Your event identity — from the same soil

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 sign, a note at a place setting, a printed order of the day — still belongs to the same event.

The colours

Six, and only six. The paper is unbleached, never white. The terracotta appears once per piece and never carries words — it is a band of colour, the way an Alentejo wall wears its ochre trim.

Unbleached Linen (the cotton-rag sheet)
#F4EEE1 · the paper itself
Baked Terracotta (the barra line)
#C97B4A · the barra line
Estate Ink
#3A342B · every word
Sun-worn Ink
#6B6357 · the quieter lines
Stripped Cork (labels and eyebrows)
#7A5530 · the small capitals
Baked Terracotta, deepened for type
#8C4A22 · the ampersand

The two typefaces

Mariana & Tomás
EB Garamond — your names, the dates, the dishes, the towns. The warm old-style serif you chose in your briefing. Never a script.
Herdade do Freixo do Meio
Jost, letter-spaced small capitals — venues, times, labels and every quiet supporting line. Letter-spacing is used on capitals only, never on lowercase.

The one mark

This is the whole ornament: a single band of baked terracotta, letterpressed flat so the ink sinks into the tooth of the cotton rather than sitting on top of it, with the edge left feathered where it bled into the fibre. It sits at the foot of every piece — deep on the envelope liner, a hair's width beneath a guest's name on a place card. Nothing is ever printed on top of it, and no second ornament is ever added. Your M&T is pressed without ink, so it is felt before it is seen; it first appears on the invitation, never on the save the date.

Your suite

Envelope162 × 229 mm
Envelope liner152 × 219 mm
Save the date105 × 148 mm
Reply card89 × 127 mm
Menu105 × 250 mm
Itinerary105 × 236 mm
Place cards90 × 55 mm
Table names100 × 130 mm
Welcome signage610 × 914 mm
Seating chart610 × 914 mm

Using it yourselves

This is your event's visual identity. If you make anything yourselves, use these exact colours and these two typefaces, keep the paper unbleached, and give the piece one terracotta band at its foot and nothing else. The restraint is the design — a piece that feels almost bare is right.

The six colours, to copy

#F4EEE1 · #C97B4A · #3A342B · #6B6357 · #7A5530 · #8C4A22

Paper · barra · every word · the quieter lines · small capitals · the ampersand, in that order. Anything you make uses the first three; the last three are for detail and should stay rare.

The two typefaces, and where to get them

EB Garamond and Jost are both free and open-source, and both are on Google Fonts — search the name, download the family, and install it, 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.

If a supplier truly cannot use them — a vinyl cutter or an engraver working from their own library — ask for the nearest old-style serif for EB Garamond (Garamond, Sabon or Adobe Caslon) and a geometric sans for Jost (Futura). Send them this page rather than a colour name: what matters is that the serif is old-style and the sans is geometric.

Five rules, if you make something new
  1. Six colours, and no seventh. Not a lighter terracotta, not a warmer ink.
  2. The terracotta never carries words. It is a band of colour, never type.
  3. One band, at the foot, and nothing else. No second ornament, no border, no frame.
  4. Letter-spacing on capitals only. Jost is spaced when it is set in small capitals and never when it is lowercase.
  5. Never a script, and never white paper. Unbleached is the whole point.

If you are unsure whether something belongs, take the ornament away and look again. It almost always does.