RED AND GOLD IS A palette not seen often in wedding design. Because red is such a commanding color, most people tend to think it is overpowering and distracting. Done right, however, red resonates with powerful and lasting effects. For Diann and Jon's wedding day, red and gold were offset by natural tones with lush greenery and oak tables that kept the palette feeling elevated rather than dominating. As an accent, we used turquoise from the venue's painted exterior.
I immediately knew I had a kindred spirit in Diann. During our initial consultation she expressed that she was a font-fanatic and wanted to know if she could send a link of her favorites. Could she! Font selection and manipulation was a huge part of our design process. To keep things modern and pop-y we focused on a clean format, even tracking, and drew inspiration from concert posters. The venue, the ever-so-awesome Ruby Street in Los Angeles, was another important factor in our design. Their signature is a gorgeous, original stained glass window that we incorporated throughout.
Another fun detail Diann and Jon commissioned was a custom watercolor portrait. Their illustrations were used on the welcome signage, stickers, and custom lucite and gold foil cake topper.
The menu for the evening was a delicious family-style spread prepared by Hungry Bear Catering Co. Table menus were pressed in gold foil and displayed between an etched "lucite sandwich" with gold foil illustrations. Each table represented a place important to the bride and groom that they could keep and display after the wedding!
In coordination with the professional design eye of Renee of Moxie Bright Events, Of The Flowers provided beautiful installations kept the floral display high so that the family-style meal would have ample room to be served on the wood tables.
WHAT COULD BE MORE EXCITING than starting the year with a feature in Green Wedding Shoes? Probably nothing. It doesn't hurt that this was, without a doubt, one of my favorite projects of 2017. I teamed up again with Jason Lloyd and Victoria Gold to execute a monochromatic winter wedding wonderland. While I love a good jewel toned wedding, winter weddings from January to March tend to fall outside of the featured design boards - no longer "holiday winter" and not quite "first blossom" of spring. Admittedly, these months can feel long and dreary but that only added to our excitement in creating a wedding for these months.
When Jason first described the vision he used the terms: modern, sleek, and monochromatic. Elated, I reached for the most modern, sleekest, and monochromatic material of them all - white, matte acrylic.
I really pushed myself to consider how to incorporate entirely white-on-white elements that would be cohesive and approachable, all while making an impact.
In addition to the laser cut acrylic invitation, a blind de-bossed tag with the couples' names ties together the invitation box. Because guests would not be able to RSVP on acyrlic, I used a reverse gesso technique on card stock to duplicate the pattern on the invitation while keeping everything white. And, perhaps the most exciting part of the suite was a clear acetate and white foil save the date. Stunning silver calligraphy by Willow and Wine completed the look.
A few of my other favorite details from the day included work-of-art cocktails by CaliCraft, a custom ceremony installation by Jason Lloyd, a textured cake by Nicole Bakes Cakes, and a funky neon sign by Neon Dive Bar.
WHEN YOU WORK IN EVENT DESIGN it is your responsibility to transform a client's vision into reality, but so seldom do you take the time to design for yourself. At the start of fall I had a desire to create leather napkin rings but had no one to design them for. I thought I could create them for my personal dining room table, but then I would want to host a dinner party for the napkin rings to have a "purpose." If I was going to host a dinner party, I would want to design a tablescape. As my "if you give a mouse a cookie syndrome" started spiraling out of control and I felt the weight of my ideas crumbling in on me, (too many cookie references for one sentence?), I realized how silly it was that I never took the time to create for myself. If I was feeling this overwhelmed by the thought of creating a napkin ring, I figured that there must be other creatives who want to take a moment to enjoy the fruits of their own labor. With encouragement from Jessica of J.Lee Photos, I decided to host a collaborative dinner party.
As I casually started asking around the idea seemed really exciting. Admittedly, I wasn't exactly sure what I was expecting from the evening, and I really didn't know what was going to happen until the moment the party started. The one thing I did know was that I wanted this event to be a creative and enjoyable expression for all involved. I created a mood board based around the definition of the Fall Equinox and sent it out to a few friendors to see if the palette resonated and the date was free.
The results were unreal.
Victoria of Upton Gray Floral took my basic idea and elevated it beyond belief. In addition to the stunning centerpiece she also copper leafed artichokes and figs.
Holly of Events by Holly Gray used her culinary background and made a delicious harvest salad with Brussels sprouts, walnuts, goat cheese, and chicken.
I set the table with Casa de Perrin plates and coups and tied together the napkins with the all-inspiring leather napkin rings. To add in more natural elements I created stone "place mats" by adding cork padding to organically shaped blue slate tiles. I also wanted a leather tag for each guest. Because I was unsure of who would be attending I made a simple "thank you" that I attached to our cocktail glasses. For another event I would love to make these as escort or place cards!
The evening turned out perfectly and extended from a collaborative experiment to a night rich with conversation and laughter. As a designer, it was so refreshing to enjoy the talents of this creative community in a non-traditional way. In future seasons this is something I hope to host again.
