Your event identity — under the awning

Everything you have been sent comes off one awning. It is written down here so that anything the family adds later — a card at a place, a tag on a jar, a note to somebody who could not come — still belongs to the same Sunday.

The colours

Coral is the cloth and it behaves like cloth: a border on all four sides, never a page. Butter is the field and it is where every word lives — about three fifths of the surface. Blue is rationed to roughly an eighth; it rose to a fifth once and the card went nautical, which is not what this is. There is one ink, petrol, and no second one anywhere in the suite.

Morning butter — the field, and where every word lives
#ECE7A4
Petrol — the one ink, and the garden’s own paint colour
#1D5670
Awning coral — the cloth. A border, not a page
#F2856F
Faded coral — the stripe the sun got to
#F9AC98
Powder blue — rationed to about an eighth
#C4DBE7

The two typefaces

Brunch for Marisol
Bodoni Moda — the names and the numbers — the display face, set large.
The garden at 12 Alameda Terrace
Jost — everything a guest reads at the table, on the butter field.

The one mark

The scalloped valance of the awning — the first thing anyone sees from the gate. Marisol’s mother sewed that awning in 1974 and the family has eaten under it every Mother’s Day since; it has been re-canvassed twice with the same striping, ordered from the same San Francisco awning shop. On the invitation and the favour tag the valance is cut for real, with a butter sheet behind it showing through the wave. It is not printed to look cut.

Uncoated natural 350gsm in warm white, four-colour flat. The die is a hand-cut steel rule — an irregular wave cannot be rotary-cut, and quoting it as a rotary job is quoting the wrong process. It should read hand-made rather than machine-perfect, because everything else at that table is.

Your suite

Invitation
Save the date
Menu card
Place cards
Table numbers
Welcome sign
Envelope liner
Favour tag
Thank you card

Using it yourselves

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.

The colours, to copy

#ECE7A4 · #1D5670 · #F2856F · #F9AC98 · #C4DBE7

Morning butter — the field, and where every word lives · Petrol — the one ink, and the garden’s own paint colour · Awning coral — the cloth. A border, not a page · Faded coral — the stripe the sun got to · Powder blue — rationed to about an eighth, in that order.

The two typefaces, and where to get them

Bodoni Moda and Jost 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.

6 rules, if you make something new
  1. Coral is a border on all four sides. It is cloth, and never a page.
  2. Words live on the butter field. Body copy never sits on the coral — it measures 3.19 to 1 there.
  3. One ink, petrol. There is no second ink anywhere in the suite.
  4. Blue stays rationed to about an eighth. At a fifth the card goes nautical.
  5. The valance is cut for real, with butter showing through — never printed to look cut.
  6. Name the dishes properly. Half the table has never eaten ube and half has never eaten a financier.

These colours were read off your delivered pieces rather than from a locked palette file — if you want them confirmed against the press proof, ask the studio.