marram
Vendor guide · The Net Loft, Porthleven
If you are reading only one part
- Whoever prints it
- Offset litho, full colour, on shell-cream uncoated with a tooth,
deckled edge. The drawings are ink and watercolour and the whole point is that they keep their
own edges — nothing coated, nothing that shines. The trims below were measured on the artwork
itself, not taken from a standard size: the invitation and the menu are a long portrait
99 × 240 mm, and the table number is a 100 mm square.
- Anyone setting type
- Every typed line is lower case, the dishes included. That is
how Iona writes them on the pass and the brief asks specifically that it not be tidied into title
case. The script face carries only the words that come back every service — the course headings
and the table names. Anything that changes with the season is typed.
- Front of house
- Six tables of ten, named for the coast either side of the harbour,
not numbered. The names are below and the spelling matters.
- Anyone tempted to make it a seafood restaurant
- Please do not. No rope, no anchors, no
knots, no lighthouses, no navy-and-white stripe. It is a kitchen table on a good morning, with
everything laid out before anything is cooked.
The event
The evening
- Date
- Friday, 21 May 2027
- From
- Seven o'clock
- Where
- MARRAM — The Net Loft
Commercial Road, Porthleven, Cornwall
- The room
- A former net loft on the harbour wall — lime-washed granite, a boarded floor
that still smells of tar, twelve windows facing straight out at the water, and an open kitchen
where the drying racks used to hang. Empty since 2009.
- Guests
- 60 — Porthleven and Helston locals, the harbour's fishing families, the growers
and dairies the kitchen buys from, a few Cornish food writers, and the twenty-odd people who
built the room
- Replies by
- 7 May 2027
- Files delivered
- 30 April 2027
The visual identity at a glance
Shell cream is the paper and is never printed as a colour. Mackerel blue is
the ink and sets every typed line. Garden olive is the script and the wordmark. Two of these do not
set words at all: chilli brick lives inside the drawings, and onion plum measures 3.97 to 1 against
the paper — a display size or nothing, and never body copy.
Two faces, and there is no third.
Menu · Starter · Main · Dessert · Loe Bar
Pinyon Script — only the words that come back every service.
MARRAM
IBM Plex Mono — everything else, typed and lower case. The wordmark is never set in the
script; it is illegible that way at all-caps and was corrected after the first render.
Match to the printed piece, not to these squares. These are screen values and the drawings
are watercolour — if you are matching anything, hold the real card.
Stationery arriving
| Piece | Trim — measured on the artwork | How many |
|---|
| Invitation | 99 × 240 mm, deckled | one per address |
| Envelope liner | 162 × 229 mm | as invitations |
| Save the date | 105 × 148 mm | as invitations |
| Menu card | 99 × 240 mm | 66 — 60 + 6 spare |
| Place cards | 90 × 55 mm, folded | 66 — 60 + 6 spare |
| Table numbers | 100 × 100 mm — square | 6 — one per table |
| Welcome signage | 500 × 700 mm | 1 |
| Wine & bar list | 99 × 150 mm | one per service point |
| Thank you card | 105 × 148 mm | one per address |
60 guests plus a proofing margin.
“One per address” is the envelope count. The place card is the only piece carrying a guest name, and
the table name sits in script beneath it.
Day-of notes
The menu is the piece that matters most. Everything else follows it.
Iona does not write the menu until the boats are in and she has seen what came out of the ground, so
the card is drawn around that: the full group of ingredients across the top, four script course
headings, and the dishes typed beneath in her own lower case.
starter — porthleven crab, asparagus and brown butter
main — grilled john dory, hogget over embers
dessert — eton mess, rhubarb cobbler
to drink — cucumber gin fizz, white — alsace pinot gris
- The six tables
- Named for the coast either side of the harbour, in script:
Loe BarGunwalloeRinsey
TrewavasPraaTregear
- The drawings
- Raw ingredients, drawn — never plated, never photographed. The fish
whole, the asparagus in a bundle, the onion cut so you can see the rings. The full group appears on
the invitation, the menu and the signage; every smaller piece takes one or two objects only,
and the whole cast is never repeated on a small piece.
- The asparagus
- It is in the drawing deliberately. Iona's grandmother kept a market garden
at Rinsey — one of the tables carries that name — and asparagus is what she grew most of. It is in
season the week the room opens.
- The name
- Marram is the grass on the dunes at Loe Bar. It is not much to look at, nothing
else will grow there, and it is the only reason the whole bank does not blow away.
- Material
- Shell-cream uncoated board, deckled edge, offset litho in full colour, printed
addressing. No foil, no embossing, no coating.
Please do not
- No nautical props of any kind — no rope, no anchors, no knots, no lighthouses, no ship's wheel,
no navy-and-white stripe.
- No photographs anywhere in this suite, and above all none of plated food.
- No chalkboard lettering, no kraft-paper rustic, no mason jars, no burlap.
- No stock watercolour florals.
- No hotel serif letterspaced to look expensive, and no third typeface.
- No title case on a dish line. The lower case is kept exactly as written.
- No ornament — no rules, no borders, no boxes, no crest.
Iona's own list, and her standard: “the kitchen table
on a good morning — everything laid out before anything is cooked. If it looks slick or corporate or
like a hotel, it is wrong.”
Questions about anything on this sheet
Ask the studio directly rather than working around a detail —
hello@evorrah.com. Artwork, the drawn motifs and colour
references for anything listed here can be sent to a supplier on request.