HOW DO YOU SEAMLESSLY transition summer's trends with the changing, cooler tides of autumn while drawing on inspiration from the 1600s? Enter Jason Llyod of _By Jason Llyod and Victoria Gold Photography. When Jason approached me about the concept behind this shoot I was ecstatic. He and Victoria wanted to re-create the richness of the Dutch Painting Masters with a modern and cool vibe. Immediately I reflected back to my art history classes and conjured images of bowls of fruit, blossoming flowers, dramatic & contrasted lighting, and radical subjects. While we left the portraits of the bourgeois and ladies of the night out of the overall concept, we had ample to pull from. The difference between warm light and cool colors, abundant details with minimal backgrounds, and the reverence and austerity of the 17th century works set the stage for a styled shoot teeming with rich blooms, metallic accents, and a bounty of detail.
The Garage in Burbank, a once popular spot for film and media converted event venue, gave us a perfectly minimal backdrop that allowed the table setting to shine.
For the invitations and menus I took a very literal approach as I wanted each piece to feel like it belonged in a gallery. The invitations consisted of two pieces of laser cut and etched lucite with a painted center in summer's Pantone color: Niagara Blue. Secured by grommets, each invitation was it's own unique piece. The RSVP and envelopes had a small stroke of white paint to bring the texture across each piece.
The most exciting part of how the shoot came together was the blend of opulence and minimalism - a trend that I see moving forward for Fall 2017 and well into 2018. Summer stone fruits scattered across Jason's hand dyed linens. Luxurious blooms from Tabitha of Winston and Main sat center stage while the craft cocktails by Cali Craft Cocktails became actual pieces of art that were almost too pretty to drink!
WITH A CONSTANT BARRAGE of inspiration from Instagram and Pinterest, it is natural that deciding on a direction for invitations can be overwhelming and daunting. Stationery tends to be one of those "unknowns" when it comes to budgeting for your big day. As with every element of wedding planning, there is large variations in price range, but here are a few budget items to consider and tips that will help determine which route you should go when designing.
SEMI-CUSTOM VS. CUSTOM
One of the greatest options on the market today for brides and grooms who are looking for a quality invitation with a hint of pizazz are semi-custom sites like Minted and Wedding Paper Divas. These sites have designer templates that you can use and include your own wording. Often times, there is a limited color scheme that you can choose from to best suit your wedding theme. Because these sites can print in bulk and have the systems and stock in place to mass print designs, they are able to provide luxury features like foil for a low cost. However, because the plates are already made, you are unable to make changes to the core features of the design and are often restricted in where the foil is placed (usually not on a customized area).
With custom printing, the sky is the limit. Different print methods can be combined to seamlessly create the design of your dreams. As every design is a one-off, the cost per piece is higher than semi-custom sites offer. To achieve foil or letterpress printing, a special plate is first constructed and then every invitation is individually pressed. Because of the added labor and time that it takes to order material, the turnaround time on production is usually 10 business days (as opposed to 1 or 2). For an invitation with foil printing you may expect to pay $4.50 each as instead of $2.00 from a semi-custom site. Kindly note that the price fluctuates based on things like volume, paper thickness and variety, special order foil or ink colors, and number of print methods per piece.
DIFFERENCE IN PRINT METHODS
Different print methods have their own distinct features and associated costs. Below is a brief overview with average costs, pros, and cons. While the most common methods are listed, there is a world of possibility that exists in combining methods, using silk screen printing, and adding "bells and whistles."
Digital, or flat, printing is one of the most accessible methods. Large ranges of color can quickly be translated to variety of card stocks. Because paper is run through a printer, there is a limit on the thickness of stock. To achieve a thicker stock, paper must be duplexed (glued together) or matted onto another piece of paper after printing. This could be a great option when combining digital graphics with another method, like letterpress or foil printing. Digital printing is also great for printing variable information, like addresses, because special plates are not required.
AVERAGE STARTING PRICE: $1.50+ PROS: ECONOMICAL, UNLIMITED COLORS, VARIABLE DATA CONS: LIMITED TO LIGHT COLOR AND LIGHT WEIGHT STOCK
Letterpress is one of the oldest methods of mass printing. A specialty plate is etched and pressed into stock with opaque ink, creating a beautifully rich and tactile result. Because the inks are opaque, the color of the paper must be considered for the final effect, (lighter colored papers will be more effective than dark papers). Metallic inks tend to be more muted and with a dull shine. As ink colors must be applied one at a time and require different plates, this method is best suited for invitations with 1 - 3 colors. To create additional effects, inks can overlap for a blended color.
