Media Design

A system, not a logo

A logo on its own is a picture. What makes a brand hold together is everything around it: which typeface carries a headline and which carries body text, how much space sits between things, which colour means “act now” and which is just background, and what happens when all of it has to shrink onto a phone.

That set of decisions is the deliverable. Get it right and anyone can produce something on brand without asking permission. Get it wrong and every new poster is a fresh argument.

What is in the system

• A logo suite with the lockups you will actually use, including the versions for small sizes and for a single colour
• A type system: which faces, which weights, and the sizes and line spacing that go with them
• A colour system with defined roles rather than a swatch page, so it survives being applied by someone who was not in the room
• Social and print templates, so the system gets used rather than admired
• A brand guidelines document that says what to do, not just what the brand is

3D modelling, rendering and motion

The same engagement extends into 3D. Product visualisation, rendering, and motion graphics, built rather than filmed, which matters when the thing does not exist yet or cannot be photographed the way you need it.

A rendered product can be lit any way you want, shot from an angle no camera could reach, and changed after the fact without rebooking anything. The 3D work on the Work page is our own: material studies, simulation, animated sequences and vector assets. It is there so you can judge the standard before commissioning anything, which is a better basis than a mood board.

How the work runs

Scoped per project and quoted against what you need, agreed before work starts. There is no package, because a business with one product and a business with fourteen do not need the same thing and pretending otherwise means one of them overpays.

The usual shape is a conversation about what the brand has to do, a round of directions to react to, then refinement of the one that is right rather than polishing all of them. You see real applications early, on the surfaces you will actually use, instead of a mark floating on white.

What you actually receive

Editable source files, not just exports. That means the working files the logo was drawn in, plus the flattened formats you need day to day: vector for print and signage, and the raster sizes for social and web, already cropped to the shapes those platforms use.

The reason to insist on source files, from anyone, is that it is the difference between owning your brand and renting it. If the only copy of your logo is a PNG with a white box behind it, the next change costs you a redraw. You should be able to take the files to another studio and have them pick the work up cleanly, even if the plan is never to do that.

Who this is for

Businesses that have outgrown whatever they started with. Usually that shows up as a specific symptom rather than a general feeling: the logo does not work small, there is no second typeface so everything looks the same weight, nobody can find the real files, or two people have made two versions of the same flyer and both look official.

It also suits anyone who needs brand and photography from the same place. Because we shoot events as well, the imagery and the system that frames it can be built to fit each other rather than negotiated afterwards.

Based in Melbourne, working with businesses across Victoria and remotely. Tell us what the brand has to do and roughly when you need it, and we will tell you what it takes.