Every once in a while a design project comes along that is not only a challenge but also a personal investment. In the fall of 2008, some close friends of mine got engaged and wanted to entrust the design of their wedding stationery to me. Barron has been one of my closest friends through high school and college; Betsy became a dear friend in college and was pivotal in introducing me to my wife (they were roommates).
I’ll be honest, sometimes I’m a bit squeamish when it comes to projects like this (weddings are extremely personal and it would seem people not even in the wedding have strong opinions). What made this wedding project different was the close friendship I have with both Barron and Betsy and the amazing story of their courtship and engagement. I felt honored that they would have me play such an important part in the overall design of their wedding day.
With that said, the traditional challenges of a wedding identity system (and any project in general) still existed. Barron and Betsy both had initial ideas they wanted to incorporate, but we took time upfront to sit down and hash through their needs and wants. Early on, Barron and Betsy had settled upon a black and silver color scheme to correspond with their winter wedding day (February 6) and to reflect the formality of the evening ceremony time. They also wanted to incorporate a damask pattern to continue the elegance in the overall design. Finally, we had to keep a modest budget in mind, but since I was doing the project pro bono as their wedding gift, we could funnel the entire budget to printing. Beyond those few key requirements, Barron and Betsy were very open to seeing what I would come up with. Having that kind of creative freedom is a designer’s dream and yet can be very overwhelming.
There were a few things I started brainstorming immediately; I pitched the idea of developing for them a personal monogram that would brand the entire wedding and serve as a unique identifier for the couple well into their marriage. The idea was well received and—coupled with the decision to print everything in two-color (black and silver)—set the tone for the overall design system.
Interestingly, the monogram concept came very quickly. The idea was to show the concept of covenant marriage—the sacrificial promise of two becoming one—by interweaving their initials into a unique logotype. Their first initials—B and B—along with Barron’s last initial—H—allowed for an interesting juxtaposition of the bars to create an cohesive, symmetrical symbol. Adobe Garamond was chosen as the primary typeface for its old style elegance, graceful thick-to-thin contrast in the strokes, and extensive character set for page layout. Several variations of the monogram were shown to Barron and Betsy who gave a warm reception to the overall concept. Minor refinements were made including subtle typographic adjustments and the development of the logotype into an enclosed logo.
Once the monogram was finalized, I searched for just the right damask pattern. Betsy had a definitive idea in her mind about how she wanted the pattern to look so we sifted through a variety of possible pattern candidates. We finally found one that had great formal characteristics and could be stitched together to create a repeating pattern. Put together, the monogram and the damask band created an elegant design element that created the feel of haute couture. The intricacy and grace in the pattern and letterforms created a beautiful femininity balanced by the masculine weight of the black and the overall symmetry of the design.
We narrowed down what kind of pieces Barron and Betsy wanted to incorporate into their stationery. Having worked on tight-budgeted print projects before, I pitched the idea of doing a gang run for the printing. Since all of the pieces were two-color and using the same paper stock, we could print a variety of pieces very efficiently and affordably. After some deliberation we settled on a stationery system that would include the invitation, hotel and map cards, thank you note, and guest gift tag. Additionally we were able to include a tri-fold program and personal correspondence cards. Paired with envelopes in matching stock and a custom monogram stamp, the stationery created a formal, uniform look for the wedding.
The set motif was applied carefully and intentionally to each piece, allowing the distinct forms in the monogram to determine the feel of each layout. Elements in the map card were custom-designed from Adobe Garamond letterforms to create a one-of-a-kind illustration that worked within the overall system. Finally, typography was laid out with generous white space, allowing for readability and sophistication.
Printing was done with local printer Cantrell-Barnes whom I have worked with before. They are great to work with and did an exceptional job nailing the registration of the intricate patterns.
The final result was a wedding stationery set Barron and Betsy were incredibly pleased with and I was honored to work on. Congratulations to Barron and Betsy on their new lives together and many thanks for the opportunity to help visualize their special day!
Alright. All hyperbole aside, I am pretty excited to see this thing and how it actually works. It’s embarrassingly simple—slip it over the toilet seat, fill it with litter, and take out the concentric rings every week or two to help cats acclimate to—um—doing their business in the commode.
No Line takes shape in five different available album packages (including one LP design, for all you audiophiles). Each one has their extra embellishments and supplemental elements that help tell the story of the album and the songs within. Thanks to 