grand invitations

Brian and Laura wanted wedding invitations (day and evening), a welcome sign, and a seating plan. They were already laying plans for the big day but did not have any fixed ideas about the aesthetic of their stationery. We had a chat and settled on a relaxed approach in which I would visit the venue for inspiration, play around with some ideas, do some initial sketches, and present one or two concepts.

I arranged a visit and popped into The Grand Hotel in Birmingham. The concierge could not have been more helpful, and, once I explained the reason for my visit, I was given permission to explore.

I grew up in Birmingham and only remember the hotel for being forgettable. It fell into disrepair in the nineties, so I can only recall it being covered in scaffolding. New owners spent a fortune (and nearly ten years) restoring and renovating, and it re-opened in 2021.

The hotel is unequivocally beautiful. The imposing main façade faces St Philip’s Cathedral, but the entrance is a more discreet doorway on the southwest side. I snapped some pictures of the doorway and was already considering it for the front page.

I pottered around for a while and noted two cues: the black and white colour scheme, and the light fixtures.

I made sure to visit The Ball Room as it was booked for the wedding breakfast, so I’d need an idea of layout for the seating plan. The room is extraordinary. My brain started working overtime on how to make this seating plan something special. It did not seem right to have a utilitarian diagram when the room offered so much detail and character.

Back in my studio I started sketching out some ideas. I quickly settled on the black and white aesthetic. After drawing out various objects, rooms and corridors, I satisfied myself that the front doors made a good front page. Brian and Laura had hinted a preference for a gatefold layout, which naturally cemented the plan.

I also thought the light fitting ought to be a feature, so I did some simple line drawings.

In the brief, Brian & Laura wanted their invitations to have a timeline/itinerary, so I drew some original icons for them to choose from. I oriented the timeline vertically as it fitted nicely on the narrow side of the gatefold.

I presented Brian & Laura with a selection of drawings and mock-ups, and explained the rationale behind the black & white colour theme. They were very happy with the presentation and confirmed the various sections and text blocks to be added to the design. I then went back to the studio and finalised the drawings, logos, and began assembling a digital version of the invitation.

I also presented Brian & Laura with some ideas for the welcome sign. It is possible to start a new design from scratch, but there’s something satisfying about cohesive stationery. Helpfully, they were delighted by a simple replication of the front page.

Doors make for a great gatefold.

Once the invitations and welcome sign were arranged, I could focus on the seating plan. In our last meeting I’d explained my vision for something more spectacular. I used some simple images to convey the idea, as it would be a huge amount of work once I started. They were fully on board.

In a nutshell, I wanted to do a detailed perspective drawing, including the tables, which would make for a showstopper at the entrance of the ball room. I first drew a large, detailed pencil drawing, using two-point perspective and various drafting tools. I then laid down the ink and erased the pencil underneath. It was painstaking work.

I then had the drawing scanned and started adding numbers and guest names digitally. I showed Brian & Laura several layouts until we agreed on the final design. This was then printed on foam board and was placed on an easel on the day.