Every year I turn to Pantone to announce what colours will be most popular for the upcoming new year. These colours are usually based on what's hot in the world of design. The fashion industry often sets the tone which influences all other industries. This determines trends throughout the wedding industry which also changes from year to year. So that said my colour palette for the "off the rack" collection is always based on what's hot and fresh. This year the palette has lots of variety you can apply any of the colours listed below and if you prefer them a little lighter or a little darker we can definitely accommodate. Amongst these colours you will also find "classic colours of 2018" which are more neutral and timeless. Keep in mind that we can also match any other neutral colour. A custom colour is also do-able for a small fee.
We are soon coming to another year's end with memories of many beautiful weddings for 2017. When December rolls around I'm always keen to find out what new colours fresh crop of colours will be for the upcoming year.
About the 2018 Colour Palette: “The colour palette showcases an appreciation for the complexity and distinctiveness of colour and the expression of it, which is something that evolves and can be played with. Consumers need more variety, and this expanded palette embraces the lack of gender and seasonal borders we are seeing within the wedding industry.
The bold and lively Meadowlark, a confident and outgoing bright yellow shade highlights the spring 2018 season, glistening with joy and illuminating the world around us.
Impulsive Cherry Tomato is a tempestuous orangey red that exudes heat and energy. Demanding attention, this courageous, never to be ignored shade is viscerally alive.
Little Boy Blue
With the expectation of the clear blue sky, Little Boy Blue is no longer for little boys only. Suggestive of expansiveness and continuity, this azure blue shade reassures us with its promise of a new day.
Seasoned yet season-less, Chili Oil is an earthy brown based red that adds flavorful definition to the spring 2018 palette.
Pink Lavender is a soft and romantic violet rose that charms with its soothing sense of quiescence.
With its seemingly suggestive scent, the subtly alluring Blooming Dahlia beckons us with its understated appeal.
Hinting at retro yet at the same time modern, Arcadia is a cooler, cleaner take on green; its tinge of blue undertone takes us into a new direction for the spring 2018 season.
Conveying originality and ingenuity, the magical Ultra Violet is a distinctive and complex purple shade that fascinates and intrigues.
The rich chocolate infused brown Emperador adds strength and substance to the spring 2018 palette.
With its gentle petal like touch, delicate and ephemeral. Almost Mauve adds a sense of nostalgia to the spring 2018 palette.
Witty and expressive, Spring Crocus is a flamboyant and tantalizing fuchsia shade that summons you in with its beguiling charm.
Sharp and pungent, Lime Punch hits a chord with its strident and striking citrus like presence in the spring 2018 color palette.
The Classics of 2018: Everyone relates to classic colours. These are usually known as neutrals, timeless and tasteful. These often time play a critical role in many weddings.
The navy like Sailor Blue anchors the palette.
A mid-tone dove gray, Harbor Mist solidifies the spring 2018 palette.
Warm Sand is a comforting neutral shade that effortlessly connects the seasons.
Coconut Milk represents the classic mainstay of a white and/or off-white for the spring 2018 season.
From the series Abstract the Art of Design Platon Antoniou photographer. Born in London in 1968, Platon was raised in the Greek Isles until his family returned to England in the 1970's. He attended St. Martin's School of Art and after receiving his BA with honours in Graphic Design, went on to receive an MA in Photography and Fine Art at the Royal College of Art.
After working for British Vogue for several years, he was invited to NY to work for the late John Kennedy Jr. and his political magazine, 'George'. After shooting portraits for a range of international publications including Rolling Stone, the New York Times Magazine, Vanity Fair, Esquire, GQ and the Sunday Times Magazine, Platon developed a special relationship with Time magazine, producing over 20 covers. In 2007 Platon photographed Russian Premier Vladimir Putin for Time Magazine's Person Of The Year Cover. This image was awarded 1st prize at the World Press Photo Contest. In 2008 he signed a multi-year contract with the New Yorker.
As the staff photographer, he has produced a series of large-scale photo essays, two of which won ASME Awards in 2009 and 2010. Platon's New Yorker portfolios have focused on many themes including President Obama's Inauguration, the U.S Military, portraits of world leaders and the Civil Rights Movement. The following year, Platon teamed up with the Human Rights Watch to help them celebrate those who fight for equality and justice in countries suppressed by political forces. These projects have highlighted human rights defenders from Burma as well as the leaders of the Egyptian revolution.
Following his coverage of Burma, Platon photographed Aung San Suu Kyi for the cover of Time days after her release from house arrest. In 2011, Platon was honoured with a prestigious Peabody Award for a collaboration on the topic of Russia's Civil Society with The New Yorker Magazine and Human Rights Watch.
