Well, if this is meant to be a set, I don't see much relationship between the envelope and the business card. So I will look at them separately, then.

That said, I LOVE the technique on the card! A tad bit time consuming to do by hand, though. Would be very cool to do a laser die-cit, but I understand cost restraints. (I'm guessing this is a personal self-promotion item?) The kerning on the smaller white type seems awfully tight, but that might just be because I can't see it up close.

The envelope also is quite dynamic in a very different way than the card. While the card is subtle, the envelope is energetic. Nice added touch to have a message on the inside... BUT usually when you open a piece of mail, don't you run a blade through the edge? The recipient might never see your message, as they wouldn't necessarily open the flap that way.

It is meant to be a set, hopefully my letterhead and compliment slip will bring everything together, if not l may have to re-work the card or envelope. I have a very tight budget, so die cutting is out of the question.

I was initially stuck on the concept for my card, and after experimenting with my new found tools l created the card. What l liked about it was the subtlety, with my name being somewhat concealed/hidden. I have attempted to carry the idea of 'hidden' through to the envelope design, using a variant on a camoflage pattern[Royal Navy colour pantones]. But this has the opposite effect in the context of an envelope, making it standout.

The disruptive typeface may not be seen. Most people l have asked tear open their envelopes, but l run the risk of my greeting meassage being missed.

thanks.

I would check out the postal regulations on this and any envelope before conceptualizing a design. Wausau Paper has a good overview worth consulting. Nothing's worse than making a great envelope only to have the USPS reject it -- believe me, it's happened.

I think the concept of 'hidden' (while it applies to the design of both objects) needs to be more obviously connected between the two.

I would be intrigued by a similar use of the hole-punching on the envelope. Perhaps just a small monogram of your initials in the return address area (matching the style of the card) that shows a hint of dark paper inside a light envelope (or vice versa... dark envelope -- like the card -- showing a light letterhead through).

Just a thought. I'm all for matchy-matchy sets when it comes to stationery systems. Maybe that's a bit boring to you, but I find it strengthens the impact of the concept if everything is closely unified.

Michael, I had thought of that advice also, but noticed that Alex ('dole scum') is in the UK and the envelope was addressed for Italy. I have no knowledge of British or European mail standards, so I didn't comment on that aspect.

It's always good advice to check with the local postal service when designing mail, especially for business use.

(Though, in reality, my experience with the USPS has been fabulous when it comes to delivering unique 'mail art' that doesn't conform to standards, even internationally. This is not the same for bulk business mail though, where the rules are much stricter.)

Thanks for the link to the site. The envelope guidelines seem very restrictive, but l have seen mail art in the LA based Arkitip magazine, so l assume they are leanient to some extent. The envelope will be mainly used in the UK, so l cannot see any problems as any stamp marks are situated at the top of the envelope.

I also like coherent stationary, l will have to look at my work afresh tomorrow evening and see what l think. Thanks for the advice,
l am now off down the pub for a pint of guiness, yumyum.