logo design.
A logo is judged at thirty millimetres, not on a presentation board. A logo designed to live everywhere your brand appears: embroidered on a polo shirt, cut in vinyl, backlit on a façade, shrunk into a footer.
The test we apply every time: does the logo stay legible at thirty millimetres wide, in a single colour, embroidered on dark textile? Many logos that look elegant on screen fail that test: strokes too fine, counters that fill in, gradients impossible to reproduce.
So we deliver a system rather than an image: a main version, a simplified version for small sizes, a monochrome version, and the vector files that let any manufacturer work properly.
The number of routes and rounds of feedback is settled in the quotation. We would rather work a few routes through to the end than present a board of twenty proposals of which nineteen are filler.
from first route to a complete system.
questions we are asked.
Do you create a logo from scratch, or can you start from ours?
Both. If yours works and your customers know it, we put it right rather than replace it: redrawn in vector, outlines cleaned up, colours fixed, missing versions created. If the identity no longer looks like you, or if no usable file exists, we start from a fresh design. The choice is made at the first meeting, looking at what you have.
Why do some logos work in signage and embroidery, and others do not?
It comes down to what survives once the decoration is stripped away. A gradient cannot be cut from vinyl. A hairline disappears in embroidery, where every stroke becomes thread. Tight text closes up in cut letters. A logo that holds starts from a simple shape, keeps a single-colour version, and stays recognisable at small sizes.
Which files do we receive, and what is each one for?
The vector files (SVG, EPS, PDF) are the working files: they scale to the size of a façade and drive cutting and embroidery directly. The images (PNG, JPEG) are for screen, office documents and social media. Alongside those come the variants you need: colour, single colour, and a white version for dark backgrounds. The vector file is what you give to any supplier.
Who owns the logo once it is paid for?
The use of the logo passes to you, and the extent of that transfer is written into the quotation, which is the document that counts. In practice you use it on all your material and you can hand it to another supplier. Registering it as a trade mark is a separate legal step, which the studio does not handle. Source files are kept, and your complete set is delivered to you.
How many directions do you propose, and what if none of them suits us?
The number of directions and rounds is set in the quotation, before we start. It is one of the questions raised at the first meeting, so nobody discovers the limit halfway through. We present a small number of directions, each one with the reasoning behind it, rather than a catalogue to sift through. If none suits, we talk it over and set off on a new direction, within the agreed terms.