Platon's first monograph 'Platon's Republic', was published in 2004 by Phaidon Press. To coincide with its publication, the work was exhibited internationally, in London at the ex-Saatchi Gallery as well as the Milk Gallery in New York. His second book, 'Power' - a collection of portraits of over 100 world leaders - was published in 2011 by Chronicle and following its success was selected by Apple to be released as an app. The book includes portraits of Barack Obama, Mahmoud Ahmedinejad, Dmitry Medvedev, Benjamin Netanyahu, Hugo Chavez, Mahmoud Abbas, Tony Blair, Robert Mugabe, Silvio Berlusconi, and Muammar Qaddafi. In recent years, public speaking has progressively played a major role in Platon's career as communicator and storyteller. He has been invited to be a keynote speaker at the World Economic Forum in Davos, Yale, the London School of Economics, the National Portrait Gallery in London and the International Center of Photography in NY. He has also appeared on a range of television media including Charlie Rose (PBS), Morning Joe (MSNBC), Fareed Zakaria's GPS (CNN) and the BBC World News. Between 2011-2013, Platon's work has been exhibited in galleries both domestically and abroad. He has exhibited in New York at the Matthew Marks Gallery and the Howard Greenberg Gallery, as well as internationally at the Colette Gallery in Paris, France. The New York Historical Society also exhibited a solo show of Platon's Civil Rights photographs, which remain as part of the museum's permanent collection. Other permanent collections holding Platon's photography include The Florida Museum of Photographic Arts in Tampa, Florida and The Westlicht Museum for Photography in Vienna, Austria. Platon's advertising credits include the United Nations Foundation, Credit Suisse Bank, Exxon Mobil, Diesel, the Wall Street Journal, Motorola, Nike, Converse, Verizon, Vittel, Levi's, IBM, Rolex, Ray-Ban, Tanqueray, Kenneth Cole, Issey Miyake, Moschino, Timex and Bertelsmann among others.
Platon lives in New York with his wife, daughter and son.
Christoph Niemann is an illustrator, graphic designer and author. This past year I recently came across him watching "Abstarct the Art of Design" on Netflix. I fell in love with his work and clever ways to illustrate the world around us.
After his studies at the Stuttgart Academy of Fine Arts in Germany he moved to New York City in 1997. His work has appeared on the covers of The New Yorker, Time, Wired, The New York Times Magazine and American Illustration, and has won awards from AIGA, the Art Directors Club and The Lead Awards.
Niemann’s corporate clients include Google, Amtrak and the Museum of Modern Art. He is a member of the Alliance Graphique Internationale.
Since July 2008 Niemann has been writing and illustrating the whimsical Abstract City, a New York Times blog, renamed Abstract Sunday in 2011, when the blog’s home became The New York Times Magazine.
For his column he draws and writes essays about politics, the economy, art and modern life. He has drawn live from the Venice Art Biennale, the Olympic Games in London, the 2012 Republican Convention and he has drawn the New York City Marathon - while actually running it. Niemann is the author of many books, most recently Abstract City. In 2010 he was inducted into the Art Directors Club Hall Of Fame.
Carte Blanche Design - Wedding Invitations Toronto
I recently watched "Abstract The Art of Design" on Netflix. I fell in love with all of the 8 designers from the series. Paula Scher was especially inspiring... here's her story as one of the top graphic designers world wide.
Paula Scher moved to New York City and took her first job as a layout artist for Random House's children's book division.
In 1972, she was hired by CBS Records to the advertising and promotions department. After two years, she left CBS Records to pursue a more creative endeavor at a competing label, Atlantic Records, where she became the art director, designing her first album covers. A year later Scher returned to CBS as an art director for the cover department. During her eight years at CBS Records, she is credited with designing as many as 150 album covers a year. Some of those iconic album cover designs are Boston (Boston), Eric Gale (Ginseng Woman), Leonard Bernstein (Poulenc Stranvinsky), Bob James (H), Bob James and Earl Klugh (One on One), Roger Dean and David Howells (The Ultimate Album Cover Album) and Jean-Pierre Rampal and Lily Laskin (Sakura: Japanese Melodies for Flute and Harp). In addition her designs were recognized with four Grammy nominations. She is also credited with reviving historical typefaces and design styles.
She left CBS to work on her own in 1982. Scher developed a typographic solution based on Art deco and Russian constructivism, which incorporated outmoded typefaces into her work. The Russian constructivism had provided Scher inspiration for her typography; she didn’t copy the early constructivist style but used its vocabulary of form on her works.
Koppel & Scher
In 1984 she co-founded Koppel & Scher with editorial designer and fellow Tyler graduate Terry Koppel. During the six years of their partnership, she produced identities, packaging, book jackets, and advertising, including the famous Swatch poster based on previous work by Swiss designer Herbert Matter.
In 1991, after the studio suffered from the recession and Koppel took the position of Creative Director at Esquire magazine, Scher began consulting and joined Pentagram as a partner in the New York office. Since then, she has been a principal at the New York office of the Pentagram design consultancy.
In 1992, she became a design educator, teaching at the School of Visual Arts (SVA) in New York. She received more than 300 awards from international design associations as well as a series of prizes from the American Institute of Graphic Design (AIGA), The Type Directors Club (NY), New York Art Directors Club and the Package Design Council. She is a select member of Alliance Graphique Internationale (AGI) and her work is included in the collections of New York MoMA, the Library of Congress in Washington, DC, the Museum für Gestaltung, Zurich and the Centre Georges Pompidou". As an artist she is known for her large-scale paintings of maps, covered with dense hand-painted labeling and information. She has taught at the School of Visual Arts in New York for over two decades, along with positions at the Cooper Union, Yale University and the Tyler School of Art.
Paula Scher has contributed to numerous issues of Print. Her first Print cover was with her friend Steven Heller. Together they created a parody issue in 1985, a genealogy chart of graphic design.
Branding & Identities Systems
In 1994, Paula Scher was the first designer to create a new identity and promotional graphics system for The Public Theater, a program that become the turning point of identity in designs that influence much of the graphic design created for theatrical promotion and for cultural institutions in general.
