Guide

Six things we can do to a sheet

Few projects use a single technique. These processes layer on top of one another, and the layering is what creates the character.

An assortment of wooden type blocks

Technique 01

Letterpress

A raised plate is inked and pressed into the sheet under pressure. The ink sinks into the fibres while the surface keeps a permanent well. Soft cotton papers hold this impression best. Fine hairlines and very small type stay shallow, so we advise against going below 6 pt.

  • Best paper400–900 gsm cotton
  • Colours1–3 Pantone
  • Minimum type6 pt
  • Bite depth0.2 – 0.6 mm
White paper resting on a white surface

Technique 02

Blind Emboss & Deboss

An impression made without ink. It reads only through light and shadow, and because it changes nothing about the colour of the sheet it is the quietest mark available. It can be raised (emboss) or sunken (deboss), and suits monograms, covers and packaging.

  • InkNone
  • Minimum400 gsm
  • DirectionEmboss or deboss
  • Adds+1 working day
A wooden wax seal die surrounded by small wooden pieces

Technique 03

Hot Foil Stamping

A heated die transfers foil onto the sheet, giving both shine and relief. On dark stock, where letterpress ink is swallowed by the paper, foil is the only technique that truly reads. Beyond gold and silver we stock copper, rose gold and matte colours.

  • FoilGold, silver, copper, matte
  • SurfaceAny paper colour
  • Best forMonograms, logos, borders
  • Adds+1 working day
Paper swatches arranged in a colour gradient

Technique 04

Edge Painting

Colour applied by hand to the cut edges of a trimmed card. On thick bodies it emphasises the weight of the piece; matched to a foil colour it ties a whole suite together.

  • Minimum body600 gsm
  • ColourPantone or metallic
  • AppliedBy hand, four edges
  • Adds+2 working days
A person cutting paper with a blade at a cutting bench

Technique 05

Die Cutting & Rounded Corners

A bespoke cutting die is made for anything that leaves the standard rectangle behind — rounded corners, curved edges, holes and notches all happen at this stage.

  • DieBespoke, one-off charge
  • Corners3 mm or 6 mm radius
  • Adds+2 working days
A black and white wooden composing board

Technique 06

Numbering & Perforation

Sequential numbering for tickets, invitations and limited editions. Combined with perforation it turns a card into a tear-off reply slip.

  • NumberingSequential or random
  • PerforationStraight or curved
  • Best forTickets, RSVP cards

Decision guide

Which technique, when?

Pale stock, dark mark

Letterpress alone is enough. Choose a body above 600 gsm for depth.

Dark stock, pale mark

Letterpress ink will not read over a dark ground. Use hot foil.

Quiet, minimal brand

Blind emboss. No colour, only texture — needs 400 gsm or heavier.

Emphasising thickness

Duplexed body plus edge painting. It adds weight the moment it is picked up.

Photographs or gradients

Letterpress cannot do either. We propose a hybrid with digital printing.

Very small type

Do not go below 6 pt — the bite flattens and the counters fill with ink.

Related

Next

Paper Guide

Technique starts with stock. Weight and texture compared.

Open the guide

Portfolio

See how these techniques combine in real projects.

Go to portfolio

What is letterpress?

The history of the technique and how it differs from digital printing.

Read the piece

Let the next impression be yours

Tell us what you want pressed.

Artwork ready or not, send us the quantity, paper and date you have in mind — a detailed quote follows within 24 hours.

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