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Ruby Reds Floral & Garden

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CLIENT: RUBY REDS FLORAL AND GARDEN
PROJECT: LOGO AND BRAND IDENTITY DESIGN

The client, Bonnie Melin, is a wedding and event floral designer based in Jacksonville, Florida.  She has been in business for a number of years and wanted a rebrand to make her logo appear more high end and artistic.  She already knew what she wanted for her logo design – a botanical peony illustration paired with minimalist typography.

Choosing her brand colors was relatively easy because we already had her company name to guide us.  Here is the moodboard and color palette that I came up with based on her Pinterest board.

The next task was to draw the botanical illustration. I had so much fun working on this! Pen and ink illustration is one of my favorite things to do, and I couldn’t be happier when Bonnie sent me all these peony inspirations.

peony illustration

Here is the complete logo set, with the primary logo, secondary logo, and alternate variations.  Bonnie wanted to be able to use the illustration by itself on various pages of her website.  I really like how the richly detailed botanical illustration is balanced by the minimalist typography.

Ruby Reds Floral Logo Set

THE BRAND BOARD

I did a mockup of the logo as a letterpress print.

Ruby Reds Floral Logo Letterpress

Here is the design for her entire stationery suite, with the presentation folder cover, letterhead, envelopes, business cards, and notecard.

Ruby Reds Floral Stationery Suite

Bonnie also ordered additional sticker label designs.

Ruby Reds Floral Stickers

Ginny Krauss←

About

Fancy Girl Design Studio creates bespoke brands and websites for interior designers and creative women entrepreneurs. We craft polished, personality-packed brand and web designs that elevate creative businesses with elegance and intention. Based in Singapore, serving clients worldwide since 2011.

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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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