Design a Wedding Invitation Suite with Me!

1. Course Intro: Hi everyone. I'm leaning. I've designed my Laney, I'm a wedding invitation designer and I also teach other imitation designers how to design as well as run successful stationary businesses. This course is called Design and invitation suite with me and that's exactly what we're gonna do. I found that when I was searching for education on stationery design, there was a lot of graphic design stuff and a lot of stationery stuff, but nothing that really combine the two. So if you have a background in stationary but are self-taught designer, you're gonna love this course if you're a designer, but you've never done stationery before. You're also going to love this course because we're gonna go through all of the things from choosing elements, choosing fonts, laying out and wording on your invitations, as well as just designing and all the little things that go through my head while I'm designing. This is going to give you a behind the scenes look of entire invitation suite from start to finish, your class project of course, is going to be designing your own wedding invitation suite. I'm so excited and he can't wait to see what you've come up with. After the course. You can always find me on YouTube. I designed by Laney where I have tons of free graphic design and stationary tutorials or design by leaning.com. I also have some other great resources here on Skillshare for you. So let's dive in. 2. Getting Started: All right, Hi everyone. I'm so excited about this course and just show you my process for designing this wedding invitation suite. This week is gonna be for my collection, not for a client. So there are different things that you might do for a client that you wouldn't do. For a collection suite, which I get to do basically from scratch with fake information, etc. So first I'm just going to show you how we set up this file. I have this one saved basically as a blank file with the same art boards. So we've got imitation here. We've got the back and the front of the envelope, a liner details card, RSVP card, and RSVP envelope. Whenever I'm creating a new suite, I just go to blink imitation, sweep, open this up, save it as the new title, my sweet and get working. So I don't have to set it up, but we'll show you how we do that from scratch for working in Illustrator, you could also work in InDesign, in which case you'd, you'd use pages for all these different pieces. But I really liked the art boards because you can move them around. You can just do whatever you want. You can move this out of the way if it needs to be. And there's a lot of great things you can do in Illustrator. Now you'll see we're gonna set up, I like to start with five by seven size just because that's what most of our art boards are going to be. And when I do seven artboards, we want our bleeds to be whatever your printer requires for me, this is a quarter an eighth on each side. I like to keep that. Sometimes we just go with 0 bleeds and add them later. It's not a big deal if you don't add them right now. We want to be in CMYK mode because that's what you print on roster effects we want at 300. And that's really all we do here. We just click Create. Then you'll get seven artboards. They look like this. I like to keep our imitation kind of in the center or RSVP card, we will change to a 4-bar size, which is 4.875 by 3.5. Our details card is always going to be 3.5 by five. The RSVP envelope is going to be 3.5 by five as well. And I like to put that near the RSVP card. And then we'll have two envelopes that are just landscape instead of portrait. And both planners kind of a weird size. It's seven by 9.25 for my printer. All right, so then we basically have that same setup. You'll see, you'll see that it looks a little bit different here, but that's how you would set it up. And then you could go ahead and save this as blink imitation, sweet. And then every time you open it up, you'll have the same pieces exactly as they are. And what I've also done is gone ahead and filled in the information what this looks like for a normal client. End up sotto, I have this annotation information questionnaire that they would fill out that's got all the information and I literally copy and paste it over into the file. So if it's like return address for applies, I literally just grab that, bring it over here and paste it here. And this is all just gonna be our basic text. I haven't really done any formatting or anything yet, so we've got all the tax and it's on the correct art board, and this is definitely going to go up here near the top. This one's kinda go and then go somewhere in the middle. You can put it where it needs to go. For this week for the most part, we're going to be centered, also lacked all of the texts and go ahead and center it. And then the first thing that we want to do is start with the imitation. You can start with whatever piece you want, but the imitation typically has the most information on it and has the most design elements and is really the centerpiece that holds the entire piece together. So I'm gonna start by zooming in here and I'll show you what we're working with as far as design elements. 