Based on the challenge to raise public awareness and attendance at the Public Theater along with trying to appeal to a more diverse crowd, Scher created a graphic language that reflected street typography and graffiti-like juxtapostion. In 1995, Paula Scher and her Pentagram team created promotional campaigns for The Public Theater’s production of Savion Glover’s Bring in’Da Noise, Bring in ‘Da Funk that featured the wood typefaces used throughout The Public Theater’s identity. Scher was inspired by Rob Ray Kelly’s American Wood Types and the Victorian theater's poster when she created the cacophony of disparate wood typefaces, silhouetted photographs and bright flat colours for the theater's posters and billboard. Scher limited her colours to two or three while highlighted the play’s title and theater logo that surrounded the tap artist in a typographical be-bop. The design was to appeal to a broad audience from the inner cities to the outer boroughs, especially those who hadn’t been attracted to theater.
From 1993 to 2005, Scher worked closely with George C. Wolfe, The Public’s producer and Oskar Eustis, who joined as artistic director during the fiftieth anniversary in 2005, on the development of posters, ads, and distinct identities. As part of the anniversary campaign, the identity was redrawn using the font Akzidenz Grotesk. The word “theater” was dropped and emphasis was placed on the word “public”. By 2008, the identity was even more definitive as it used a knockout font called Hoefler & Frere-Jones which provided affordable and accessible productions.
New York Shakespeare Festival in Central Park
In 1994, Scher has created the first poster campaign for the New York Shakespeare Festival in Central Park production of The Merry Wives of Windsor and Two Gentlemen of Verona, and was borrowed from the tradition of old-fashioned English theater style. This laid the foundation for the new overall identity and visual language that came to define the Public Theater for the rest of the decade and beyond. The designs for the Shakespeare in the Park campaign went all across New York, like the buses, subways, kiosks, and billboards.
Scher’s Shakespeare in the Park campaign had become a seasonal tradition in the city. The identity has progressed over the years which redesigned The Public Theater logo in 2005 and 2008. The campaign in 2008 for the productions of Hamlet and Hair, utilizes the strict 90 degree angles of a De Stiji-inspired grid, a pattern in Manhattan’s streetscape. The identity is like New York itself, constantly evolving.
In 2010, Scher designed the New York Shakespeare Festival in Central Park poster has presented powerful productions of The Winter’s Tale and The Merchant of Venice, starring Al Pacino as Shylock. Scher’s festival promotional campaign focuses on the reminiscent language in both plays by pulling lines from each production to meet in a dimensional expressive of words and typography. This campaign was award for Print Regional Design Annual 2011.
The Museum of Modern Art (MoMA)
The Museum of Modern Art (MoMA) is one of the most recognizable logotype in the museum world. In 1964, the Franklin Gothic No.2 logotype was originally designed by Ivan Chermayeff. By 2004, Matthew Carter redrawn a new custom typeface named MoMA Gothic. Although MoMA core identity is well developed iconic museum but the applications like the web, print, and physical environment has not been unified or visionary like the museum itself. In order to continually carry the spirit of the institution, the museum hired Pentagram to design a more powerful and integrated comprehensive system.
To create a new approach that modernizes the institution’s image, Paula Scher designed a complete methodology for the new system to work at any scale, from an exterior banner to a print advertisement in the newspaper. Scher designed a strong grid to uniform placement of images and types. The artwork is being cropped to maximize visual and each quadrant of a page or a banner has specific function. A particular image is selected as the signature focus for an exhibit and list of upcoming events unrelated to the featured into a text block. The black on white logotype placed at vertically position whenever is possible and always bleeds off an edge. Julia Hoffman, MoMA’s creative Director for Graphic and Advertising and her internal team have used the new system and brought the system to life in applications from larger banners and subways poster to the website.
The Metropolitan Opera
Paula Scher and Julia Hoffman has designed the new identity for The Metropolitan Opera. The Metropolitan general manager, Peter Gelb proposed to rebrand the institution and reach a wide audiences like the younger generation that never set foot inside the opera hall. The identity is set in Baskerville and Avenir and the campaign features performance of “Madama Butterfly”. The print ad campaign launched on August 20, 2006 and according to Thomas Michel, the Metropolitan’s marketing director, it was a successful sales day in the history of the organization.
New York City Ballet
Paula Scher has designed a new identity and promotional campaign for the New York City Ballet, one of the largest and well-known dance company founded in 1933 by Lincoln Kirstein and George Balanchine. Scher designed with Lisa Kitchenberg of Pentagram and the NYCB’s Luis Bravo, to create an identity that links the company’s legacy and location to a modern and dramatic new aesthetic. The logo is set in the font DIN that appears slightly stacked on each layer. The palette is composed of black, white and silvery grays, in the way it resemble to the buildings of New York appear sometimes. It has a softened transparency and a subtle gradation of colour that will include shades of blue blacks, green blacks and red blacks. Scher also cropped the images of City Ballet dancers to create more tension and drama. The new identity and graphics appeared on bus shelter, subway poster, magazines and newspapers ads, in the company’s programs and website, and in environmental graphics at the New York State Theater at Lincoln Center where the company performs.
Environmental Graphic Designs
In 2001, Paula Scher created an interior design for the New Jersey Performing Arts Center. In the design, there are words running along the walls; tubes and balconies reflecting with vast letters that gives a joyfully effect to represent the shows performance in the building. It was signature and environmental graphics for the Lucent Technologies Center for Arts Education, a school affiliated with NJPAC.
