Surfaces

Online

Everything that ships as pixels. The deck and the document are page systems; the Instagram set is a grid spec with seven tile templates under it; the two email templates are the only house artefacts that carry their values as literals, because a mail client ignores custom properties.

• Deck master Twelve slide settings on a 16:9 artboard, rendered at 1920 and 3840. Title, divider, statement, content, columns, table, method, proof, offer, audit, close, and a close that carries the legal line.
• Document and proposal The fixed page a prospect or a client reads. Seven sheets, cover to legal, plus the assembled PDF. This is the frame the two briefs are built on.
• Email signature The table a teammate pastes into a mail client. 600 pixels at most, every value inline, the dark mark. It carries no face until a founder portrait exists.
• Newsletter A table based email on paper. The dark mark alone in the masthead, the headline live at the head step, a fallback render for clients that drop the web font.
• Carousel Six slides on paper. A cover with a flush hook, four content slides, one close. Rendered at 1080 by 1350 and at twice that.
• Statement tile One flush statement, the dark mark small. Three settings: on paper, on paper with the band, and on the flood.
• Proof tile One number at the display step, what it measures, and its receipt. The number never appears without the source.
• Client work tile The client's mark at the top at three times the width of ours, then the work. The one template where the house is deliberately the smaller name.
• Story The dark mark, one flush statement centred, the action as a block. 1080 by 1920.
• Reel cover The flood, the light mark, one word flush to the column. One of the two permitted flood entries on that surface.
• Highlight covers Five covers on paper, one object each and no text. The one place a chrome object stands without an explanation beside it.
• The Instagram grid spec What a tile is, how nine of them sit together, and which template each position takes. Read this before making any single tile.

Offline

Flat print artwork. The identity is print native by construction, which is what won it the direction: ink on paper plus one spot colour, and chrome carrying the one substitution.

• Business card 85 by 55mm, duplex. Two artworks of two sides each, with the print files and the PDFs beside them.
• Letterhead A4, in a specimen setting and a print setting. The dark mark inline, because on paper below the hero the light version does not go.
• Compliment slip DL, 210 by 99mm, on paper and on the flood.
• Invoice Two settings, and the difference between them is the naming rule. One carries the brand, one carries the legal entity, and they are never mixed on one sheet.
• Sticker sheet Round at 50mm, square at 50mm, a strip at 100 by 30mm, each on paper and on the flood.
• Merch and space The flat artwork of nine objects in two settings each: shirt, cap, tote, sticker, card, box lid, woven label, rollup, booth. Flat artwork, never a perspective mockup.

Briefs

Three sheets that go out to somebody who is not us. Each is built on the document frame, so a vendor reads the identity before reading the instruction.

• Photographer brief Four sheets. What we are making, the frames, the light, the background, the lens, the treatment, the delivery. Commercials and rights go in the purchase order, sent separately.
• Generator run sheet Three sheets an operator fills before and after a run for a new chrome object. The job, the reason, the budget, the prompt, the guard, the six acceptance checks, the log.
• Mark reveal The three second hold that opens a house video, rendered as its three distinct frames at 16:9 and 9:16. It is a hold, not an animation.

Surface layers, and the rule that keeps them apart

A surface applies a subset of the house identity and adds constraints that are true only for it. A surface may narrow the house layer. It may never widen it and never contradict it.