Letterpress Wedding Invitations
Letterpress puts a plate under pressure and pushes ink into the sheet, so the type sits below the surface and you feel it before you read it. Cost scales with colours and locations because every ink is hand mixed and every pass is a separate setup — one colour on one side is the cheapest real letterpress there is, and each addition is another run through the press.
What people actually ask
- Can you letterpress on dark paper?
- You can press it, but printing inks are translucent, so a light colour laid on a dark sheet reads muddy. On dark stock the honest options are a blind deboss with no ink at all, or a foil stamp.
- Why does letterpress cost more per colour?
- Each colour is a separate plate, a separate hand-mixed ink and a separate pass through the press. Two colours on both sides is four setups, not one job with four inks.
Keep looking
By style
By material
Letterpress is the one printing method your guests read with their fingers. A plate goes under pressure and pushes ink down into the sheet, so the type sits below the surface — you feel the words before you read them. It is also the method where every decision costs something real, because each ink is hand mixed and each colour is its own trip through the press. Below is how we'd plan a suite so the money lands in the impression and not in setups you didn't need.
One colour on one side is the cheapest real letterpress there is
Every ink on a letterpress job is mixed by hand, and every colour and every side is a separate setup and a separate pass. That's the whole cost structure in one sentence. A single ink on the face of the invitation is the honest entry point — not a compromise, just the version of letterpress with nothing wasted.
When couples come to us with a four-colour crest, two inks on the invitation, and printing on the back, they're buying six setups. Sometimes that's exactly right. More often we move the crest to a blind impression, keep one ink, and put the saved budget into heavier paper.
What letterpress does badly, before you fall in love with a file
Photographs, gradients and fine screened tints do not belong on a press that pushes ink into fibre. Halftone dots fill in and go muddy. Hairline rules under 0.15mm (0.4pt) can drop out or emboss unevenly.
Large solid blocks are the other landmine. Ink laid flat over a wide area on cotton paper mottles — you see the texture through the colour, which reads as a flaw to anyone expecting flat digital coverage. If you want a deep solid panel, we'd rather reach for flood colour or foil and let letterpress carry the type it was built for.
Two-sided letterpress fights itself, so plan for it
The impression that makes letterpress worth buying is a dent in the sheet. Print the back of that same sheet and the second impression lands into the valleys of the first — you get bruising, shadowing, and type that looks softer than the front.
The way around it is thickness. A duplexed sheet, two plies bonded into one card, gives each side its own surface to press into. It also doubles the caliper, which is why duplexed letterpress feels the way it does in the hand. If your details, map and RSVP wording all need a home, extra cards are often cheaper than fighting one sheet.
Common questions
Why does adding a second ink colour cost so much more?
Because it isn't a setting, it's a second run. The press is cleaned, a new ink is hand mixed to your colour, a new plate is locked up, and every sheet goes through again with fresh registration. You're paying for a second complete press setup, not extra ink.
Can we letterpress our monogram in white ink?
White is the hardest ink on a letterpress. It's opaque pigment sitting in a recess, so on a dark sheet it often looks translucent and grey rather than crisp white. Blind impression — the plate pressed with no ink — or white foil usually reads far cleaner. We'd want to look at your artwork and paper together.
Will the ink match the colour on my screen?
No screen matches hand-mixed ink pressed into cotton fibre. The paper drinks some pigment, so colours read slightly softer and warmer than a backlit monitor. Give us a Pantone reference and we'll mix to it, and expect the printed piece to look a touch quieter than the swatch on glass.
How deep should the impression be?
Deep enough to feel, not deep enough to distort. Push too hard and the type debosses through to the reverse and the counters of letters like 'e' and 'a' fill with shadow. Thin, delicate serifs also crack under heavy pressure. We set impression per typeface and per paper rather than to one house standard.
Can letterpress be combined with foil on the same invitation?
Yes, and it's a common pairing — letterpress for the body text and names, foil for a crest or monogram. Each process is its own pass with its own plate or die, so budget it the way you'd budget an additional colour. Foil sits on the surface; letterpress sits below it, and the contrast is the point.
Need the entire invitation suite drawn?
Invitation, RSVP, details and envelope composed for this stock and finish, with press-ready files for each piece.