How many concepts will we see?

Three, presented on a direction you have already approved. Not ten. Ten concepts means nine were produced without conviction, and it moves the decision from judgement to shopping. The stage that protects you is the one before — two or three visual directions expressed as mood and reasoning, with no logo attached, so that the direction is settled while it is still cheap to change.

Do we own the logo outright?

Yes. Full rights, the editable source file, and every exported format. Nothing is held back and there is no licence to renew. Where a paid typeface is part of the identity, the licence for that font belongs to the foundry and we tell you what it costs and what it covers before it is chosen, so there is no unwelcome discovery when your printer asks for it.

What files do we actually get?

The editable source, SVG for anything digital, PNG at several sizes with transparency, PDF for print, and a favicon. Each of those in the lockups that exist — full lockup, mark on its own, horizontal, vertical, single colour and reversed for dark backgrounds. Also a short usage sheet covering clear space, minimum size and what not to do to it, which is what stops the mark being stretched by someone in your office in eighteen months.

Can you just redraw or tidy our existing logo?

Often yes, and sometimes it is the right answer — where the mark has genuine recognition and the problem is that it exists only as a low-resolution image, or that it was drawn in the nineties in software nobody runs any more. Redrawing it properly as vector, fixing the spacing and building the missing lockups is a smaller job than a new identity. We will tell you honestly which of the two you need after seeing what you have.

Are brand guidelines included?

A usage sheet is — clear space, minimum sizes, colour values, the type scheme and the obvious prohibitions. A full guidelines document, the kind that covers photography, illustration, tone and templates so that outside suppliers can work without asking you, is a larger piece of work and is listed separately in this catalogue. We will say which one your situation actually calls for.

Can AI just generate our logo?

It can generate an image that looks like a logo at presentation size and falls apart when you look closely — edges that do not meet, symmetry that is not symmetrical, and no vector underneath it. You cannot hand that to a printer or scale it, and converting it means redrawing it by hand anyway. Where AI genuinely helps is the language around the identity — positioning, naming candidates, mood vocabulary — and we use it there.

UI/UX & Design

Brand identity and logo

A mark built as a system rather than a picture — every lockup you will actually need, a colour and type scheme, and the files to use them, tested at the smallest size it will ever appear.

From: $400–$5,000
Typical time: 2–5 weeks
Usually bought by: New businesses

What this actually solves

Three situations, one underlying feeling.

A new business has nothing, and needs to look like a company rather than a person with a Gmail address before it can quote for anything serious. An older business has a mark drawn decades ago in software nobody runs any more, existing only as a low-resolution image, and it now looks wrong on every surface it lands on. Or a company has changed what it does, and an identity built for the old business is now sending a message it does not want to send.

Underneath all three, the real trigger is usually a room. There is a meeting coming with a larger client, a distributor or a bank, and the person knows their current appearance makes them look smaller than they are. That is not vanity. Whoever is across the table is making a judgement about reliability from whatever evidence is available, and before they have tested anything, the evidence is how you present yourself.

The thing to be clear about is what is actually being bought. It is not a picture. It is a system that has to work in every place the business will ever appear — a favicon, an app icon, a sign, an invoice, a single colour embroidered on a shirt, a profile photo cropped to a circle. A mark that only works in one of those is a decoration, and decorations get replaced within a couple of years.

What we do, and in what order

Discovery. What the business actually does, who buys from it, what they are choosing between, and what the identity has to communicate before anyone reads a word. This is a conversation, not a questionnaire. Two to four days.
The competitor sheet. Ten competitors' marks placed on one page. This does something no amount of taste can — it shows what is normal in that market, and markets are usually far more uniform than the people inside them realise. That uniformity is the opportunity, and it is the sheet the direction gets chosen against rather than chosen in isolation. One to two days.
Mood boards and two or three visual directions. Feeling, shape language, colour temperature, typographic character — described and shown, with no logo yet. Separating direction from execution is what makes the concept stage productive instead of a taste argument. Three to five days.
Three concepts on the approved direction. Three, developed properly, each with the thinking visible. One to two weeks.
Refine the chosen one. Kerning, weight, optical balance, and testing at the sizes it will really be used at — including 24 by 24 pixels, which is where most marks that look good on a presentation slide turn into a smudge. Three to five days.
Build the full set of lockups. Full lockup, mark alone, horizontal, vertical, single colour, and reversed for dark backgrounds. Each one drawn deliberately rather than squashed out of the first. Then the colour system and type scheme around them. Three to five days.
Applications. Business card, letterhead, social profile, website header, and one or two of the specific places this identity will actually appear for your business. Two to five days.
Files and usage sheet. Editable source, SVG, PNG at several sizes, PDF, favicon, plus clear space, minimum sizes and the prohibitions. One day.

