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Logo Design For Dairing Bride Academy

April 9, 2014 by Patricia

Adair Currie is a lovely lady who owns Dairing Events, Jacksonville’s premier Wedding and Event Planning and Design company. She came up with this wonderful idea of having a workshop that would  build a strong & positive bridal community while also educating brides on how best to plan their wedding.  I used to work in the wedding industry, so naturally I was mighty excited to receive Adair’s order for a logo and brand identity for the workshop! One of my former clients, Ginny Krauss, the Wedding Concierge, helped the process along by giving her own insights and discussing the requirements extensively with Adair before we started.

Here are the options that I presented to her.

dba-options

She picked out the first one, which has a very classic look.  We then added the colours in – she wanted navy and gold, because the event is going to be held in the summer, and asked for patterns that they can use on stationery and pamphlets.

Here is the final logo.  The text is in navy, the leaves are in a metallic gold, and the banner is in a darker persian indigo.  The typography matches the one in her business logo and website.  Bellucia Pro is such a lovely calligraphy font! I loved working with it!

DAIRING BRIDE LOGO- NAVY

Here is the brand identity guide.

DBA-brandboard-FancyGirlDesigns

Filed Under: Featured Projects Tagged With: brand identity design, client work, graphic design, logo design

About Patricia

Patricia Alix is the founder and creative director of Fancy Girl Design Studio, a luxury brand and web design studio based in Singapore. She specializes in crafting elevated brand identities and bespoke websites for interior designers and creative female founders who are ready to be seen as the leaders they are. Her mission is simple: to show the world just how good you are.

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Hi, I’m Patricia, the girl
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I love pretty things, clever words, fonts, colors, the Oxford comma, and exclamation points!
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THE EXPERIENCE CONTINUES ON INSTAGRAM @FANCYGIRLDESIGNS

The typefaces surfacing this week share a theme: n The typefaces surfacing this week share a theme: not serifs broadly, but a specific vintage register, letterforms with visible weight variation, a slightly worn edge, the sense that someone drew them by hand. 
The Ashcombe Hall has the gravity of a country house library, the kind of face you'd expect stamped in gold on a leather spine. Vintage Serenade moves looser, more lyrical, closer to something a calligrapher would have signed.
Design has swung this way before. When the Industrial Revolution made everything fast and identical, William Morris and the Arts and Crafts movement answered with ornament, with craft, with the visible mark of the maker. The clean grid had its long turn at the wheel. This particular kind of type, textured, hand-cut, carrying a sense of history in the strokes, is having its own.
The antiques returning to people's living rooms and this type returning to branding are doing the same work. Both are reminding us a skilled hand was involved.
The Victorians read morning glory as fleeting love The Victorians read morning glory as fleeting love. I read it as a flower that simply knows when to leave the party.
#vintagetypeart #botanicaldesign #floraldesign
She used to sit across from people while they figu She used to sit across from people while they figured it out.
Now she's the one they came to hear.
That's what this moodboard is all about.
Another sneak peek. Monograms are my favorite thin Another sneak peek. Monograms are my favorite thing to design.
The best marketing strategy? Be really, really goo The best marketing strategy? Be really, really good at what you do. Everything else works better from there.
There's a lineage running through this one. Ever There's a lineage running through this one. 
Every object here survived because someone refused to rush the first pass. That's what craftsmanship actually is, a decision rather than a finish, made once, correctly, by someone with the patience to do it properly. Cornicing nobody hurried. A pattern made stitch by stitch. A tack room that assumes you already know what you're looking at.
The eighteenth century understood something we're still relearning: ornament is a form of discipline, not decoration for its own sake. That's the instinct behind this palette, this pairing, this whole quiet insistence on doing it right.
I am so excited to be working on this brand identity!
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