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It's best to start with some envelope basics.
Envelopes are measured from the shortest dimension first. Learn more…
Regardless of their orientation, windows are always height x width. Learn more…
Regardless of their orientation, windows are always measured height x width. When measuring a window, the flap of the envelope should always be at the top. You then measure the distance the window is from the left and bottom of the envelope. Learn more…
Call us first to discuss all the details. For more info, see our envelope converting tips.
Although not all of our envelopes are machine insertable, we carry a wide variety of machine insertable commercials, catalogs, booklets, and announcements. See all of our machine insertable products.
Special orders (anything that requires custom manufacturing) typically have a minimum quantity of 1,000 envelopes. However, if special paper is used, this is subject to change. Special paper often has a minimum quantity of it's own, which can raise the minimum quantity of an order drastically.
In order to ensure that your envelopes are printed and cut correctly, it's crucial that you contact us for a layout instead of creating or using your own. The type of machine and process in which your envelopes are die-cut can play a major role in the way your envelopes need to be layed out on the sheet. You can also read our converting tips to make sure you get the highest quality product possible.
Begin by checking out a convenient online version of our In-Depth Resource Guide.
Our standard method of printing produces labels on rolls. However, our labels can also come on sheets or can be fan-folded and packaged in cases, inner packs, clamshells, dispenser boxes, zip-lock bags, shrink wrapped, polybagged or banded. Please specify your exact needs when you place your order.
The label's intended use, the substrate the label is applied to, and the environment all play an important role in it's performance. To get started, you can take a look at our most common label stocks, or browse through all our available face stocks.
Many people feel that a pressure sensitive label can be applied successfully to everything. Not true! There are some surfaces to which pressure sensitive labels will not adhere at all. The key to success in any label application is to test the face material and adhesive prior to the label order being placed. This simple process will prevent problems from occurring later. Learn some adhesive basics.
Western States sells wholesale to the printing, mailing, and office supply industries. Becoming a customer is easy—contact us to get started, or learn more.
Western States sells wholesale to the printing, mailing, and office supply industries. Becoming a customer is easy—contact us to get started.
A broken carton price is when you order less than a full carton of a product (ex. 1 box). However, if ANY of the products on your order contain a full carton, you receive full carton pricing for all the products in the order. However, you cannot combine multiple broken cartons to get full carton pricing - you must have at least 1 full carton of a single product on your order to receive the discount.
We have a variety of ways for you to send us your files. You can send your artwork via email to email@example.com. If you're attaching your files, please be sure they are under 10mb. If your files are over 10mb, please use one of our other options.
We accept credit cards (Visa, MasterCard, American Express), Cash on Delivery (COD), or Cash with Order (CWO) payments. You can also apply for open terms, allowing you to pay for your products within a specified time period after delivery. To apply for open terms, you must be a customer and fill out our Credit Application.
We sure do! Check out our facebook page at http://www.facebook.com/pages/Butler-WI/Western-States-Envelope-Label/67...
Western States is a wholesale manufacturer for the printing, mailing, and office supply industries. If you're outside of one of these industries, we may refer you to your local printer to order our envelopes.
Western States has five locations throughout the United States, including our Corporate Headquarters in Butler Wisconsin, three envelope manufacturing plants, and our label facility. See our various plant locations. To better serve our customers, we also have more than 30 Sales Representatives out in the field.


