Graphic
Design

We collect what exists — old logo files, fonts, photography, printed samples, the deck sales actually sends — and find out where each asset has to work, from a 16-pixel favicon to a printed carton. Knowing the real end uses is what stops a mark being approved on screen and failing on a label.

We present two or three genuinely different directions rather than a wall of variations, each shown in context: a sign, a package, a phone screen, an invoice. Choosing between distinct arguments is a faster decision than choosing between twelve near-identical drafts.

The chosen direction is rebuilt properly: geometry on a grid, optical corrections that mathematics alone will not give you, and every variant tested at the sizes it must survive — favicon, app icon, embroidery, one-colour stamp. We check it in black on white, white on photography and single-colour print before anyone celebrates.

Colour is specified for each medium — screen values, CMYK builds and a Pantone reference for spot printing — and text pairings are checked against WCAG contrast so the brand palette does not collapse the first time it meets a website. The type scale covers headline to caption, plus a fallback for Office files where the brand font is not installed.

Print and digital are prepared separately because they fail differently. Print artwork gets CMYK conversion, bleed, crop marks, overprint checks, correct resolution and a proof discussed with your printer; digital gets SVG, optimised PNG, exact pixel sizes for each platform and, where a screen asset needs movement, a handover to our Motion Graphics service.

You receive editable source files, exported assets organised by use, font licences identified, and templates in the tools your team actually has — Figma, Canva, PowerPoint or Google Slides. The point is that routine work leaves the agency: you should only come back for things that genuinely need a designer.