3. Choosing Fonts: Here I've gone to wordmark dot I-T. You'll have to download a Chrome extension to make this work. But you basically can enter your word or phrase. And we're going to go with Leanne Adam because those are the names of the couple, not leaf anatomy, but Leah. Press Enter and you'll basically get Leah and Adam written in all of your fonts. So those first ones, they're all pretty similar, but as we go down, you can see a lot more variation. I want them to be capital for wedding invitation to often use a script font and then something print for the specific information, like functional information. But because this is kind of a zodiac theme, I really don't want to go scripty with it. I want to do something that's kind of modern feeling and really simple, but with maybe a little twist. Another front option is to use Google Fonts. All these fonts are free to download and use. What I love is that you can search them by their properties. I want mine to be sans serif for this project, so I'll go through and select that. And you can also edit font properties such as width or slant. Then you can just scroll through. You can see we've gotten 999 families that we can look through. Oswald is a really popular one. I loved that one. When you look at a lot of fonts like this, you end up not being able to see the words anymore. Which is always kinda funny, like Leah and Adam don't seem like words to me anymore or they seem like gibberish, but it's really fun. So as you find different ones that you like, I will go back to my document. I'll just type in something really important, which is typically the names. Make it bigger. Then just change it into the different fonts that we like. And that way you can kind of use the process of elimination. You might have sometimes I have 25 different ones over here, but through all of this using wordmark and Google funds, I have decided on these two fonts. I really liked this one called Adam. It's pretty unique and a lack of cross on the ASE makes it feel really modern and a little bit spacey, kind of like we want for the zodiac. 4. Design Elements: When you are working with a custom client, you might want to do a sketch to get this really set in stone to get an idea of where everything is going to go. And then the design process will be a lot easier. I'm starting from scratch, but I do have an idea of where I want to go. And it's all been inspired by some stock art that I found on Creative Market. This will be linked in the course description for you. But it's a great place to get all kinds of elements, fonts. I saw my font there, sapphire script, I am, I buy a tons of stock art there. I buy lots of watercolor elements, etc. I typically create custom elements for my custom suites, but for collection, sweet, sweet like to use elements that are already made. So I've had this idea for awhile of a Zodiac sweet that has the ability to change based on your zodiac. So I'm a Pisces, which is this one over here. And my fiance is a cancer, which is this one right here. But anyone who buys this, we would be able to change it out for the 2s zodiac signs that match them and their partner, which I think is really cool, fun idea, a way to make something feel customize, even though it's not totally customized, to still look really unique because you've got your own symbols in there and you can see this packet I've got we have more pictorial representations of everything. We've got the crab for cancer and a fish down here for Pisces. We've got the constellations, which I love. We actually use stars and constellations on our wedding invitations. And then we've got the more symbolic glyphs down here. So we've actually got three different options for every sign. And I think that's really cool because that's gonna give us a lot of options for the entire suite. If you're working with a real client, you're trying to nail down the style elements that they have for their sweet. There's a lot of different ways to do that. I tend to ask a lot of questions in the console, but if I'm unable to consult with the client, I have this questionnaire that I send which helps me just get an idea for their story. How did they meet? Where are they getting married? I'm realizing this still says boyfriend, even though we're about to be married in a month. That's crazy. Lots of information about how they want to design their sweet elements that really stand out to them. And at the end I have a place they can upload inspiration photo because sometimes we are not very good at describing this out that we want. If we're not stationary designers. They filmed this out or they talked to me in their console and we get ideas. They might send me their Pinterest board. I don't like to get design ideas from other imitation inspiration photos. I like to get inspiration photos of their dress, the bridesmaids dresses, the flowers that they're going to use. I typically really loved the architectural elements and the entire vibe of the venue. And that's really a source of inspiration for me. Instead of seeing someone else's designs that they like. I like to create mine more from scratch. All right, so we've got some elements that we want to use. And then the next thing we need to do is pick our font and we can pick a font that goes with the vibe of this. I do actually like the font they have, but we're gonna try and choose a different one that I have already. 