Achievement First Endeavor Middle School
For the Achievement First Endeavor Middle School at Clinton Hill, Brooklyn, a charter school for grades 5 through 8, Paula Scher has created a program of environmental graphic that helps school interiors to become a better learning environment. She created vibrant space with bold typography font of Rockwell and simple paint to change the life of its students. With the help Rogers Marvel Architects, who designed the school as a refurbishment and expansion of existing building. The design was based on Endeavor’s teaching philosophy and series of motivational slogans used by its teachers. Scher has enlarged these concepts into super-graphics that help define the interior spaces. The graphics appear as an equations form (“Education = Choice”, “Education = Freedom”) in the hallways and quotations running around the wall of gymnasium and staircase which encouraging student to do better and create a unique environment of their own.
Scher designed a new logo for Windows 8 and also the logo of Office 2010.
Maya Stendhal, The Maps
In 2006, an exhibition at Maya Stendhal gallery in New York City, Paula Scher painted two 9-by-12-foot maps that resembled patchwork quilts from afar, but contain much textual detail. She created lines that represented the separation of political allies or borders dividing enemies. Scher created the maps into layers that reference what we think when we think of Japan, Kenya, or the Upper East Side.
For instance, The United States (1999) was painted in blocky white print and full with list of facts that comprehend when we think about cities. Africa (2003) represented in a stark black and white palette, hinting at a tortured colonial past. The land of the red rising sun represented when we think of Japan (2004).
This was Scher's first solo exhibition as a fine artist and sold every piece between $40,000 to $135,000. The Maya Stendhal's owner decided to extend the exhibition for four weeks, until January 21. Therefore Scher decided to produce silk-screened prints of 'The World' that contained large-scale images of cities, states, and continents blanketed with place names and other information. It's full of mistakes and misspellings and visual allusions to stereotypes of places such as South American, painted with hot colours and has two ovaries on the sides. It was not created to be a reliable map but convey a sense of the places that are mediated and mangled.
NYC Transit & Manhattan
In 2007, Paula Scher had created screen-prints of NYC Transit and Manhattan that is printed on hand-made deluxe Lana Quarelle paper. NYC Transit portrays the island of Manhattan as a busy destination crisscrossed by a subway system of loopy, colour-coded lines and stations. It also shows the Manhattan night famed neighborhoods.
Limited Edition Print Map
In 2008, Maya Stendhal released a limited edition print map of China and renowned artist Paula Scher. The map is 48.5 x 40 inches, printed on deluxe Lanaquarelle paper, hand-made in the Vosges region of France. Scher collaborated with Alexander Heinrici to convey the hand-painted map to represent the rapid economic growth, booming industry, the success of Olympic bid, and superpower status on China.
In January 1970, Paula Scher first met Seymour Chwast when she was a senior at the Tyler School of Art. They met each other through an interview at Pushpin, arranged by an art director named Harris Lewine, where she took her portfolio to him. In 1973, she and Chwast married, and divorced five years later. They remarried in 1989.
Art Directors Club Hall of Fame 1998, Chrysler Award for Innovation in Design 2000, AIGA Medal 2001, National Design Award (Cooper Hewitt Smithsonian) 2013 Honorary Doctorates from Corcoran School of Art, Maryland Institute of Art and Moore college of Art.
Awards for graphic design; American Book Award nominations for best book design, and for best compilation of written and graphic material, both 1981, both for The Honeymoon Book: A Tribute to the Last Ritual of Sexual Innocence.
The School of Visual Arts grants a Master Series Award, showcase of Make It Bigger
Awards: Print's Regional Design Annual 2011 for Shakespeare in the Park 2010 campaign, Map Murals for Queens Metropolitan Campus, and Environmental Graphic for Parking Garage at 13-17 East 54th Street.
And finally I'm including a series of logos Paula designed as well as a few other famous pieces you may recognize.
If you're getting close to picking up your super glam and perfect invitations you may want to ask your stationer about stuffing these fabulous little packages the right way. Here are tips I pass on to all of my brides and grooms.
Tips Post Stuffing
Have you gotten your stamps yet? You may want to have a look at what Canada Post has in store. There could be a stamp that somewhat goes with your invitation design and colours. If not you could look into getting custom stamps made by Canada Post. I recently had a bride who had stamps printed with different patterns in blush and grey tones to match. It looked super fab!
Size + Weight
Before purchasing all of your stamps you might want to have your invitations weighed and sized. Canada Post does have size and weight restrictions. If you're after something super custom including a box mailer or larger size invitation please consider additional mailing cost will apply.
If you're hand writing your guest and reply addresses you may want to consider purchasing extra envelopes from your stationer. You may also want to get all envelopes addressed before you begin stuffing them. Print off your guest list that way you can go back and check off the full list making sure you didn't miss anyone.
If you have guests in the US or overseas it can get a little tricky grabbing stamps from that part of the world. If you have family living over there you can ask them to send you the amount needed. Canada Post also sell vouchers which you can insert under each flap of your reply envelopes. Or leaving these without stamps would be okay too.
Stuffing your Invitations
You're planning your assembly line and ready to stuff. Here are step by step tips that might be helpful.
Step no. 1
Add stamps on all of your reply envelopes / top right hand corner. This way they will not be forgotten before sealing everything.
Step no. 2
If your packages require gluing this would come up next. Its always a good idea to let items glued dry over night placed under a pile of books. This simply assures strong even gluing.