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19th century English novel becomes colorful but dramatically just serviceable film in hands of director Mira Nair. Tale of a scheming social climber provides a meaty role for Reese Witherspoon. Star's name and a strong push by Focus toward the large middle rather than the upper end of the specialized market should spell good domestic B.O.
An essential 19th century English novel has become a colorful but dramatically just serviceable film in the hands of director Mira Nair. William Makepeace Thackeray's tale of a scheming social climber during the Regency period provides a meaty role for Reese Witherspoon, who acquits herself capably. But Nair's approach never entirely convinces, and the adaptation of the 900-plus-page book becomes increasingly episodic, making this "Vanity Fair" more a collection of intermittent pleasures than a satisfying emotional repast. Star's name and a strong push by Focus toward the large middle rather than the rarefied upper end of the specialized market should spell good domestic B.O. returns for this accessible but unremarkable costumer.
Serialized in 1847-48, Thackeray's drolly incisive account of an orphan girl's ambitious journey through the English class system 200 years ago has served as the basis for five silent films, including an Indian one, "Bahuroopi Bazar," made in 1932; three British miniseries, the last of them in 1998, and one previous major Hollywood sound feature, Rouben Mamoulian's "Becky Sharp," which was notable in 1935 as the first three-color Technicolor production. Given the rich societal setting, vibrant heroine and enough personal triumphs and setbacks to fill the bible of a daily soap opera for several seasons — and also offering choice supporting opportunities, most notably for Eileen Atkins and Gabriel Byrne — it would be hard to make "Vanity Fair" a dull affair. Just to make sure, Nair has juiced it up with a strong dose of Eastern exoticism that not only reflects the director's own Indian background but those of the rebounding cultural currents of the British imperial project that was then in the ascendant. But there are deficiencies at the very heart of this adaptation, penned initially by the team of Matthew Faulk and Mark Skeet and rewritten by "Gosford Park" scribe Julian Fellowes, which serve to deprive the story of a strong spine. This Becky Sharp is endowed with more humanity and well-rounded qualities than is the norm, which increases her dimensionality as a character. But this decision also dulls Sharp's blade, replacing her calculating ruthlessness with, in Witherspoon's interpretation, something closer to mere determination. The change removes much of the breathless astonishment out of the character's rise and eventual fall. And whether as a result of lack of actor chemistry or abridged storytelling or both, Becky's marriage to an irresponsible aristocrat remains largely a cipher here, serving to slip the rug out from under the feet of one of the story's central relationships. Poor but well schooled, young Becky takes her first important step into the moneyed world when she becomes governess to the children of Sir Pitt Crawley (Bob Hoskins), head of a family of musty Hampshire aristocrats. A lesser woman could easily die on the vine in such stultifying environs, but beauteous Becky engages the interest of handsome family heir-apparent Rawdon Crawley (James Purefoy) and, in another way, that spiky old Aunt Matilda (Atkins), who relishes Becky's frank wit and eventually invites the self-confident young redhead to join her in London. Thus Becky arrives on the major stage for which she fancies she was made. Her best friend from school, Amelia Sedley (Romola Garai), is seeing a dashingly snide young man, George Osborne (Jonathan Rhys Meyers), who has the audacity to peg Becky thus: "I had thought she was a social climber; I can see now she's a mountaineer." While both are involved with impressive young army officers, the two friends are on opposite social tracks. Unlike Becky, who thinks she is assuring herself of security and status when she marries Rawdon and bears his son, the comfortably raised Amelia isn't driven to push herself ever-upwards, although her modest status compels George's merchant father (Jim Broadbent) to insist his son break with Amelia and marry into great wealth. This demand is illustrated in one of the film's more amusing scenes, of George and a prospective arranged bride bluntly getting down to the nitty-gritty. Several of the best sequences hinge on characters boldly speaking their minds in contrast with the mannered politesse and hypocritical posturing that defines much of the social intercourse; it's Becky's plain speaking that piques Matilda's interest, and when the mighty Marquess of Steyne (Byrne), who ultimately becomes Becky's benefactor, brutally puts his ghastly wife and daughters in their place, it's like the pronouncement of a god from Mount Olympus. At the halfway point, the action shifts to Brussels in 1815. With Napoleon's forces converging on Waterloo, the English enjoy a final dress ball on the eve of the fateful battle. The death of Amelia's husband sets the widow into a steep decline, while Becky's descent is more gradual, with Rawdon's gambling and dissolute ways only slowly taking their toll. Tremendous story compression makes it unclear why a woman like Becky, her eye always on the prize, would stick with a man like Rawdon through thin as well as thick, and lack of visible aging for many characters makes time-jumping hard to gauge. Pic takes on a very disjointed feel in the second half, and, with the exception of Becky's compromised relationship with Steyne, the thread of the personal dynamics becomes frayed. Although it can be justified by the minor presence of Indian elements in the novel (Thackeray was, in fact, born in Calcutta), the emphasis on Eastern motifs nonetheless seems like an affectation as often as not. Still, this is not nearly as serious a problem as is the generally lackluster direction. Redressed streets in Bath double marvelously for Mayfair, and production designer Maria Djurkovic and costume designer Beatrix Aruna Pasztor make a point of filling every frame with color. But with the exception of the exchanges involving the shamefully entertaining Atkins and the reservedly insinuating Byrne, even the sharper dialogue falls somewhat flat. What style the film possesses seems applied rather than innate. Having broken in her English accent two years ago in "The Importance of Being Earnest," Witherspoon acquits herself honorably on that score, as well as in her interpretation, which emphasizes intuition and intelligence over brazenness and cunning. Approach makes Becky less distasteful than other incarnations, but also perhaps less emblematic of what Thackeray had in mind. Other thesps, including Hoskins, Meyers and Rhys Ifans as a long-suffering suitor of Amelia's, have their moments. Natasha Little, who appears here in the supporting role of Lady Jane Sheepshanks, portrayed Becky Sharp in the well-regarded 1998 BBC miniseries.Vanity Fair
A Focus Features release of a Tempesta Films/Granada Film production, produced in association with Inside Track Films 2 LLP. Produced by Janette Day, Donna Gigliotti, Lydia Dean Pilcher. Executive producers, Howard Cohen, Pippa Cross, Jonathan Lynn. Co-producer, Jane Frazer. Directed by Mira Nair. Screenplay, Matthew Faulk, Mark Skeet, Julian Fellowes, based on the novel by William Makepeace Thackeray.
Camera (Technicolor/Deluxe color, Super 35 widescreen), Declan Quinn; editor, Allyson C. Johnson; music, Mychael Danna; production designer, Maria Djurkovic; supervising art director, Nick Palmer; art directors, Lucinda Thomson, Sam Stokes (Bath); set decorator, Tatiana Macdonald; costume designer, Beatrix Aruna Pasztor; sound (DTS/Dolby SR/SRD), Drew Kunin; supervising sound editors, Warren Shaw, Tony Martinez; makeup/hair designer, Jenny Shircore; associate producers, Faulk, Skeet; second unit camera, Jay J. Odedra; casting, Mary Selway. Reviewed at Wilshire screening room, Beverly Hills, Aug. 18, 2004. MPAA Rating: PG-13. Running time: 140 MIN.
Becky Sharp - Reese Witherspoon
Miss Matilda Crawley - Eileen Atkins
Mr. Osborne - Jim Broadbent
The Marquess of Steyne - Gabriel Byrne
Amelia Sedley - Romola Garai
Sir Pitt Crawley - Bob Hoskins
William Dobbin - Rhys Ifans
Lady Southdown - Geraldine McEwan
Rawdon Crawley - James Purefoy
George Osborne - Jonathan Rhys Meyers
Lady Jane Sheepshanks - Natasha Little
Joseph Sedley - Tony Maudsley

