Since this couple are both designers, it was only natural for them to take on the design of the invites, deciding on a multi-layered suite that was both casual and simple. Many of the elements -- the typography, trailing vines, and color palette -- were carried through to the day-of paper elements, including the menus at the dessert and wine stations, the escort cards, and the place settings.
Designed by bride Leoma's friend Lara Ashworth, this stationery suite introduced a loose springtime theme, incorporating light, airy colors, birds, and butterflies. The invitation was a four-piece ensemble strung together with ribbon and showcased the couple’s monogram.
Presented as a helpful packet, this stationery suite by Paper-Source features separate cards supplying details about the welcome dinner and transportation options. Touches like the invites' faux-bois borders, Kraft-paper-colored extras, and Wild West-style engraver's font set the scene for the alpine fete.
Between their Southern-style BBQ dinner and guests dressed in festive red, white, and blue, Leanne and Brad brought a modern vision of classic Americana to life with their midsummer wedding. Homemade posters, screen printed by the bride and groom, unfolded to read: "If love ain't cool, then we ain't" with an outline of Ohio in the center.
Lizzie and Matt's paper goods were designed by some of the area's most well-known stationers. Christine Schmidt at Yellow Owl Workshop designed the whimsical save-the-dates. The fishing lure illustration (behind the crest with their initials and a drawing of their puppy) hinted at the couple's love for fly fishing. The formal invitations were designed by Smythson of Bond Street.
The letterpressed invitation suite, designed by Thunderwing Press, reflected the wedding's palette of indigo, gold, and rust, and featured floral and Navajo motifs and unique typography. It also boasted a custom logo that incorporated the couple's initials and represented their love of California (their names start with C and A, after all). With a palette of indigo, gold, and rust, the pieces fused floral designs, graphic Navajo elements, and unique typography.
Tiny Pine Press's stationery suite used a mix of textures and natural elements. A handmade folder housed the different pieces, with a twig and twine closure. The hand-colored photograph of the house and the pond is the save-the-date and a preview of the wedding location.
One of Lara's chums, Kristen Ekeland, designed her stationery using the wedding's "The Secret Garden" theme (it's Lara’s favorite childhood book, after all) with a touch of old Hollywood glamour as inspiration. The invitation suite incorporated natural elements like ferns, birds, and trees, and the response postcards were inspired by vintage English wallpaper. Another pal, Jenna of Love*Jenna, did the calligraphy, and Letterpress Chicago provided the letterpress details.
Unscene Inc. printed "memorabilia" like nautical-themed invites, air mail envelopes, and response cards scanned from old postcards. Blue-and-white twine and an anchor punched from an old map bundled everything together before being sent in a navy blue envelope with a collection of postage.
With a playful color palette inspired by their names, Rose and Gray worked with a team of talented artists to create their simple yet classic nautical invitation suite. Calligrapher Pier Gustafson, who also addressed the envelopes, designed an icon of a compass rose that encircled the couple's first initials. Calligrapher Deborah Delaney's beautiful script graced the stationery, designed by Angela Denise of 80 Press. The suite was letterpressed onto soft white paper by Bowne & Co., Stationers.
Jenny and her stationers, Hello!Lucky, collaborated on the stationery. The simple and classic invitation was edged and embossed in gold on thick card stock. It was packaged in a Kraft-paper box with a gold-leafed lid that was lined with patterned fabric and tied with rope hand-braided by the bride and her friends from strips of muslin, silk, and printed fabric.
The 15-inch by 5-inch invitation suite, created by Simplesong Design, introduced aqua into the color palette. A response postcard, attached to the bottom with a perforated edge, was easy for guests to tear off and mail in. The envelope was lined with their signature stripe (first seen on the pre-welcome box) and featured the couple's initials and wedding date.
When Rae began researching stationery options, she looked for more of a scrawl than a traditional script, in the end turning to the calligraphy of Betsy Dunlap. The elegant serifs at once feel timeless with a vintage influence. Sarah Parrott of Parrott Design Studio incorporated Betsy's work into the letterpressed white and navy invitation suite. To add a bit of color, she backed the card stock with printed paper that felt like old wallpaper.
Engraving and calligraphy embellished the wedding paper of Darcy Miller’s invitation. The invitation, program, and menu were all the same size, lending a sense of unity to the stationery. The extravagant calligraphy makes them attractive mementos. Darcy and Andy had a monogram designed for the occasion; the matchbooks featured a smaller version. The invitation beckons with lyrics from the couple's song, and the wedding program itself concludes with a dedication to the grandparents of the bride and groom.