5. Designing the Invitation Card: Once we've got that, I'm going to use champagne and limousines. This one right here for all of our general text, which is typically more texts. So you want to go ahead and change all of your text to that font. Will keep it at 12, which is what we're gonna do. I also think that we are going to have most of our texts be all caps. And I also like to put a little bit of tracking here. This right here, if you're not familiar, just spreads the letters out a little bit more. So I typically like to give it about 50. Just lets the font breathe a little bit. Gives you a little bit more whitespace to play with which I love. So all of this still looks messy, but we are going to start right on the invitation. You can get everything else out of there for now. We've decided that we want their names to be in a slightly different one. So I'll go ahead and do that. It's funny that the name I chose randomly was Adam, and that's the name of a font. We'll go ahead and make this figure. I kind of like where this is going and we want to keep the layout pretty simple. I like to have some whitespace around the names. Just select them, breathe and so that they are up in the hierarchy there. The first thing that you look at, I like to increase the spacing a little bit. So this one right here will increase your spacing. And I just want that to be a little bit bigger. I'm going to make sure that this is centered. It is, it doesn't need to be centered vertically quite yet. I find it vertical centering that a lot of times you just want to eyeball it because the weight of the words and all the texts in different places can make things appear a little bit different. So if you actually use the centering mathematically, it's not going to look exactly where it's going to be off to the eye. And that's kind of the point of graphing sine. I'm going to put this out a little stroke. All the texts on here is it's showing up as this gold gradient right now, but it is black. This is a great place to start. And then my idea for the zodiac is to make a framing effect. So maybe put one down here or up here or in the corners. I really like if you're doing corners, we start in the top left and go towards the bottom right because that draws the eye in a sensical direction. Whereas if we start from the top right, then the eye is kind of confused as to whether it should look to the right or it should start looking down. You don't want to have whitespace over here. We talked about this in our composition and layout course as well. We're going to start up here if we go with corners, I might go with just top and bottom. Not totally sure. Let me go ahead and grab these elements over here we got Pisces, Cancer wall, just copy and paste. These are gigantic, so I'm just going to use S enter, which is the scale and go with 50%. I'm gonna go a little bit lower. Perfect, Perfect. So the key to using stock art is using it in different and unique ways to how they use it. The collection, you're gonna see people just pasting these as is, but we really want to change that up and make it unique. So it doesn't look like the exact same thing, especially when we get into using these, these are going to not really break out too much because there's not a whole lot you can do. Each one is a very cohesive element. For the ones that we have the ability to break up. We want to go ahead and do that. I don't want to ungroup these because then all of these tiny little elements of the constellation are going to be ungrouped as well. So I'm gonna keep it grouped, but there are some things that I'm gonna get rid of a ventrally. So I'm going to play around with this because this is very pointy, is pointing in a direction and so is this one. A lot of the constellations point in one direction. I do want to keep it probably at an angle. So if I play with doing this top and bottom, it doesn't really work so well. But if I bring it over here at an angle and bring that pointed down, that works a lot better. And just making sure knew the red lines here are going to be the bleeds. So that's where we need the design to go to. And then it's going to cut off around the white lines, but it won't cut exactly at the white lines. We don't want to end the design right at the edge of the paper. We want to end it a little further off, just so that when it cuts come in, if they're off by a tiny fraction of an inch. It doesn't look strange on the design and doesn't create a white border here that looks awkward. So I'm going to make sure to overlap some of these pieces. There are definitely some pieces of this that I don't love. I'm gonna go ahead play with this first arc. Get it placed where we want it. And I want it to go off the page a little bit, just, just for fun. Like I said, we don't want to ungroup this, but there's some things we definitely want to get rid of. So I'm gonna get rid of this guy. And this guy. I think those are the only ones that I absolutely dislike, but I also think these things are really big. In order to make this feel like my own. I'm going to shrink them down. I'm holding shift just to keep the proportions this name. I'm