A brand holds when its parts know where they serve. The emblem and its gesture, the wordmark and its world suffix, the cut solids, the flat shapes, the crest line: each is here with the place where it works. Everything is drawn as you look at it — no images.
The mountain draws itself as a wireframe, its faces rise beneath, the peak lights up — then everything settles. The gesture lasts under three seconds and only replays after a long silence.
WHERE IT WORKS
A page opening, a film title sequence, a document signature.
One wordmark, one suffix per practice, and a line that takes the colour of the world it sits in. The house stays the same, the place is said in the suffix.
WHERE IT WORKS
Every page header, a film's first frame, the first page of a proposal.
The mountain is a triangle: we decline the family rather than sticking the logo everywhere. Each solid is cut in facets and lit — the triangle for the mountain, the lozenge for the decision, the square for the base, the compound shape for the crossing.
WHERE IT WORKS
List bullets, milestones on a timeline, transitions in a film.
The same figures, reduced to their silhouette, at the scale of a bullet or a badge. They stay legible where a lit solid would become a smudge.
WHERE IT WORKS
A badge, a bullet, a background pattern, a tab pictogram.
A chain of summits with varied heights and opacities, read from afar. The opacities are not decorative: they are what gives the depth, and they are never flattened.
WHERE IT WORKS
What opens and closes a section, a page footer, a film dissolve.
A light regime and a dark one governed by a single set of tokens, a written voice chosen on real texts, a geometry that becomes volume, a cloud that writes, three ways for a pointer to reveal what it hovers. These are the pieces of our own design system, shown as they were settled.
Two regimes, one set of tokens: every text colour is validated on both grounds before it gets in. The instrument stays black on paper.
Who it is forA product that must read at night as in the office, without two mock-ups.
designed on August 2026
Ten directions tried on real texts from the trade, one kept: structure, narrative and data each get their own voice.
Who it is forA firm choosing its typography on evidence, not on a mood board.
designed on August 2026
Four solids — triangle, lozenge, square, compound — cut in volume and lit: the emblem becomes a family of shapes.
Who it is forAn identity that has to hold across a site, a film and a document without fading.
designed on August 2026
Tetrahedron, cube, octahedron, prism, dodecahedron: the grammar of solids and their movements, for bullets, dividers and transitions.
Who it is forAn interface that wants shapes of its own, not library icons.
designed on August 2026
The five-facet mountain, lit by its red face, and its treatments — outline, solid, glow.
Who it is forA brand that wants an emblem that lives, not a file.
designed on August 2026
A cloud of points that writes whatever you want, in nine ways: the mechanics behind the cinematic opening.
Who it is forA site opening, a title sequence, a waiting screen that speaks.
designed on August 2026
Marble, spider, cursor: three ways for a pointer to reveal what it hovers, computed by one engine.
Who it is forAn interface that wants hovering to tell something.
designed on August 2026
The chosen wordmark, its three header variants, and the geometry that becomes the brand.
Who it is forA firm that settles its wordmark once and for all.
designed on August 2026
Each piece opens full size, exactly as it runs; the live models are driven by hand.
What you take away from this workshop fits in one document and is read in ten minutes. It is the only deliverable of this practice still opened three years later — and it is not judged by eye, it is judged by what it prevents.
Brand platformThe screen reads on two levels: the decision it serves, and the method behind it. It also states the condition for a component to enter the system — and what stays out.
Tokens, components and composition rules make the brand reproducible.
Semantic design tokens, stateful components and accessibility rules verified in both themes.
A demonstration film presented as such, an identity that lives in code and adapts to every screen: what we did for our own house first, what it produced, and what was hard.
TRACK RECORD · REAL ASSIGNMENTS, NAMES WITHHELD
Our own house — a demonstration film, presented as such, never as a client commission.
When · Three successive versions in summer 2026; the third delivered to the site on 5 September.
What we did
We wrote, storyboarded, produced, edited and mixed a brand film and its end credits. The match cut lands on an emblem carved into a façade: the mark's outline is drawn onto it, its faces rise underneath, the stone becomes the brand. Then the credits run in two columns, and the signature line is left alone on screen.
What it produced
Forty-six and a half seconds, in two formats and two encodings. No frozen frame anywhere. A five-and-a-half-second zoom, at zero speed on entry, so that it starts imperceptibly. A one-point-eight-second dissolve, begun while the character is still walking. The closing line held for four point two seconds before the fade to black.
