Kelly & Michael’s invitation suite was written entirely in custom calligraphy and printed on luscious 220lb Lettra in a combination of black ink and gold foil. The couple was married at the Colony Palms Hotel in Palm Springs, California, a location rich with patterns, textures, and colors that we used as inspiration. The envelope liner was a custom pattern based on the ballroom’s tiled floor, the black-on-gold foiling was reminiscent of the décor and the emerald green edge painting of each piece spoke to Santa Barbara’s lush greenery. (Printing by Czar Press.)
Katie & Nate’s nuptials on the beach in the Bahamas was the driving theme behind this letterpressed invitation suite. The couple wanted something that was both elegant and fun so we paired vibrant peacock turquoise ink and envelopes with bright gold foil. Customized spot calligraphy was paired with a san serif font for a clean, modern look against the crisp white paper. (Printing by Czar Press.)
Mackenci was looking for an invitation suite that was friendly and organic, without being overly feminine. Her classic black, grey and white letterpressed stationery was just that. The suite was complemented by recycled craft paper envelopes, accented with white calligraphy and black string-and-button closures. Printing and the addition of the reception card’s illustration was done by AC Creative Studio.
In mint, rose and gold, this invitation was a freshly-colored customization of the original Kate & Deni suite. Done in collaboration with designer Kate Allen, I provided the spot calligraphy and Kate worked her magic on the rest.
Bride and jewelry designer Christina Kober has a “thing” for ampersands, so when the design process for this seven-piece invitation suite started, my first mission was to make a slew of ampersands to incorporate wherever we could. Christina dyed the cotton paper in shades of ombré herself, in a palette ranging from blush to peach to rose, then the full suite was letterpressed by Atlanta-based studio Red Bird Ink.
This suite really speaks for itself — bright turquoise letterpress highlighted with shimmering silver accents, a bold, angled layout, and a tear-off info card for guests to save. I was hired to bring bride Jocelyn Selig’s brain child to life (she had already designed the sacred heart logo with her and her fiancé’s names) and couldn’t be happier with our collaboration. The suite was printed by San Francisco’s Dependable Letterpress, where they were edge-painted with bright silver.
Jun Sasaki is a Japanese painter and illustrator. When he approached me about creating the logo for his new stationery line, I was thrilled and could immediately see how our work complemented one another. But it wasn’t until I received the (adorably-wrapped!) package of finished cards from him that I really swooned. His ink illustrations of animals from around the world are whimsical yet abstract and the Japanese craft and manila papers are luscious. (The last image image in this slideshow is taken from Jun’s website, which is a beautiful site to browse, even if you can’t read Japanese.)
In this video I calligraph the word “seven” — one in a series of 22 table number signs I was creating for a wedding. The lettering is done in my extra-bold style Bunny.
Supplies featured in this video:
- Brause EF66 nib
- Dr. Ph. Martin’s Pen-White Ink mixed with a little water
- A very tiny paintbrush
- Black bristol paper