Services
Case study · 01 Brand Identity & Logo

A name, a genre, and nothing else.

CliTech arrived with an artist name and no visual language at all. The brief was an identity that survives being a forty-pixel avatar, a printed sleeve and a poster on a wall — without changing shape between them.

Client
CliTech (artist)
Year
2025
Engagement
Identity · collateral · cover art
Role
Graphic designer
2 Design routes, then one Two directions developed far enough to judge honestly. Five thumbnails is indecision billed by the hour.
12pp Guidelines document Enough that somebody else can use the brand correctly without phoning me about it.
2 Colour profiles on every file CMYK with bleed where it needed it, RGB for screen. Nothing came back from the printer.
01 — The brief

A mark that has to survive being small.

An artist name is a harder identity problem than a company logo, because it has to work in places a company logo never goes.

It has to be legible as a circular avatar at forty pixels on a phone. It has to hold at A1 on a wall. It has to sit on a release cover, in a grid next to other artists, and not disappear. And it has to survive being screenshotted, cropped, reposted and re-uploaded until compression has had its way with it.

Almost every decision came out of the first of those. Work out what still reads at forty pixels and you have narrowed the field before you have drawn anything — which is why the mark got simpler at every stage rather than more decorated.

02 — The approach

Strip it, split it, then build the system.

01 Strip it back

What survives at forty pixels? That single question settles proportion, weight and counter-shape before any styling happens.

02 Two routes

Two directions taken far enough to be judged properly. A wall of thumbnails looks generous and helps nobody choose.

03 Build the system

Monogram, palette with defined roles, type scale, spacing rules. The logo is the smallest part of what actually holds a brand together.

04 Hand it all over

Source files, both colour profiles, and a document so the rules outlive the handover and survive the next designer.

03 — What was built

The mark is the smallest part.

Wordmark and monogram
The full name for covers and headers, the monogram for avatars, stamps and anywhere the name would be unreadable.
Colour and type system
A palette where each colour has a defined job, and a type scale, so two different layouts still look related.
Print and digital collateral
Brochures, social posts, ads and packaging, designed across the launch rather than one at a time as they came up.
Editorial layout
Long-form pages, magazine-style spreads and product catalogues built on the same grid as everything else.
Cover art
Release artwork built from the identity rather than decorated around it after the fact.
Guidelines
Twelve pages: spacing, minimum sizes, colour values, and the misuse cases that matter most in practice.
04 — Ownership

You get everything, on final payment.

There is a habit in this industry of keeping the source files as leverage. A studio delivers PNGs, and when the client wants a variation two years later there is only one place to get it. I do not work that way and I would not recommend hiring anybody who does.

Full copyright and every editable source file transfer on final payment. No licence renewals, no annual fee to keep using your own logo.

What I do not sell. A logo on its own, presented as a brand. A mark by itself is worth very little — what makes an identity hold is the system around it and the discipline to apply it the same way twice. If the budget only covers a mark, that is a legitimate place to start and the Mark tier exists for exactly that, but I will tell you plainly that it is a first step rather than a finished identity.