Step no. 3
If you have any other assembly work to apply for example tying satin strings with tags this would be a good time to do it. If you're getting ribbon please make sure you get lots of extra. You can always us it on your big day in more ways then one.
Step no. 4
Pulling all cards together and stuffing inside your envelopes. Presentation is key, your stationer may have ideas feel free to ask.
Step no. 5
Sealing your envelopes. You may want to use a damp sponge or Q-tips and water to seal each flap. I personally like to use a small glue stick.
Step no. 6
Adding Canadian, US or International stamps to outer envelopes to the top right hand corner.
Step no. 7
Check your guest list assuring no one is missing.
Depending on what I'm working on I often find adding a pattern or two to my custom invitations personalizes and finesses the overall look of each package. I love mixing organic and symmetrical patterns together as it creates a great contrast. I recently did a search for new and interesting patterns for 2017 and I was happy to find new innovative patterns. I'm personally finding those trendy water colours and certain painted florals are started to look dated. The patterns below I find are fresher and different then what's out there. Have a look it may influence you to add something similar throughout your wedding invitations and stationery design.
Great combination of wild floral mixing, botanical studies, minute flowers, floral bouquets and romantic styling.
Beautiful trendy seamless jungle patterns. Colourful tropics, palm leaves, plants, hibiscus in bouquet and exotic print.
From Tibetan rugs and fabric, large variety of patterns and symbols. Iconographic design patterns and rules, weaves, florals, elements of nature and strong geometrics.
Balancing colours, prints, and textures in a seamless manner. The bold pattern creating a minimal unique modern look.
Often seen in wallpapers and clothing from the 60's. This pattern brings back the past with funk. The outline creates a bolder pattern with definition.
Discover more at Pattern Bank a website featuring hundreds great pattern of all styles and colours.
Carte Blanche worked with a team of Toronto vendors this past winter on a style shoot titled "White and Greenery Classic". The shoot made it into the fabulous Cake and Lace - how exciting! A romantic indoor winter shoot with greenery, soft tones and hints of luxe gold. Please see more about vendors involved below.
Cake and Lace January 26, 2017 feature:
White and Greenery Classic
List of talented vendors involved:
Coordination & Planning
Lindsay Plank Events
Table Decor & Decor Creative Direction
Tableauscapes Coordination & Planning
Cocabella Cake Studio
Mint and Magnolia Floral Design
Often the bride and or groom will choose the colours that they like best for their wedding day. But choosing a colour isn’t about what you like, it’s about what your stand for as a couple. Colours carry incredible psychological power. You probably know that celebrities sit in a green room before performances and that McDonald’s uses orange to stimulate your appetite.
Therefore, instead of choosing your favourites, choose colours that will suit the style of wedding you will be having mixed with your personality as a couple. For example, if you stand for innovation, choose red, orange or yellow — don’t use a traditional colour like navy or a simple colour like brown. Seem obvious? It will become more obvious once you have your venue picked out along with decor, floral etc... Using multiple colours can get tricky, make sure there is a nice tasteful balance throughout? Colour is most powerful in large doses; however, sometimes using neutral with a splash of one colour can also do the trick!
Understand the Psychological Impact When You Choose Your Colours
Here are some traditional meanings of popular colours:
Navy – Conveys importance, confidence, power and authority, as well as intelligence, stability, unity and conservatism. Like black, it carries a sense of elegance and sophistication.
Blue – Associated with tranquility and calmness. The colour of the sky and water, it
symbolizes sincerity, trust, wisdom and truth.
Green – The colour of nature. It symbolizes harmony, safety, growth, freshness, and fertility. It’s a restful colour that suggests stability and endurance.
Red – An emotionally intense colour. It’s associated with energy, strength, power, danger, and passion. It’s highly visible and enhances human metabolism, increases respiration, and raises blood pressure.
Orange – Combines the energy of red and the happiness of yellow. It’s associated with enthusiasm, joy, stimulation, attraction, creativity and health. It’s considered a sporty colour.
Yellow – The colour of sunshine, yellow produces a warming effect, arouses cheerfulness, stimulates mental activity, and generates muscle energy. It’s associated with joy, happiness, vibrancy, intellect and energy.
Purple – A unique colour that combines the stability of blue and energy of red. Generally associated with royalty, purple symbolizes luxury, wealth, power, and dignity.
Brown – The colour of earth. It’s associated with genuineness, simplicity, dependability, and friendliness.
Black – Associated with power, mystery, elegance, strength and formality. Black can be very formal, elegant and prestigious; it adds depth when combined with other colours.
Grey/silver – Has similar connotations to black, evoking dignity, wisdom, and responsibility.
Gold – Associated with success, money and wealth; it can evoke comfort and quality.
Once you’ve selected your colour theme, you’ll need to choose PMS, CMYK, RGB and HEX colour formulas:
PMS = Pantone Matching System: Ink colours. If you’re printing only two colours on your business cards, your printer will probably use your two PMS colour inks.
CMYK is the formula for creating the colour using a combination of cyan, magenta, yellow and black ink during four-colour printing.
RGB is this formula is used in electronic documents – it’s the amount of red, green and blue used to create the colour.
HEX is a colour code used in HTML programming for your website.
It can be difficult to match your chosen look in different printing & electronic mediums, but a professional designer can help you choose the closest formulas.
