Everything you have been sent is built from a very small number of decisions. They are written down here so that anything you make yourselves — a label at the gate, a card by a plant somebody asks about — still belongs to the same afternoon.
There is no colour scheme, and that is the decision rather than the absence of one. Marion’s garden has never had one in thirty-one years and neither does this. The colours are the plants that are actually in it — apricot foxglove, mustard achillea, the brick of the path — and they are allowed to sit next to each other the way they do outside.
The mark is her own handwriting. Almost nothing in this garden was bought: every plant came from somebody — a cutting, a split root, a paper bag of seed pushed across a kitchen table. Her mother’s Solomon’s seal. The apricot foxgloves from next door. The achillea Ruth carried home from Crete in a shoe. Marion has written all of it down for thirty years, and the suite is drawn from that notebook.
Digital press on uncoated natural stock with deckled edges. Nothing coated, nothing that shines — it is a garden in June, at four in the afternoon, and the paper should feel like something that has been outside.
This is your event's visual identity. If you make anything yourselves, use these exact colours and these two typefaces — the restraint is the design.
#F9EED6 · #3A352D · #A0472F · #B8934E · #C0A98A · #EDE9E1
June light — the sheet itself · Notebook ink — every word · Apricot foxglove · Ruth’s achillea, carried from Crete · Brick path · Bruton stone, in that order.
Cormorant Garamond and Hanken Grotesk are both free and open-source, and both are on Google Fonts — search the name, install the family, or pick it straight from the font menu in Canva, Google Docs or Word. You do not need a licence and you do not need to ask us.
Your locked palette is the source of these, and the ones beyond it were read off your delivered pieces — if you want those confirmed against the press proof, ask the studio.