subset: commoncrawl


text: Through October 23rd, Lucky Brand is offering an extra 20% off sitewide including sale items, which are already reduced up to 65% off. Discount reflected in cart. Receive another 10% off on top of that with coupon code WELCOMELB. New styles have been recently added to the sale section. Shipping is free.


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Jammu: Jan 3, 2013
Jammu and Kashmir (J&K) Minister for Medical Education, Youth Services and Sports, Taj Mohi ud Din on Friday congratulated the state's cricket team for reaching the quarter-final of the Ranji Trophy this year.
This is the first time in the history of Ranji Trophy that Jammu and Kashmir cricket team has reached the quarter-finals.
In a message to the team and its players, the minister hoped that the coming times would bring more and more success for the team.
He hoped that brighter and sharp players would come out of the state who would bring laurels to not only the state but the country as well.
Taj said, like any other field, J&K possesses rich talent even in sports as well. The minister also said that the state government has initiated a drive to strengthen and expand sports infrastructure in the state.
He said more and more facilities are being added to the existing stadia and asked youth to avail these facilities.


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Full profile →'">
The author is a Forbes contributor. The opinions expressed are those of the writer.
When you think it might do some good, pick up the phone and call.
That's a mantra that Pope Francis is following. As reported in the New York Times, the Jesuit Pope is making waves again with his informality. Over the past few months he has been "cold calling" people who have written to him. His reason is to offer comfort. For example, he counseled a woman in Argentina (his homeland) who had been raped by a police officer. He offered to baptize a child in Italy whose father wanted the child aborted. And he comforted an Italian man who had experienced personal loss, including the murder of his brother.
Not only is Pope Francis being pastoral, he is giving senior leaders everywhere a lesson in how to connect to their followers. Too often senior executives get cut off from the folks they lead. Their chief aides ever mindful of the chief's time husband it shrewdly and delegate time only to those closest to the top, that is, those in the C-suite.
This is a lesson the Pope might have learned from Bill and Dave (Hewlett and Packard, respectively) who popularized the practice of "managing by walking around." Pope Francis never stands on ceremony. He lives simply and travels as much as he can without an entourage (excepting of course security).
The point is that people need to see and hear their leaders. It often seems that the phone may be regaining popularity. Too many of us, especially in management positions, do the bulk of our communicating via email. That's fine for expediency but it does not make up for face-to-face, or voice-to-voice communication. I know executives who make it a point to walk down the hall to see a colleague rather than ping with an email. Sounds almost quaint, doesn't it?
We humans are meant to connect personally. It is important to see how people receive a message, even if it's interpreting intonations over the phone. Using the phone is personalized. When a senior leader dials up a front-line staffer, it implies that the person on the other end is worth speaking to. Too often people in entry-level jobs feel that those at the top don't know, or worse don't care, how they feel. Phoning them to chat, or to get their ideas demonstrates that the executive views them as important.
The phone can also be used to connote urgency. Nothing like a phone call from a chief executive to get someone focused on the task at hand. Toward that end, the executive can use the phone as a confidence builder. Many executives I know close their conversations with statements such as, "we're counting on you and we all know that you are the person to do this for us." Pressure, sure, but it also rings with importance. The employee has something vital to accomplish.
There is another reason to pick up the phone; it can be a learning tool. Not only is the leader dispensing a message, he or she should entertain some questions to find out how things are going on the front lines. Getting this kind of unfiltered information is invaluable. Many a senior executive make a regular practice of dialing trusted colleagues at all levels throughout the company to get the skinny on how initiatives are going, or not, or very importantly how customers are reacting to products and services. This information is invaluable.
So pick up the phone and make that call. Old fashioned, sure, but it works. Just ask Pope Francis.