We thought it could not get any better, but it’s time to wave goodbye to 2016’s Rose Quartz and Serenity Blue shades. As the Gods of Colour have spoken and “Greenery” is the Pantone Colour of 2017. The colour, named Greenery, is described by Pantone as a tangy yellow-green often seen in foliage. Bringing forth a refreshing take, Greenery is a tangy yellow-green that speaks to our need to explore, experiment and reinvent. Illustrative of flourishing foliage, the fertile attributes of Greenery signals one to take a deep breath, oxygenate and reinvigorate.
The colour “greenery,” similar to chartreuse, is well represented in the first buds and grass blades of new spring, but it also plays out in history at times of major cultural shifts, including the suffrage movement and flapper era of the 1920s and the war and racial justice protest movements and psychedelia of the ’60s and ’70s.
In addition to the emerging recycle-and-share economies, we have green rooftops, green spaces and indoor vertical farming. In home decor, there’s a trend to connect with the elements outside through open spaces and vast windows, and a desire to bring nature inside through forestry murals and living moss walls.
This uplifting, organic and energizing shade symbolises nature, new beginnings and spring. We could not be more excited!
Greenery is a refreshing and revitalizing lime green shade that is symbolic of new beginnings and evokes the first days of spring when nature’s greens revive, restore and renew. It is a very versatile colour that works for all seasons and colour combinations. Brides and wedding planners can be playful by adding Greenery to your colour palette. This fresh shade can work alongside metallics, pastels, deep hues, brights and neutrals in many different ways.
Carte Blanche Design - Wedding Invitations Toronto
The collection this year is quite a vibrant one but has been cleverly mixed with some more relaxing colour that give designers and stylists a great range of colours to choose from.
y contrast, Primrose Yellow sparkles with heat and vitality. Inviting us into its instant warmth, this joyful yellow shade takes us to a destination marked by enthusiasm, good cheer and sunny days.
ontinuing the tranquil mood, Pale Dogwood is a quiet and peaceful pink shade that engenders an aura of innocence and purity. The unobtrusive Pale Dogwood is a subtle pink whose soft touch infuses a healthy glow.
Rounding out the spring 2017 colors is Hazelnut, a key neutral for spring. This shade brings to mind a natural earthiness. Unpretentious and with an inherent warmth, Hazelnut is a transitional color that effortlessly connects the seasons.
Island Paradise is a refreshing aqua that calls to mind a change of scenery. A cool blue green shade that speaks to our dream of the great escape, Island Paradise is emblematic of tropical settings and our desire to unwind.
Bringing forth a refreshing take, Greenery is a tangy yellow-green that speaks to our need to explore, experiment and reinvent. Illustrative of flourishing foliage, the fertile attributes of Greenery signals one to take a deep breath, oxygenate and reinvigorate.
A red-based orange, Flame, is gregarious and fun loving. Flamboyant and vivacious, this wonderfully theatrical shade adds fiery heat to the spring 2017 palette.
Tropical and festive, Pink Yarrow is a whimsical, unignorable hue that tempts and tantalizes. Bold, attention getting and tempestuous, the lively Pink Yarrow is a captivating and stimulating color that lifts spirits and gets the adrenaline going.
Comfortable and dependable, Niagara leads the PANTONE Fashion Color Report as the most prevalent color for spring 2017. Niagara is a classic denim-like blue that speaks to our desire for ease and relaxation.
Evocative of the great outdoors and a healthy lifestyle, Kale is another foliage-based green that conjures up our desire to connect to nature, similar to the more vivacious Greenery. And, just as we see in nature, this lush and fertile natural green shade provides the perfect complementary background to the more vibrant tones in the palette.
Conveying even more energy is Lapis Blue. Strong and confident, this intense blue shade is imbued with an inner radiance.
Carte Blanche Design ~ Wedding Invitations Toronto
Winter if here and I thought I'd feature ideas for great looking winter weddings. Winter wedding can be unique as they have a certain peacefulness and elegance about getting married in the winter.
The following photos feature a winter blue palette. Sophisticated and elegant these colours will keep your wedding cool calm and collective. For the bride who wants to add a little colour to her winter wedding.
Golds will create a warm romantic setting. Sparkles and metallics will take this neutral colour to another level. The use of lots of lights or candles will make your ceremony or reception look absolutely spectacular. For the bride who wants to shine in more ways then one.
White and winter greens for an outdoorsy elegance. I love how the winter greens are strategically place in each picture... from outdoorsy to country to glam it all works like a charm. For the bride with a green thumb.
Icy blush, gold and eggplant is a great combo for a winter wedding if you're looking for something cool yet a bit different. This is a good example of mixing cools and warms. For the bride who likes to think outside the box.
Chic, ornate and classic... is what Melissa and Jeremy's wedding invitations were designed to say as this is what their big day was all about. We started with the development of a personalized monogram. A wedding monogram is a great way to make your mark as a couple. Looking at their monogram design they went with an ornate script with a lovely old fashion illustrative ornament. Together these elements create depth and a great sense of style. The entire invitation package and wedding day stationery was composed of a classic frame along with a bold french toile pattern. This unique design was printed on a silver card stock and addresses printed on matching envelopes. I really like how this couple chose a bold rich red and a bold charcoal mixed with silver given they had a winter wedding. Heavier colours I find work well during cold seasons.
Wedding Invitations - Carte Blanche Design, Toronto
Michelle and Mark's wedding was filled with a timeless and elegant vibe. Their wedding took place outdoors at Michelle's family residence located in the Collingwood area. This is a great example of a classic backyard wedding.
