A real designer.
A real press.
Every order goes through a designer before it goes on press. They balance the wording, fix the line breaks, and make the names sit right — whether it's Smith or Jingleheimer-Schmidt. Then we print it ourselves on our Heidelberg Windmills. About two weeks, start to mailbox.
Seven steps, no surprises.
What happens between picking a design and opening the mailer. Every step happens in our shop — nothing farmed out, nothing drop-shipped.
Browse the collection. Each design is set up to print cleanly in one ink color on 110lb cotton. Pick the suite or à la carte piece you want.
Paste your names, date, venue, and any reply or details copy into the order form. No accounts, no template editor. If you have a specific font preference or monogram, mention it here.
A real designer — not a template — hand-sets your wording to the design you picked. They balance every line: kerning, line breaks, optical centering, and the visual weight of the names against the rest of the type. A short name like Smith and a long one like Jingleheimer-Schmidt both end up looking deliberate, not stretched or squeezed to fit.
We email a free digital proof. Reply with changes or sign off. Revisions are unlimited and free — we won't put your job on press until you're happy with what you see.
Once approved, we expose and wash out a photopolymer plate for each ink color. The plate is what carries your design into the paper — every plate is made in our shop, never sent out.
Your job runs on our Heidelberg Windmills. We mix the ink, lock up the plate, and pull each sheet through the press. A pressman checks impression depth and registration under a loupe on every run.
We trim, hand-inspect, and pack your order in a rigid flat mailer with envelopes. Domestic shipping is free over $75. Tracking lands in your inbox the day it leaves the shop.
- Free unlimited digital proofs
- Nothing prints without your sign-off
- Every job hand-checked under a loupe
- Rush available — 2–3 days on press
What the designer balances.
This is what you pay for that template editors can't do. A person looks at every line of type and adjusts the things a machine gets wrong.
- Name balance
Short and long names both sit right — Smith and Jingleheimer-Schmidt get the same care, no awkward stretching or shrinking to force a fit.
- Optical centering
Lines are centered to the eye, not the ruler. Punctuation and tall caps are accounted for so the block looks centered, not measured-centered.
- Line breaks
Wording is broken where it reads, not where it wraps. No widows, no orphans, no awkward "the" hanging on its own line.
- Kerning by pair
Tight pairs (Ta, Vo, Wa) are loosened; loose pairs are tightened. Done by hand, not by the font's default metrics.
- Diacritics & accents
Á, é, ñ, ć, ž, ł — accented characters are positioned and weighted to match the rest of the type, not pasted on top.
- Hierarchy
Names read first, date second, venue third. Sizes and weights nudged so your eye lands in that order without being told to.
- Plate-ready output
Final art is checked at 100% for hairline strokes, ink trap, and minimum stroke weight before it ever touches a plate.
About two weeks, end to end.
A breakdown of where the time goes. Most of it is paper sitting on the press, not anyone waiting on you.
Ready to start?
Pick a design and we'll send a free proof within two business days.