going to shrink all of these down and I want to keep the shapes really organic. That's why I didn't want Lake kinda dot squiggle and that giant circle. And we'll move these stars and make sure they're not all facing the same direction. You can rotate them manually or we can use our Enter will take you to the Rotate dialog box and you can just do 45 degrees or something to keep them in a different direction. Circles. We don't have to have that issue with. We're going to bring everything that's out here a little bit closer. I'm just kind of play with it. I also think there's some elements over and the rest of the constellations that I might want to grab. All right, so now that we have two different stars I'm going to get rid of and throw in some of the unique ones, maybe even get a different one. These elements are not grouped together and this is just proof that I'm a slightly sloppy designer, which is completely okay. I'm going to eventually group them all together as one. So that's not a huge deal. I'm going to keep them, but I don't want to ungroup these and then after we put everything together, okay, So this is a pretty decent stopping point for this section. Then we're going to basically do the same thing at the bottom over here with the cancer one. You don't necessarily need to see this part, but it's just kind of a lot of moving little things around and I'll show you where we end up. All right. This is where we ended up with the cancer sign. And I think it's really nice. This is kinda what I was mentioning about not vertically centering. The wording looks like it's a little too high now, needs to be lowered. So the actual center is kind of back where we had it. But I think visually it needs to be a little bit lower just because of what we've got going on. This constellation of a little bit heavier than this one. I've made this little girl little bit smaller just to keep it waited well, with the one at the top. And I think that these corners are missing a little bit. So I want to just throw a little bit of extra stars there. Alright, so I put a couple of testings of stars on the top right and bottom left just to add a little bit more of that frame. And you get this circular feeling as you follow the angle of this and the angle of this and the angle of those two little star clusters, which I really liked because the night sky, you can just follow it in circles if you're actually looking at real constellations. And I think that's really nice. So the question we ask ourselves, which you'll see in the composition and layout course as well, is where does your eye go when you first look at this, we've got our names being bigger. We've got this kind of circular motion which we love. The zodiac is gonna be really important to anyone who buy this sweet. And then we have a slight stroke on Cadillac service garage, which is the venue to try and make that stand out a tiny bit. So we started with the imitation, that is where the big pieces are. And now that we have that in place, we can do everything else a little bit quicker and just let it fall into place. And we want to keep this similar vibe that we've got going on, which was very simple and clean with a couple of these elements. Now we also are going to have to change out this element and this element for each client that purchase this sweet. So what I'll probably end up doing is going through and creating a corner element to go with each zodiac constellations such that when someone has theirs, it's just ready to go and I can just throw it in here. But for the other cards, we don't necessarily want to be doing that. I'll show you what this save the day and shower invitation end up looking like where we use some of the other options for the zodiac pieces. But for now, as far as the reply card, the envelopes, envelope liner, the details card, we don't want to be changing that for every single person because that's just going to add to our workload. 6. Designing the Details Card: I really liked this son, but I thought it was a little too much and I've using on any of the pieces that we already use. So I think for the details card, we should just grab this guy and make him the focal detail on that card. Let's zoom in here. I do like to add a little bit of a separation when you have two very specific types of details like we have in this sample text. Of course, this is all fake text. I want to also add a gold line to satisfy a slight bit more detail. I'll hold down Shift to keep it perpendicular, will go Up to 0.25 and we'll make sure to center it on the page that will move around as we move the text as well. I'll change that to Adam and make it bigger. Let's see, this is 23. So it's a good idea to keep that same size or a little bit smaller just to mimic the names over there. That feels a little bit to me, so I'm gonna go smaller. You can come up a little higher. I love There's an a in details, so we get that cool a on the font. And then I'm going to bring this down a tiny bit as well. This is all 12 font which is a little bit large. When you go down to ten. Might keep the website just a tad bigger so that it stands out. I think this is pretty good. It's not visually vertically centered. There we go. Then noticing that giant 12 text, it