It’s been a little while since I showed off a really modern invitation suite, and I’ve been meaning to show off the one you see above since last year, and finally it just made since to do it! I worked with Canadian couple Kristina and Andrew around this time of year last year on their wedding invitation suite, for their then-upcoming July wedding in Italy. Kristina wanted the design of their wedding invitations to have a formal feel to them, while being very modern and graphical at the same time. She really liked the idea of using geometric patterns in the design of her invites, and the above is what we came up with. This suite includes an A7 size wedding invitation that was printed in one ink color: a nice, deep violet, with blind embossing that was mounted into a custom-made violet folder. A small reply card was also included in the suite, as well as a matching, letterpress printed, custom-lined envelope for the invitation.
Let’s take a closer look at their envelopes first!
Kristina and Andrew’s envelopes are an A7 size, 100% cotton envelop from Crane & Co. with a square flap. Kristina chose Crane Lettra Pearl White paper for all of the white pieces in her suite, including the envelopes. The address treatment on these envelopes is very modern and non-traditional, which I love! Most of the time we print the address on the back flap of an invitation envelope. For Andrew & Kristina’s, we printed it on the bottom right of the backside of the envelope. We used two fonts throughout this suite: a modern, not-too-flourish-y script font, and a thin, san-serif font. The address was printed using both fonts, with the city emphasized with the script. Because they weren’t going to have their last names on the invitation, Kristina and Andrew thought it was important to have them somewhere on their paper goods. To accomplish this we printed their last names, and their last names only, in the top left corner of the front of their envelopes. Awesomely modern, don’t you think?!?
In the grouping of photos below, you can see detail images of the two areas of printing on these envelopes. You can also see the awesome, digitally printed, custom envelope liner we created for them. This liner was printed digitally in a deep violet and die-cut to line each of their envelopes. They choose a repeating geometric pattern of white lines for the liner, which I think turned out really cool.
If you had received one of their invitations, what you see below is what you would have seen inside:
Despite not having a lot of separate cards in her invitation suite, Kristina still wanted to enclose her invitation in something. I thought this was a great idea, and since we didn’t need a pocket folder to hold a bunch of extra cards, what I proposed was a custom, A7 size folder with the invitation mounted inside. Kristina had us print their names really small in the middle right of the front cover of this folder in silver ink. The paper for these was a custom violet paper made by Porridge Paper in Lincoln, Nebraska. I love working with Porridge! They make the most unique, beautiful and wonderful custom papers to print on. Seriously, where else are you going to find a paper that’s this purple, that’s also soft and cottony, and perfect for letterpress printing? Nowhere.
In the bottom right photo above, you can see Kristina and Andrew’s lovely, minimalist reply card. Kristina and Andrew explained to me that they travel a lot and as a result found that it would be easier to have their wedding guests RSVP via e-mail. This card features a blind embossed pattern of tiny dots all over. The small area on the card for the text was void of dots, but still featured both fonts we had been using throughout the suite. We emphasized the date that Kristina and Andrew wanted their guests to reply by in the script, and wrote out both the e-mail address they were to reply to and the other text in the san-serif font. The text of this card was printed in violet.
You may notice that there was a small typo on this card. I hate to admit it, since I still feel kind of bad that this happened, but somehow, this card made it through me, the bride, groom and a few friends and family members, before anyone noticed the typo. Oops. If we had caught it before ordering their printing plates, or even as or shortly after the cards had been printed, it would have been an easy thing to fix, and we would have gladly fixed it, at no charge. However, nobody caught it until long after the invites had been mailed out. This is a great reminder of the importance of proofreading, and re-proofreading, before giving final approval of your design files. I catch a lot of typos throughout the day, but very occasionally, I don’t catch them all, and ultimately, it’s the clients’ responsibility to make sure that everything (including spelling) on their invitations is exactly how they want it, prior to us going to print with it.
While I loved their reply card and envelopes, I must say that Andrew and Kristina’s invitation, in it’s custom folder, was my favorite part of the suite. It’s so modern and minimalist and yet so perfect, all at the same time. For the invitation design, we created a card that was slightly smaller than an A7 size so that about a 1/4″ of the purple folder would show, acting as a border, all the way around the invitation. The top part of the invite was blind embossed with a geometric pattern of squares, and the text was printed below it aligned to the left. All of the text of their invitation was printed in violet ink, and all of it was the modern, thin, san-serif typeface we had been using all along, except for their names, which were printed in script.