avoid trouble spots through the rest of the print process.  Often, much of this information can be found online on the printer’s website.

 

Once the files are in place a proof is prepared, which will give a very close representation of what the final printed piece will look like.  It is never exact, as the process of making the proof is different from the offset print process.  In addition, often times the proofing material is different from the stock that will be used on press which can vary the color slightly.  Once the proof is approved, the job moves onto plating.  Metal plates are made that get “hung” on press.  There is one plate for each color used (Cyan, Magenta, Yellow and Black – aka CMYK – to make four color process, or any Pantone Color for a single color job).

 

The stock will be cut to the size of the press it is being run on and depending on the size and scope if the project it can run for as short as 30 minutes or as long as multiple days. Once the press run is complete, bindery is the next stage.  That could mean, die cutting, scoring, stamping, numbering, folding, stitching, etc.  This can be a multi day process as ink needs to dry before you can finish a job and get it boxed for delivery.

Offset Printing vs. Digital Printing

Offset is typically considered the gold standard for quality, although the process is longer and it can be more expensive depending on the quantity being printed.  Offset printing also allows for more material options.   Digital printing is quick and can be less expensive especially when printing smaller quantities, however, the image quality might not be 100% accurate.  Most offset printers offer digital printing, so always check with your printing representative to gauge your options!

Tips and Advice

Offset printing is the highest quality flat printing process available, and there are many paper stock and material options for offset printing.  Projects can also be tweaked for color adjustments on the press during the run. Like other artisan printing methods, such as letterpress and engraving, you’ll find better pricing value in higher volume jobs.  Conversely, offset printing requires a more expensive set up time, which can be an issue for smaller projects.  Offset printing also requires a longer turn around time.

My best advice is to get a good referral to a printer!  It doesn’t have to be in your area (although it may help).  It is super important to find a printer that is invested in YOUR project and understands the exact outcome you are trying to achieve.  If the printer is a good and honorable one, they will give you all of the options and recommend the best one, even if it’s not something that they offer.  It is important to keep in mind that all printers have different niche’s, some have smaller presses, some have larger and your project may or may not be an economical fit for their equipment.  Don’t be afraid to ask them if your project is a good fit for them.

Nicole Couto is a sales person at the family-owned Barrington Printing in Cranston, Rhode Island.  They are celebrating their 30th anniversary this year!

Thanks Nicole and Katie!

Photo Credits: Process photos by Barrington Printing, example photos by Kelp Designs