doesn't seem that giant here, but I promise you when you print it out, it'll seem pretty big. We want to go down to ten. Then that creates a need to add a little bit more. There. I hope you all enjoy me talking to myself. In this way. These are some of those changes that happen over time with your sweet, and I think this doesn't need a whole lot extra. I want to make sure it's centered. And it's looks pretty good even though we decrease the font size. That details card, I'm very comfortable with leaving it how it is. 7. Designing the RSVP Card + Envelope: We've got kindly replied by the 1st of May. Kindly reply usually gets a slightly different treatment. You're not going to notice too big of a difference here. And we use 20 font for the details cards. We want to mimic that here. You don't want to have too many different variations of your font because it's gonna make it look like different fonts, even if it isn't. And it's going to make it look different. Let's see. We've got the 1st of May. This is very simple. Most people are going to add something like meal choices or something. So I want to leave that space. But I do really like to leave a lot of whitespace and my samples and hope that people will go with me on the whitespace. Going to make all of this, bring it down to 10 font from 12, names can be a little bit bigger just because that's a pretty big portion. Sometimes you'll just see an M there, which is also completely fine. I like names for this one because this sweet feels a little bit more casual. And I think that's nice. I like to make these kind of line up. I'm going to give it longer one. So there's not as much space in the middle for a sample. And if you're dealing with a real client, you can always suggest texts that's going to be more aesthetically pleasing. So we'll be there. Maybe even just as simple as we will be there is going to cover some of that extra spacing here. I have used instead of a line segment, I've used underscores for these lines. I like it because it keeps the texts in the text box and I like that because then if I change the color, it all changes as opposed to having to change the color of the lines two, etc. Just feels a little bit easier to me. So you'll see there's really small gaps there because the underscores don't really connect to each other 100%. So a lot of asked to do with this tracking that we've selected. So I always just want to go through and do a negative five just in case. And then I'll get rid of exactly as many as we need there. And I'll go back through and do a negative five on these two. That just makes sure they overlap a tiny bit and then bring this out a line there's well, as our mind, our Savior work. Every once in awhile, at least after every piece, I'm gonna go ahead and save it. I skipped the details cards, so I should have saved it before that. This definitely looks a little plane. I know we've chosen some very simple fonts here we got add some cute little elements. I am thinking that it could be nice to put something over into this area, but when my clients add Neill choices, number and party, all that kind of thing, it's going to get over that design. So typically you'll put all your texts on there first. This I have to design such that there's going to be varying levels of texts. I think I want to instead kind of frame the timely reply a little bit. And I'm going to start from the left because if you have to choose one, I like that because your eye goes there first. And it helps just highlight where you're going to start reading. If you weren't a frame this side of the texts, then your brain goes there first and then it comes back and it's a little bit confusing. I like to frame the left side of the text. That's not to say that you can't put beautiful elements over here as well. That was my first instinct. But I want to start with kindly over here. This is where I've landed on that for now. I like how this moon kind of cups where you're first looking and draws your eye there. And then if we do add a bunch more texts, it won't go over these too much. Maybe it'll even play with these a little bit into those lines and that will be lovely. If not, I can always move around for each person individually, which I do anyway on some of those sweets. Alright, so I love where this reply card ended up. Let's go and make sure we save it. I also think this wheat would be really cool if someone wanted to do like a different colored paper, like a black or gray and have white text on it. I don't really do that for the reply card because the gas has to write on it. But I think for the details card or something on black paper would be really fun. Now we're going to do the reply envelope, which is usually very simple. I actually have this idea that I created for our wedding invitations that I wanted to extend to this sweet. We're going to make this a lot bigger. Maybe 18 is a good amount and put it towards the bottom left, but not too far. I think that's really cute. I could put the zip code on a different line. What I think I want to do here actually is throw in a little star element. I think that could be kind of fun. It'd be a little bit complicated on a guest address when you're doing the data emerge and all the variables data, however, for