Michelle browsed though my "off the rack" collection and decided to go with the design shown above. She added a map card showing where both the ceremony and reception were to take place. We printed her guest, reply and retuned addresses to match with the rest of her wedding invitation package. We glammed up this classic design by printing everything on a thick shimmer champagne stock with matching envelopes. Her invites looked really sharp and the thick stripes found on the back side of both invitation and reply cards added a great finishing touch.
Beautiful photos by Christine W. Photography
Earmarking the importance of Blue in the palette, the new blue shade of Riverside undeniably takes precedence in the fall collections. Cool and calming, strong and stable... it displays a subtle vibrancy and sophistication. Borders on exciting, yet maintains a sense of constancy.
An added degree of sophistication and layering. Elements of russet Orange in its undertones, gives a grounded feeling that’s anything but flat. Neutral earth tone; expected for fall and winter palette. A shade with real substance; a strong foundation.
This colour adds a welcome punch. A bold Red that is warm, sensual and immediately pleasing to the eye. Gets the metaphorical blood of the palette pumping... exciting and dynamic, breeds unmistakable confidence
Bounces elegantly off other colours from this year's Fall colour palette. An exotic addition adding another splash of uplifting vibrancy. A spicier, zestier Yellow than previous seasons... unexpected and unusual. Comes through in both the abstract and geometric accents that designers employ.
This colour brings fresh botanicals and foliage to mind. Rich and elegant, vibrant and sophisticated... this shade displays a brightness, panache and depth of color that elevates it from more natural greens. Elevates the overall elegance woven through this season’s collections.
Bodacious speaks to the gender fluidity we continue to see. Lends itself to vibrant colour combinations. This colour is unexpected in fall. Its versatile; can be used with Pinks and Reds. Bright, rich Purple, with hints of a more sophisticated Pink. Turns fashion accents into fashion statements.
Lofty nature evokes feelings of lightness and freedom. Designers seeking weightlessness in a world heavy with conflict. Blue tones appear in nearly half of the designs. Airy Blue nods to Serenity.
Hearty, pleasing and approachable neutral that pairs well with each of the top 10 shades of the Fall 2016 season. Suggests reassurance and stability, trusted, organic and grounded. Departs slightly from the foundations of the Fall 2016 palette... timeless.
There’s an edge to Sharkskin, and yet it manages to remain neutral. Pair-able with almost any fall color, bright or muted. A color that the rest of the palette can literally and theoretically rest on. Showcases practicality through a dependable but contemporary lens
A fall and winter version of the Pinks we’re used to seeing in spring. Dustier rose-toned Pink shade with some complexity. Exudes warmth and welcome.
My Job is to assure my brides are suggesting tasteful and timeless colour palettes from the get go. When it comes to colour there are the classics and there are the trends. Possibilities can be endless and overwhelming… its all about finding the right balance and what is appropriate for your big day.
No. 1 Consider Your Venue Colours
Take a look at your reception space. For instance, if you’ve chosen a reception area with burgundy and gold carpets, a color scheme of lime green and fuchsia will surely clash, and there’s really no way around it.
Tip - Use the venue’s decor to help guide your color palette choices. Or, you could simply choose a space that lacks a lot of color so that you don't have to worry about a potential clash.
No. 2 Printed Proofs
Make sure your stationer offers you printed proofs prior to getting all of your invitations printed. Colours you see on your computer screen are often very different then what your final invitation are set to look like printed.
Tip - If you stationer does not offer printed proofs make sure you ask them and pay offer to pay that extra fee. This could save you time and money in the end.
No. 3 Wait Too Long to Make a Decision
In my opinion, selecting your wedding colours is one of the most important element of wedding planning as they set the tone for your big day. However, if you don't decide in a timely manner, be prepared to potentially find yourself scurrying around in a desperate attempt to find items that will match or coordinate. This can be especially true if you've chosen a more unique color palette.
Tip - Give yourself a deadline! Maybe check out Pinterest or Google Images for inspiration.
No. 4 Consider Contrast
Contrast is important to many aspects of your wedding day. If you have too much of the same colour you may end up with a flat uninteresting look and feel. Go for a more subtle contrast or perhaps bolder look depending on your personality and wedding style.
Tip - Keep contrast in mind when selecting your attire, invitations, table linens and more. Think about the big picture and note that each of these layers should not all be the Same. Exact. Color. A few varying shades will go a long way!
No. 5 Bridesmaids Dress Colour
Sadly, this happens a lot! The truth is that not every color is a great pick when it comes to dressing your bridal party. Some hues wash some people out while others simply aren't flattering on anyone.
Tip - When selecting a bridesmaid dress, consider the varying skin tones and body shapes of your favorite ladies. For instance, not everyone is going to be able to rock a cocktail-length dress in chartreuse. Take your girls to the bridal shop and narrow down a color that complements the majority of your attendants.
The basic rule of thumb, the outer envelope of your wedding invitation should be addressed in a more formal manner, with titles and full names. Whether you are addressing them yourself with a fancy pen, having a calligrapher do their magic or having them printed to match with your invitation design they should look fabulous, be accurate and legible. See examples below...
To a Married Couple
Mr. John and Mrs. Samantha Holt
Mr. and Mrs. John Holt
To a Married Couple Who Uses Different Last Names
List the person you're closest with first. If you're similarly acquainted with both, list them in alphabetical order.