AVERAGE STARTING PRICE: $3.50+ PROS: INCREDIBLE TEXTURE AND FINE DETAIL CAN BE ACHIEVED, WORKS BEAUTIFULLY ON THICK PAPER STOCK CONS: LIMITED NUMBER OF INKS CAN BE APPLIED PER DESIGN, NOT SUITED FOR DARK PAPER STOCK
Thermography, or heat embossing, is a method that produces a raised effect with a plastic-like finish. Invitations are first "printed" with a clear, sticky ink before being sprinkled with and cleared of excess embossing powder. The invitations are then hit with hot air, which melts and permanently adheres the powder to the paper. Thermography is best suited for a single-color print on any color of paper as the powder dries with rich hues.
AVERAGE STARTING PRICE: $3.50+ PROS: METALLICS AND LIGHT COLORS SHOW WELL ON DARK STOCK CONS: LIMITED TO ONE COLOR PER PIECE
HOT FOIL PRINTING
Similar to letterpress, hot foil printing involves a specialty plate that is heated and pressed into thin foil sheets and adhere the design to stock. Unlike letterpress, the results provide a full color coverage and shine, (pun intended) when using metallic colors. Foils are available in matte, satin, and metallic options.
AVERAGE STARTING PRICE: $4.00+ PROS: RESULTS SHOW WELL ON ANY COLORED STOCK, WELL-SUITED FOR METALLIC EFFECTS CONS: LIMITED COLORS PER PIECE, DOES NOT WORK AS WELL AS LETTERPRESS FOR SUPER-FINE DETAILS, DOES NOT LEAVE AS DEEP OF AN IMPRESSION AS LETTERPRESS
One of the more innovative methods of printing is using lasers to cut or etch into material. The results are incredibly tactile and allow for "printing" to exceed the limits of paper. Acrylic and wood are two of the most popular medium because of their unique qualities. Laser cutting is priced based on the time taken to create, so it is difficult to quote accurately without a sample being created. Typically, designs with less detail will "print" quicker and be less expensive.
STARTING PRICE: $10.00+ PROS: ABILITY TO WORK WITH MEDIUM BEYOND PAPER, ALSO GREAT FOR DAY-OF GOODS CONS: HEAVIER PARCEL, WITH LASER ALONE - NO COLOR PRINTING
BELLS AND WHISTLES
Packaging an invitation can be just as exciting as the invitation itself. These are a few luxury details that can elevate the overall appearance of your invitations:
Twine and metallic wire
Duplexing and matted paper
Vellum (clear paper) overlays
POSTAGE AND SHIPPING
Sadly, there is no magic guide to pre-determine the cost of postage until invitations are packaged and complete. Postage costs are determined by weight in ounces, unusual vs. usual envelope sizes, and international vs. national destinations. To accurately determine the real cost of sending, an invitation must be taken to the post office from where you intend to send your invitations, (somehow, not all USPS scales weigh equally...). Typically, the invitations that we create weigh 3oz. and require an additional stamp, (a standard, 1oz letter requires one postage). Unusually shaped envelopes, like squares, or large envelopes, like A9s, will require additional postage, too.
To be safe, we recommend assuming $1.00 each per invitation for national destinations and non-specialty packaging, and $3.50 for international. Additionally, if you are sending a formal RSVP, add another $.50 per invitation so that your guests do not need to stamp their return envelope.
Beyond the USPS current selection of stamps, there are options to buy retired collections from sellers on Amazon, or vintage stamps from marketplaces like Etsy. When buying from USPS the value of the stamp will equal the cost you pay. When you buy vintage or retired stamps, you will pay more than the value of the stamp, (for example, a retired Forever Stamp, now valued at $.49, can cost $.75 depending on the image and seller). Other options include customizing postage from sites like Zazzle.com.
We have all fallen victim to the rogue letter. Sometimes, the workings of the USPS are mystical and infuriating. To safeguard against any invitations that may get lost in transit or wrongly delivered, we require an additional order of (5) invitations, but recommend (10). Once your invitations are printed, it is very expensive to re-print in a smaller quantity. For this reason, we highly recommend over-ordering, regardless of where you order from.
FINAL TIPS ON BUDGETING
Before determining what method and from what resource you wish to get your invitations, it is helpful to start with an overall budget. For example, if you have a budget of $2,000 and an invitation list of 100 guests, you can assume $20.00 per invitation. In that cost, you will want to consider a few things other than the methods of printing.
Will you want to include a RSVP? If so, don't forget to budget for the return stamp in the cost per piece.
Will you want your envelopes digitally addressed or with calligraphy? Here, you may want to assume $2.50 - $4.00 per piece. If you intend on hand addressing your own invitations, there are tools to help expedite the process that are available at a lower cost. (See below for some DIY recommendations).
How many pieces do you want to include? Not only will the pieces have their own individual costs, they may affect the overall weight.
Will you stuff and send your invitations or pay for a service to prepare them for you? While we are delighted to offer complimentary stuffing of your invitations, most services will charge a price per piece to stuff. If you intend on doing it yourself, clear an evening, invite over some friends with the promise of wine and cookies, and turn on Bridesmaids, (it is a surprisingly tedious task).
Paper Source has some of our favorite DIY stationery tools. Click below for the links.