something like this, which is going to be reprinted the same way, It's not that hard to throw that in there. I think that's really cute. For this envelope. I'd like to recommend to them that they frame this stamp kind of using that same frame that we created for the reply card. I'm going to go over here, grab this, and I actually use this exact combination on my own reply cards for my wedding. We didn't go full zodiac, but we went with a little bit of stars and moons because that's an important part of our relationship. So you'd often know what stamps they're going to be using, but I would just put this over in the corner and gosh, it turns out so cute for my collection sweets, I don't always do envelope design that because not everyone purchases envelope printing, but it's nice to have that as an option and have something really fun and cool that's more likely to upsell them to that. I had already created this for my own wedding. So it's a really easy transfer over here. Plus it's more fun for you all to see. If we go ahead and go through the whole envelope process. 8. Designing the Main Envelope + Liner: All right, Now I'm going to create the envelope liner. I'm going to have to skip over a little bit for you guys because there are some craziness that happens in this one. Like I said, this is another piece where we don't want to be changing out the constellation or the symbol for the zodiac depending on who they are. I've gone ahead and put in my template, which shows you the edges of the envelope. And I'll go ahead and make a black stroke there. Just so it's visible for us while we're designing. Beautiful. Yeah, I'm going to go over here and I really want this to look just like a night sky. I love a pattern for an envelope liner because it doesn't matter where it's cut. It doesn't matter if it's put in like slightly higher or lower than the one before it it really doesn't matter if it's torn. It's just a beautiful pattern that corresponds with everything. What I would do here is take all the constellations I want to tell you just look like a night sky type pattern. So I would use all these constellations. They're all in little blocks. I basically just add them all together and align them closer so I take out all the words. Bring this end so that they're all kind of touching and adjust them, move them around a little bit such that we've got kind of a night sky vibe with all the constellations showing up. And if someone's really enter the astrology, they'll like that. And it's kind of a way to bring your guests in because all of them are going to be able to see their constellations in that liner. So after a good bit of work that ends up looking like this. It wasn't too hard. I just moved everything closer together and then moved around anything that looked awkward so you could print it like this shore. But I don't love how we've just got two constellations. They're, they're kinda cut off. You can't really see what they are. And then we've got all this blank sky space. And what you're mostly going to see in an envelope liner is this diamond sections. You just want to make sure that's really nice. And they look like they're all on the same line, straight above and below each other. So I would likely just do a bit of an angle here. Nothing too complicated. The bottom of the liner doesn't really have to be fully covered with your pattern because that's going to be in the inside of the envelope anyway, and no one's really going to notice that. I'm going to make this a little bit smaller just so we get a few more constellations in there and we want to make sure we go at least a quarter-inch over that bleed line, which is where my template is. Just in case I don't mind if a couple of them kind of go off. We just want to be able to see enough that it makes sense what they are. This looks a little better. We'll leave that as a starting point for now. I'm gonna move this art board over so it's no longer overlapping with my imitation. Like how often would all those gold look on a black envelope? I think that would be so much fun. Like I said, I would love someone to do black envelopes with a sweet, but I'm going to go ahead and design it just with white and people can choose what they want. I'm gonna select all of this. I think we're going to do it in my font just to add a little bit of fun. In case someone wants to use cool your phii. Typically use my font for our collection suite examples just so that people can see what it would look like in calligraphy. Because I do have a lot of clients that end up selecting calligraphy. So we're obviously in all caps, which does not work for script. And we have the striking which also does not work. We're going to bring my sizing like 24 and then I like to space my zip codes out. Usually 2 thousand. Feels like a bit much here. Let's do 1500. I swear I usually use 2 thousand. Feeling like a lot though. I think I typed in a pretty short address, 1000, That's pretty nice. I think I'll put this angled. We could print them in gold using this gradient that I have. Or we can calligraphy them and gold, which would be so pretty on black. That idea. There we go. So we'll keep that really simple. You could also do your framing effect here. I'm not necessarily