Vector work is done in Illustrator or Affinity Designer rather than Figma, which handles layout well and vector refinement poorly. Typefaces are drawn from Google Fonts or Fontshare where the brief allows, so that commercial licensing is not something you have to manage — and where a paid foundry face is right, the cost and terms are stated before it is chosen.

What moves the price

The range is $400–$5,000, and it is wide because the word logo means something different to every buyer.

How many applications are included. A mark and a small set of files sits at the bottom of the range. A full identity with a type and colour system, a usage sheet and applications across print, digital and signage sits at the top.

How many concepts and rounds. Three concepts with two rounds of refinement is the standard shape. More of either is chargeable, and stated as such, because rounds without a limit are how identity projects run for months and end worse than they started.

Whether the mark is being created or repaired. Redrawing an existing mark properly as vector, correcting its spacing and building the lockups it never had is a smaller and more predictable job than inventing one, and where that is genuinely what you need we will say so.

What usually goes wrong

The mark is only ever viewed large. On the screen it was drawn on, at the size it was drawn at, it is magnificent. Then it becomes a messaging app profile picture, a browser tab icon, and a stamp on the corner of an invoice, and at that size it is a grey blob. Every mark here is checked at 24 by 24 pixels as a gate rather than an afterthought. If it is not recognisable at that size it is an illustration, not a logo, and it goes back.

One lockup is delivered and the rest get improvised. A single horizontal file is handed over, and then the business needs a square app icon, a version on a dark background, one colour for embroidery, and something that fits a narrow header. Nobody drew those, so somebody in the office stretches, crops or recolours the one file that exists — and every one of those improvisations becomes permanent. The lockups are drawn as part of the work because they will otherwise be invented by someone else.

The direction is chosen in isolation from the market. A mark is picked because it looks good on its own, and then it goes live and sits in the middle of ten competitors using the same blue and the same swoosh. It is not a bad mark; it is an invisible one. The competitor sheet exists specifically so that the decision is made against what your buyer already sees every day, rather than against a blank artboard.

See where the site stands before you brief anyone.

If the site is already live, start from what it scores rather than from a guess. The audit reports what it checked, what it found, and — the part most tools leave out — what it could not check, and why.

See the website audit Talk about this work

Questions people ask before they commit.

How many concepts will we see?: Three, presented on a direction you have already approved. Not ten. Ten concepts means nine were produced without conviction, and it moves the decision from judgement to shopping. The stage that protects you is the one before — two or three visual directions expressed as mood and reasoning, with no logo attached, so that the direction is settled while it is still cheap to change.
Do we own the logo outright?: Yes. Full rights, the editable source file, and every exported format. Nothing is held back and there is no licence to renew. Where a paid typeface is part of the identity, the licence for that font belongs to the foundry and we tell you what it costs and what it covers before it is chosen, so there is no unwelcome discovery when your printer asks for it.
What files do we actually get?: The editable source, SVG for anything digital, PNG at several sizes with transparency, PDF for print, and a favicon. Each of those in the lockups that exist — full lockup, mark on its own, horizontal, vertical, single colour and reversed for dark backgrounds. Also a short usage sheet covering clear space, minimum size and what not to do to it, which is what stops the mark being stretched by someone in your office in eighteen months.
Can you just redraw or tidy our existing logo?: Often yes, and sometimes it is the right answer — where the mark has genuine recognition and the problem is that it exists only as a low-resolution image, or that it was drawn in the nineties in software nobody runs any more. Redrawing it properly as vector, fixing the spacing and building the missing lockups is a smaller job than a new identity. We will tell you honestly which of the two you need after seeing what you have.
Are brand guidelines included?: A usage sheet is — clear space, minimum sizes, colour values, the type scheme and the obvious prohibitions. A full guidelines document, the kind that covers photography, illustration, tone and templates so that outside suppliers can work without asking you, is a larger piece of work and is listed separately in this catalogue. We will say which one your situation actually calls for.
Can AI just generate our logo?: It can generate an image that looks like a logo at presentation size and falls apart when you look closely — edges that do not meet, symmetry that is not symmetrical, and no vector underneath it. You cannot hand that to a printer or scale it, and converting it means redrawing it by hand anyway. Where AI genuinely helps is the language around the identity — positioning, naming candidates, mood vocabulary — and we use it there.

Often taken together.

Start with the brief, not the invoice.

Send what you are trying to achieve. You get a written scope, a price and a date — or an honest “this is not the right service for that”.

Talk about Brand identity & logo All UI/UX & Design services