What was hard
The first version laid its credits over a frozen frame. A frozen frame confesses the seam: it tells the viewer the film is over and the rest is assembly. The credits had to be rebuilt in motion, over living images — it takes longer, and it is the only version that holds. The film carries its own caveat, too: this is not a film made in one click.
Our own house, then the same principle taken up for brands that apply their mark across screens of every size.
When · 2026, in service on the site and in the films.
What we did
We drew the house's mark and animated it in code rather than in an image file: the outline is traced, the left face rises, then the right, then the ridge and the summit. The timing of that gesture is written once and replayed identically by the screen and by the film.
What it produced
An identity crisp at any size, from favicon to full page, animated without a video file, and a single timing sheet that governs both the screen and the end credits.
What was hard
An identity delivered as image files degrades at every size and, above all, it drifts: the site's version and the film's version end up not being the same brand. Written in code, the sheet is unique — when it changes, both change together.
No client name is published, with or without their consent. We publish no win rate: it is not measured, and an unmeasured figure is not a reference.
Move the position: promise, required evidence, audience and what must be abandoned update together.
We build a position precise enough to guide an offer, a message and a refusal. It connects what the firm can actually do, the problem a client buys, the difference they can verify and the line the team can hold without overselling it.
The executive sees the selected territory, the evidence making it credible and the contradiction that would break it. A position is validated only when it helps decide what belongs to the brand and what does not.
Audience, tension, promise, evidence and trade-off
Need-based segmentation and decision-making unit — distinguish user, specifier, buyer, economic decision-maker and potential veto; document the problem, choice criterion and perceived cost of inaction for each.
Frame of reference and category — establish what the offer is truly compared with: direct competitor, in-house solution, status quo or substitute; the selected category sets the minimum expectations the brand must meet.
Points of parity and points of difference — separate attributes required to be considered from elements that are genuinely distinctive, relevant to the audience and supported by verifiable evidence.
Positioning territory — state the priority audience, frame of reference, promise, reason to believe and the trade-off boundary; test the coherence of the whole, not the elegance of one sentence.
Brand architecture — choose between branded house, endorsed brand, sub-brand or descriptive offer; make endorsement, coexistence and migration rules explicit.
Brand platform — purpose, vision, mission, operating values and value proposition; each value must produce an observable behaviour and a counter-example.
Message house — central thesis, audience-specific messages, reasons to believe, objections and responses; no priority claim leaves without an owner and a piece of evidence.
Evidence register — link a claim to its artefact, source, validation date, scope and owner; flag absent, expired or over-broad evidence.
Verbal identity — ownable lexicon, syntax, technical depth, tone, reserved expressions and proof modes; test the voice in sales, crisis, recruitment and educational situations.
Category codes and distinctive assets — distinguish conventions that must be mastered from signs to be owned over time: name, shape, verbal cadence, pattern, photographic gesture or sonic signature.
Availability and scope of protection — assess distinctiveness, run identity and similarity searches, goods and services under the Nice Classification, territories and earlier rights; this panel raises issues, it never issues legal clearance on its own.
Governance and consistency measurement — maintain a decision log, approval rules, review cadence and asset sample; measure message and evidence coverage without confusing deployment consistency with commercial performance.
The decision territory illuminates the positioning choice; it replaces neither the legal decision on a sign’s availability nor a guarantee of commercial performance — which is never inferred from brand consistency alone.
Four questions we ask on every file in this domain. Each comes from an incident someone paid for — us, or a client before us.
A brand is not a logo: it is a position you can hold. We write it in one sentence someone could contradict, then we list what it forbids — the promises we will not make, the words we will not use.
If nobody asks it — A slogan anyone could sign, hence one nobody remembers.
The most common mistake is reducing a company to one of its missions: the website speaks of the historic trade and erases the others. We map everything the company does, then choose what to put forward — without erasing the rest.
If nobody asks it — A positioning that locks the company into an angle too small for it.
A brand figure is quoted from a single place, with its date; a number written without "more than" becomes a ceiling you impose on yourself. We fix the wordings and the single place where they are measured.
If nobody asks it — Three pages, three different figures, and a reader who no longer believes any of them.
Some things are not displayed: a client without their consent, an unmeasured figure, a location you do not wish to reveal. We write the disclosure doctrine before the first page.
If nobody asks it — A piece of information published by an intern that an executive wanted to keep for the negotiation.
A file rarely draws on a single discipline.