Choose the right typeface and point size
When seeking the deepest impression, use bigger, bolder type designs. A great rule of thumb is to make sure there are no lines thinner than 0.25 points thick. Fine hairlines, delicate serifs, and thin strokes on punctuation can break down or fail to register under the pressing force.
That doesn't mean you can't use elegant typefaces — just be intentional about weight. We review every file before making plates and will flag anything that may not print cleanly.
Design for the process
Letterpress designs need to account for the characteristics of the process. The technique works best with typography, line art, and designs that feature substantial white space. It evolved historically as a method for printing letters — not large areas of solid ink coverage.
Designs with heavy ink coverage, tight gradients, or photographic detail are better suited to offset or digital printing. Letterpress shines with clean lines, intentional spacing, and simple, confident compositions.
Avoid reverse designs
A "reverse" design prints the background color with ink while leaving the artwork as the unprinted paper color. This creates two problems:
- Ink transfer. Uncoated paper with heavy ink coverage can rub off onto adjacent items — especially problematic for pieces that go through the mail.
- Uneven coverage. Letterpress inking systems were not designed for heavy, solid coverage. Large inked areas tend to show graininess, ghosting, and inconsistency.
Small orders can sometimes push these boundaries, but consistency becomes difficult on longer runs like corporate business card orders.
Use colored paper for background color
Colored paper is the best choice for a background color, instead of printing that color with ink. The paper itself becomes a design component through its color and texture — and you avoid all the coverage problems described above.
Paper color options are more limited than the Pantone system, so it's worth selecting your stock early in the design process. Two-tone effects are achievable by mounting (duplexing) papers together — a white face with a colored back, for example.
Ink color must be darker than the paper
All letterpress inks are transparent. They tint rather than cover, so the paper color shows through. This means a dark ink on light paper will look rich and saturated, but a light ink on dark paper will appear washed out or invisible. Always choose an ink color that is darker than your paper stock.
Create your design as vector art
Vector formats — Adobe Illustrator (.ai) or InDesign (.indd) — scale infinitely, which allows us to generate plates at extremely high resolution for the crispest possible output. This is the standard for letterpress artwork.
Photoshop files can work for hand-drawn or illustrative elements, but they must be at least 1200 ppi in bitmap mode. Photoshop is not recommended for typographic layouts — always set type in a vector application where fonts remain as outlines.
Include bleed
If your design extends to the edge of the finished piece, it needs bleed — artwork that continues beyond the trim line, typically 0.125" (1/8") on each side. This accounts for slight variations when the paper is cut to final size after printing, ensuring there are no unprinted slivers along the edges.
Design for impression
Impression depth — the tactile "bite" that makes letterpress distinctive — varies depending on what's being printed. Fine lines and typography press deeply and cleanly into the paper. Large solid areas flatten against the surface, reducing visible impression.
If deep impression is important to your design, favor line work and type over large filled shapes. Lines at least 0.25 points thick will allow for the deepest, most satisfying impression.
