Most brand identity projects end the same way: a logo, a color palette, a typeface, and a folder of files. Brand photography gets sorted out later — usually by whoever builds the website, usually from a stock library, usually against a deadline. By the time the pages...
Most brand color palettes arrive overbuilt. Nine swatches, each with a tint and a shade, a primary that competes with a secondary, two accents doing roughly the same job. It looks thorough on a presentation slide. Then the business tries to use it, and nobody can say...
The first question in most brand typography conversations is which two fonts to use together. It is the wrong question, asked too early, and it sends the rest of the decision sideways. Pairing gets the attention because pairing is fun. Two faces, a contrast to manage,...
A mark gets approved at two thousand pixels on a conference room screen. It gets used at twenty-two pixels on a browser tab. Most logo design is judged in the first condition and lived in the second, and that gap is where a great deal of identity work quietly comes...
A client reviews a new identity and the feedback goes straight to the logo. Then the color. Maybe the typeface, if they hold opinions about typefaces. Those are the parts a person can point at, and pointing is how most design conversations begin. Visual hierarchy in...
Everything about running a business has drifted toward the screen — websites, social feeds, email, ads that follow people from one browser tab to the next. In that environment, physical materials have quietly become rare enough to stand out again. Print is not dead....