Mr. John Holt and Mrs. Samantha Thuente
To an Unmarried Couple Living Together
Mr. Joseph Hirsch and Ms. Rebecca Strecker
Same Sex Couples
Ms. Celine Elgin and Ms. Jacqueline Purcell
Or list their full names without titles
Joseph Hirsch and Rebecca Strecker
Celine Elgin and Jacqueline Purcell
To a Married Woman Doctor or Two Married Doctors
If a woman uses her maiden name professionally and socially, the envelopes should read... Dr. Anne Barker and Mr. Peter Underwood
If she uses her husband's name socially...
Dr. Anne and Mr. Peter Underwood
If both parties are doctors, you can address the outer envelope...
Doctors Anne and Peter Underwood
To Those With Other Distinguished Titles
Apply the same rules for military personnel, judges, reverends, and so forth that you
use for doctors. If both titles don't fit on one line, indent the second line.
The Honorable Jane Kelly and Lieutenant Jonathan Kelly, U.S. Navy
Captains Jane and Jonathan Kelly,
To Children and Families
Mr. and Mrs. Michael Abraham
Daniel, Jeffrey, Miss Brittany and Miss Kelly
To Children 18 and Older
They should receive their own invitations (unless they live at home with mom and dad).
Ms. Audrey Abraham
Mr. Jack Abraham
Note: If you don't include each child's name, you're implying that children are not invited.
That said, don't be surprised if some guests still mistakenly assume their children are
welcome. If you're concerned this will happen with your guests, ask your immediate family
and bridal party to help spread the word that the wedding will be adults only. In the end,
you may have to follow up with guests who don't get the message via phone to gently
explain the situation.
Carte Blanche Design ~ Wedding Invitations Toronto
Living an urban life in Toronto Jennifer and Tim wanted their wedding to be casual and outdoorsy. Sharing their engagement in Niagara on the Lake they decided to have their big day at the beautiful Ravine Vineyard Estate Winery. Jennifer was an easy going bride with great ideas and good taste. Together we came up with the following design. My creative process usually includes 5 steps... take a look below:
No. 1 - COLOUR
Jennifer & Tim's colour palette was composed of soft champagnes, blush pinks with greys. Soft colours were found in the floral pattern with a bold charcoal when it came to fonts.
No. 2 - STYLE / THEME
Jennifer and I discussed a more casual look with a vintage flare since their big day was to take place at a vineyard. We kept the overall style simple, classic and whimsical.
No. 3 - DESIGN
Jennifer had a specific look in mind… she wanted to have a certain amount of floral without making to much of a bold statement as well as keeping the overall look light and casual. Once she found the perfect pattern she sent it my way so I could redraw it to fit within her custom package and convert to her unique colour palette. I really like the fonts found in this invitation design. Jennifer purchased a font she fell in love with… a lovely calligraphy font full of personality.
No. 4 - PAPER GOODS
Being from the US Jennifer had plenty of guests coming from a far. That said we had lots of info to include in this invitation package such as invitation and reply cards, map cards as well as accommodations. Once I made sure the over design flowed nicely from one card to another these were all assembled and inserted into soft champagne pocket enclosures.
No. 5 - SPECIALTY FRILLS
A simple craft colour twine was tied to the exterior of the pocket enclosures in order to keep each package nicely sealed. Craft paper outer envelopes were ordered keeping the over all look on the more casual side. Blush pink reply envelopes where also ordered. I love mixing two different colour envelopes when it comes to the outer and reply envelopes. I find it adds a little more depth and fun.
Being world travellers Katherine and John recently hosted their wedding in Monemvasia, Greece at the beautiful Kinsterna Hotel. Sending out over 150 invitation packages for their destination wedding one year in advance these guys were after some serious attendance for their big day overseas! Below is a little poem found amongst the couples invitation package. I thought it would be fun to share some of Katherine and Johnny's story...
In the fall of 2011 two people crossed paths on the other side of the world. They knew immediately that it wasn’t just a chance meeting. This was the start of something much more. The beginning of a love and friendship fuelled by adventure. Two people addicted to travelling the world. Two people addicted to experiencing the new and unknown and most importantly, two people addicted to each other. As our first chapter comes to a close, we’d like to welcome you to join us in celebrating as we turn the page and begin our next chapter...
Over the years I've designed invitations and stationery for many weddings in Toronto. Being a designer in Toronto makes my job that much more interesting given the large amount of cultural variety and the large scale of wedding venues. I connect with brides with new ideas, brides open to creative concepts, brides who appreciate good design and most of all brides who make tasteful choices. Custom designs are often set with a personal brand for all of my couples starting with a monogram or personal icon or theme... we then explore colour and appropriate design elements such as pattern textures and decorative graphics, paper goods, printing etc... Below are examples of some of my Toronto weddings.
Andrea & Ian's invitations from my "off the rack" collection. The couple's wedding was hosted at Bohmer Restaurant on Ossington Avenue just West of downtown Toronto.
Jennifer & David's Distillery inspired invitations. Both ceremony and reception took place at the Fermenting Cellar in the Distillery District in the East end of downtown Toronto.
Arden & Tyler's invitation package for their downtown wedding taking place at Toronto's Luxurious Shangri-la Hotel.
Meaghan & Ben's Breakfast at Tiffany's inspired wedding invitations for their big day taking place that the Old Mill Inn and Spa in the West end of Toronto.