Fall Fashion 2009 Colors


Consider using these colors boldly in your letterpress stationery. You can easily do this by adding a colorful envelope or a letterpress envelope liner to your stationery. For occasion stationery, wrap your invite in a colorful paper band, different from the ink colors you are pressing into the paper. We also have an array of ribbons by Midori Ribbons that can add a pop of color. If ribbon isn't your thing, maybe a sewn edge would be a nice, colorful detail?

Some papers we recommend that compliment the Fall 2009 colors are: French Paper PopTone (Grape Jelly, Tangy Orange), French Paper Construction (Factory Green, Safety Orange, Brick Red, Electric Red, Charcoal Brown, Nightshift Blue), Stardream Collection (Jupiter, Gold, Amethyst, Lapis Lazuli). We welcome other paper suggestions if you have them!

Please visit the Pantone website for the full Fall Fashion Colors 2009 report. >>

Pantone fashion color report spring 2009

Check out the fashion colors Pantone is recommending for Spring 2009. We are able to closely match any Pantone color for letterpress printing.

If you would like to find papers in similar colors to use for your next letterpress project, contact us for options. View the full Pantone Fashion Colors Report by visiting their website at www.pantone.com.

Ink Mixing: opaque white vs. transparent white

In mixing Pantone colors we encounter the phenomenon of “transparent white”, which in other fields would be called “clear.” Many have found that for letterpress printing, opaque white works better for color consistency or for other reasons. I’ve found that with transparent white it can be tricky to maintain even color over a run, as slight variations in the ink film thickness show much more than with opaque ink.

Since the PMS formulas don’t use opaque white, some adjustments are sometimes required. A pastel color may specify 97 parts trans white to 3 reflex blue, for example. Transparent white ink is actually somewhat yellowish, as it contains linseed oil, resins, and other things essential to being ink. So, often we need to add some yellow into the mix when using opaque white.

Replacing transparent with opaque white is also essential when printing over darker papers. If the artwork will allow it, the piece can be run through the press two or even three times to achieve fairly complete opacity. On a hand-fed press this can be quite a stunt for testing consistency of registration, where on a windmill (for example) you will rarely see a variation if everything’s set right.