Wanting the wedding to feel handmade, this couple chose a handwritten type treatment and found inspiration in the packaging of Jamie Oliver's food goods and Paul Rand. They worked closely with Hello!Lucky on their ice-blue and poppy-red invitation suite. Jean, a copywriter, came up with all of the wording for the invitations herself (asking guests to join them on September 26, 2009, "to celebrate what they will refer to from now on as their big day"). The invitation details: red and white cross-hatch envelope liners, personalized address labels for each guest, and a hand-drawn map.
The bride designed and printed the invitations for the wedding. The inspiration behind the stationery suite was silver age comic books. The groom grew up liking a few characters, and she loved "the exuberant art, simple newsprint paper, and their old-school printing style."
Bernard Maisner's calligraphy was used on the hand-lettered envelopes and engraved invitation. Customized match barrels from ForYourParty.com were placed at the bars and given to guests for the sparkler send-off at the evening's conclusion. Since this bride heard lavender brought marriages good luck, small muslin pouches rubber-stamped with the couple's monogram were filled with the fragrant herb for guests to toss during the ceremony.
Daniel, a TV art director and graphic designer, relied on both his heart and his designer's eye for the invitations. With the flourished lettering, he aimed to capture the couple's bold style and shared sense of fun. He also included a typeface used in the work of one of their favorite artists, Lawrence Weiner. "I love how it turned out -- masculine, but romantic," says Gracia.
Ellie Snow of Hello Tenfold worked with the couple to create the travel-themed invitation suite for their Bali wedding. It began with the save-the-date, which was a map that detailed the couple's travels over the years. The invitation itself was formatted like a storybook, outlining the key parts of Amy and TQ's relationship. Packaged with a band that was sealed with an airplane sticker, an insert described logistics and activities for the weekend, such as yoga, volcano tours, elephant rides, and trips to the craft villages. Everything was sent out in a chartreuse envelope with a patterned liner.
Drew designed the invitations, which were letterpressed by Studio on Fire in the couple's signature color, orange. The modern suite was packaged in a four-sided folder, one flap of which was the actual invite, another a map of the area. Inside the folder were response cards, an invitation to an intimate dinner, and a VIP pass for out-of-town family to stay at the hotel at the couple's expense.
The stationery, designed by the bride, Randi, was letterpressed in brown ink. The stickers on envelopes and addresses on reply cards were outlined with a rubber stamp inspired by a vintage label. The invitations were blind hit in Hebrew with the biblical love story of Jacob and Rachel (Randi's Hebrew name); highlighted are the words "Jacob kissed Rachel." Each bundle is tied with baker's twine.
The couple's leafy save-the-date arrived in a vellum envelope. Laura designed an invitation suite that incorporated her own type and phrasing with Gwen Frostic's block-printed cards. Invitations and response cards were tucked into envelopes that the bride calligraphed herself and adorned with vintage stamps.
The invitation was packaged in a small paper box, wrapped in Kraft paper and covered in a mixture of vintage stamps from The Paper Nickel. Inside the box (meant to evoke a keepsake drawer) was the formal wedding invitation, a keepsake card, a weekend itinerary, a pair of buttons, and a spool of yarn to continue the theme from the save-the-date.
The invitations, which the bride bound and designed herself, were a series of miniature books -- A Wedding Celebration, Area Highlights, and Travel Guide -- encased in a linen pouch. Program information was printed on perforated business-card stock. Jayme designed and printed save-the-dates in a letterpress class and tucked them into sleeves with artfully punched holes. Invitation envelopes were calligraphed in blue, and the couple's wedding date was printed on the inner flap.
In keeping with their school theme, Minhee and Truman’s letterpress invitations, maps, and reply cards were printed on vintage notebook paper by Minhee's company, Paper + Cup. Attendance reports asked guests to indicate who was coming. All the components slipped inside a small manila folder printed with the couple's names and address label peek through the outer envelope.
Kathryn and Jeff found inspiration in home design magazines and in product lines such as Jonathan Adler and John Robshaw. Incorporating their graphic sensibility, Olive-Route designed a modern invitation sewn to a card with an embossed herringbone pattern. Calligraphy by Nancy Hopkins was letterpressed on the invitation suite. Hopkins also hand-calligraphed the envelopes.
The invitations were packaged in unused writing tablets from the 1950s. The groom illustrated his and his bride’s seven-year relationship using two small characters, drawn into all the major moments in their years together. Underneath was the formal invitation, also printed on vintage paper. It was attached to the folder with grommets and accompanied by an RSVP card attached by photo corners to the opposing side.
The Indigo Bunting created a custom stationery suite that included an illustration of the couple on the back of the invitation. An illustrated map, double-sided RSVP card, and small buttons with the drawings of the bride and groom rounded out the suite. Inspired by the greenery of the Los Angeles wedding venue, illustrations of plants created borders on the invitation.