The Hundredth Sunday
Vendor guide — Nessa & Ruben, Rua da Bica
If you are reading only one part
- Whoever prints it
- Uncoated newsprint, digital flat, nothing else. No finishing,
no coating, no upgrade. It is meant to be cheap paper and it is meant to look it.
- Anyone helping
- Everything goes on the table at once and people help themselves.
It is not courses and the menu card does not pretend it is. Do not re-sequence it into a service.
- Photographer / anyone posting
- The drawings are all objects that will really be on that
table. There are no photographs anywhere in this suite — and no styled food shots, by
instruction: “nobody needs a styled photograph of a lentil”.
- Anyone tempted to tidy it
- Please do not. Wobbly lines, uneven weights and a drawing that
runs off the edge are the design. This is the first printed thing in eight years and it must not
look like it has grown up.
The event
- Date
- Sunday, 8 November 2026
- Time
- Half six, which means seven. That is the line, and it stays.
- Where
- The flat on Rua da Bica, third floor — Lisbon, directly above the funicular
- The room
- Two small rooms knocked into one. You hear the funicular start at seven every
morning.
- Guests
- 26
- Dress
- No dress code, and that is not a euphemism
- Replies by
- 6 November — two days before, which is genuinely how this runs
The visual identity at a glance
Typefaces: Caveat Brush for the loud line, Caveat for everything you read,
and Architects Daughter for the little labels.
Two pens on cheap paper. The blue does the saying, the orange does the pointing, and where the pen
is pressed harder it goes darker — because that is what a pen does. Nothing here is a flat fill picked
from a palette.
Match to the printed piece, not to these squares. These are screen values, and newsprint
drinks ink — everything will print softer and warmer than it looks here. If you are matching anything
at all, hold the real card.
Stationery arriving
| Piece | Trim | How many |
|---|
| Invitation | 5 × 7″ | one per household |
| Envelope | A7 — addressed by hand, badly | as invitations |
| Reply card | 4.25 × 5.5″ | one per household |
| Menu card | 4 × 9″ | 29 |
| Place cards | 2 × 3.5″ folded | 29 |
| Table markers | 5 × 7″ | one per table |
| Bar & drink menu | 11.7 × 8.3″ | one per station |
| Door card | small card | one per door |
| Leftovers tags | small tag | 29 |
| Thank you card | 4.25 × 5.5″ | one per household |
26 guests plus a margin. “One per
household” is the envelope count. The leftovers tags are the point of the whole dinner, so err over
rather than under.
Day-of notes
Two lines that do not get edited.
1. The time is “half six, which means seven”. Nobody has ever arrived before seven and that
joke is not being lost.
2. It is written “the pot”, exactly like that. Everybody knows what the pot is.
- The hundredth
- It is the hundredth Sunday and the number appears somewhere —
small, and not as a big “100” like a child’s birthday. They only know the number because
Ruben has photographed the pot every single time.
- The table
- Everything goes down at once and people help themselves. Not courses, not a
service, not plated. The menu card is written that way on purpose.
- The drawing
- One hand, two pens, seen from directly above. The table runs off all four
edges because it always does; the hands belong to whoever turned up; the facts are written on
whatever object happened to be nearest.
- Envelopes
- Addressed by hand, by us, badly. That is the client’s own line and it is
meant literally — please do not offer to have them done properly.
- Material
- Digital flat on uncoated newsprint. No embellishment of any kind. It is not
supposed to look expensive and it is not supposed to look finished.
Please do not
- No calligraphy, and no script that looks like a wedding.
- No gold, no foil, no metallic anything.
- No serif capitals with wide letterspacing — that is the move every nice invitation makes, and it
is the exact thing this is not.
- No borders, no frames, no crest, no monogram.
- No photographs of food.
- No neat vector illustration where every line is the same weight and everything is symmetrical.
Her words, and her test: “It should look like something
Ruben drew while the oven was on. If it looks like a wedding I will genuinely cry.”
Questions about anything on this sheet
Ask the studio rather than working around a detail —
hello@evorrah.com. Files for anything listed here can be sent
to a supplier on request.