going to do that because I don't want that to be repetitive. And I think it's fun on the RCP envelope because people pay a little bit more attention to that because they're actually using it themselves. The font can be small. For the return address. We really want that to not stand out at all. And I keep the zip code on the same one. I often use the abbreviations to this one is small enough that it's not a huge deal. And then we had highlighted this sun element. I love the idea that this could just be a tiny little teaser. Tiny little teaser that goes over here as well, even tinier and kinda lives right below that, or even above it. If you do two above, It's actually going to make printing this easier. If you've taken our envelope printing course, then you know that it's a little bit tougher to print a straight line near the edge if you're printing at home just in case it gets a tiny bit crooked, this is gonna be a lot less obvious. I think that's really nice. Then I'm going to back up and take a look at everything. How fun is that? 9. The Final Suite: Now here's what the final sweet ended up looking like. I made a few variations. I tested out the pattern using these pictorial representations of just our two. We've got the Pisces and the cancer here made a different pattern with that. I don't love it, but it could be an option for a client who wants to only showcase their two sodiums there. So I kept it in here as an option. We changed the address. Someone wanted to see a sample of it with a mix and match. So we didn't mix and match. This is calligraphy and this would be printed addresses, but you do calligraphy for the names. Then I definitely wanted to show you the day of and other pieces and how those came together because you want to keep those really coherent but slightly different. So that was the best thing about having the zodiac collection with a lot of different options. So we use these symbolic representations of the Pisces and the cancer for the save the date. So it's a little teaser. People are understanding that's where we're going, but then they get something different when they go to the imitation. And I copied this exact framing over from the invitation to the menu because it's just a really nice homage. You could change it up a little bit, rotate it. So cancer is on top and Piketty's on the bottom, et cetera, change things up a tiny bit. But when people see that they'll immediately think of the imitation, but it won't seem to matching, matching EBS. People don't bring the actual invitation with them to the wedding. The shower invitation is really a celebration of just a bride. This is a bridal shower example, but usually a showers or representation of just one person. And so we use hers, we gave it a little bit more front and center and let this starry night really extend across the annotation, which is really nice. And then we use the pictorial elements. I thought it'd be really fun if someone was going to this to have Twelve Tables or fewer and use the symbols for each zodiac to represent the table numbers. So you have the name of the person. We use that more fun font with the A's that really coincides well with the zodiac. And then we have the symbol for this zodiac right here, which would give him his table number. And we would make all the table numbers a large version of this sign. I would love to do something like gold paper or black paper with this printed in white. I think that would just be a really fun contrast to the white card with the gold on it and make it not a 100% matching matching. So we're able to use three different versions of those elements. And in places that give them a fun vibe. But we actually don't have any customizable elements anywhere except this imitation, the shower, the save the day. And of course we always have to customize table numbers, so that's not anymore than normal and we could copy over the exact background that we create for the invitation to the menu so that when I add a lot of extra work for us in the long run, but it still gives a very customized back. I'm really excited to add this one to my shop. And I hope you enjoyed this course and doing little design work with me. I'm sure some of you who didn't agree with all the decisions that I made. And if you were confused about any of the keystrokes, that's really something that you can find in any Adobe forums or beginner Adobe classes if you just Google Adobe keystrokes or if you have any specific questions that you want to ask, leave them in the comments and I'm happy to answer those for you. 10. Class Project: I hope you loved this course and learn more about designing wedding invitations. I can't wait to see your suite, your class project is to design your own from scratch and follow along with me, choose your own design elements, choose your own fonts, and show me in the comments what you've created after you've created it. And I can offer a little bit of feedback. I'm so excited to see what you create and if you want to learn more from me. But I have a few other classes here on Skillshare or you can also find me on YouTube for lots of free graphic design, stationary tutorials. And you can go to Design by Leni.com to check out all my other resources. Thanks everybody.