Mark built from circles
Flat vector logo mark built entirely from circles: one large circle, two half circles of the same radius meeting at its centre, and a small solid dot offset to the upper right, together forming an abstract shape that reads as a rising sun over water. Even stroke weight throughout where lines are used, all corners perfectly tangent. Single deep teal ink on a warm off-white ground, no gradients, no shadows, no outline. Centred with generous even margins on all sides, crisp edges, 1:1 square.
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VELLUM with a custom ligature
Flat vector wordmark reading VELLUM in a high-contrast serif with fine hairlines and sharp bracketed serifs, set in capitals with generous letterspacing. One custom detail only: the L and the L joined by a shared crossbar at the baseline so the two letters read as a single ligature. Everything else drawn conventionally. Solid warm black on a bone ground, single colour, no effects. The word centred with wide clear space above and below, edges crisp at every hairline, 4:3.
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Two words on a double ring
Flat vector circular emblem with a double ring border. The word BRAMBLE curved along the top of the ring reading left to right, and the word EST 1974 curved along the bottom reading the same way, both in small letterspaced capitals with a small dot separating them at each side. In the centre, a simple line drawing of a bramble sprig with three leaves and two berries. Single deep plum ink on cream, even stroke weights throughout, perfectly concentric rings, 1:1 square.
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Engraved into brushed steel
Macro photograph of a logo engraved into a brushed stainless steel plate, the cut about half a millimetre deep with a clean V profile so a hard shadow sits inside every stroke on one side and a bright highlight on the other. The mark is an interlocking A and R monogram with even stroke weights. Brushed grain running horizontally across the plate, one small scuff near the corner, two countersunk fixing holes. Low raking light from the right, cool grey palette, 4:3.
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One identity, four lockups
Flat vector brand sheet laid out as a four-cell grid on a warm white ground, with thin hairline rules between cells. Upper left, the symbol alone: an abstract compass rose built from four kite shapes. Upper right, the wordmark alone, KESTREL in a geometric sans. Lower left, the horizontal lockup with the symbol at the left of the wordmark. Lower right, the stacked lockup with the symbol centred above. All in a single dark slate ink, all optically aligned within their cells, 4:3.
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SALT with one notch
Flat vector wordmark reading SALT in heavy grotesque capitals, tightly letterspaced, with one detail only: a clean triangular notch cut into the crossbar of the A, exactly on the vertical centreline, leaving the rest of the letterform intact. All other letters conventional. Solid deep ink on a pale grey ground, single colour, flat with no effects. The word occupying the middle third of a wide frame with even space either side, crisp corners throughout, 16:9.
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Overlap making a third colour
Flat vector logo mark of two overlapping rounded rectangles set at 45 degrees to each other, one in warm coral and one in deep teal, with the intersection printing as a darker plum as though the two inks had multiplied. All three areas flat with no gradients, edges perfectly clean where the shapes cross. The whole mark centred on a warm white ground with generous clear space, no outlines, no shadow. Balanced, simple and print-ready, 1:1 square.
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Idea held in the negative space
Flat vector logo mark using negative space: two solid leaf shapes leaning toward each other, with the gap between them forming the clear silhouette of a bird in flight, wings up. The gap described as the subject rather than the leftover, so the bird is unmistakable at a glance. Solid dark forest green on cream, no outlines and no second colour, the negative shape reading as the paper itself. Balanced weight either side, centred in the frame with even margins, 1:1 square.
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One logo at three sizes
Flat vector presentation of one logo at three sizes in a horizontal row on a pale grey ground, each version simplified further than the last. On the left, the full mark: a detailed lighthouse with window openings, a railing and a base plinth. In the centre, a medium version with the railing and windows removed. On the right, a small version reduced to the tower silhouette and one horizontal band. All in a single navy ink, all vertically centred and evenly spaced, with a small size label beneath each, 16:9.
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Construction sheet with the grid
Flat vector logo construction sheet on a warm white ground. The mark, an abstract letter S built from two arcs, drawn solid in dark ink. Behind and around it, the construction geometry in fine pale blue hairlines: a circle grid of five equal circles, two guide squares, a horizontal centreline and two vertical alignment lines, plus small radius annotations at three points. The guides thin enough to sit clearly behind the mark. Precise tangencies, technical and clean, 4:3.
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Stamped unevenly on kraft
Photograph of a logo stamped in black ink onto kraft paper, the impression genuinely uneven: heavier ink along the lower edge, two small gaps where the rubber did not make contact, a faint halo of ink around the outer edge and the whole mark rotated about three degrees off square. The mark is a simple circular seal containing a stylised wheat ear and the word MARROW beneath it in small capitals. Paper fibres visible through the thinner areas, one crease across a corner, 1:1 square.
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A G with one stroke changed
Flat vector lettermark of a single capital G, drawn in a heavy geometric sans with one deliberate modification: the horizontal bar of the G extended past the bowl to the right and cut at a 45 degree angle, so it reads as both a letter and an arrow. Everything else in the letterform left conventional, with even stroke weight and a perfectly circular bowl. Solid burnt orange on a deep navy ground, single colour, no outline. Centred with wide clear space, 1:1 square.
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One continuous unlifted line
Flat vector logo mark drawn as one continuous line that never lifts and never crosses itself, forming a stylised open book seen from above with a spine down the centre and two curved pages. Uniform stroke weight throughout, rounded caps at the two ends of the line, and even spacing between parallel runs. Solid warm terracotta line on an off-white ground, no fills anywhere. Centred in the frame with wide clear space, geometry precise and traceable, 1:1 square.
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Carton where the fold interrupts
Photograph of a small rigid carton in uncoated sage board with the logo printed across a folded corner, so the mark continues from the front face onto the side and the fold interrupts it cleanly. The mark is a simple wordmark, LUNET, in a light geometric sans printed in white. The carton photographed at a three-quarter angle on a pale surface with soft light from the upper left so the two faces read at different brightness. Visible board texture, one slightly softened edge, 4:5 portrait.
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K and V sharing a stroke
Flat vector monogram of the letters K and V, drawn so they share a single vertical stem: the upright of the K also serving as the left diagonal of the V, with the join clean and unambiguous. Drawn in a geometric sans with even stroke weights, sharp mitred corners and no serifs. Solid ink black on a pale stone ground, single colour only. The mark sitting inside a square of clear space with the stem centred. Precise, symmetrical, no decoration, 1:1 square.
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Reversed out of charcoal
Flat vector logo reversed out of a solid ground: a deep charcoal field with the mark knocked out to the paper colour, no outline, no glow, no shadow anywhere. The mark is a stylised mountain built from three overlapping triangles of increasing height, with a narrow gap between each so the ground shows through and separates them. Beneath it, the word NORTHFELL in small letterspaced capitals in the same knocked-out colour. Even margins all round, edges perfectly clean, 1:1 square.
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Wordmark as dimensional signage
Photograph of a wordmark mounted as dimensional signage on a lime plaster wall: individual brushed brass letters spelling ORRERY, each about 15mm thick, mounted on short standoff pins so they sit 20mm proud of the surface and cast a soft shadow to the lower right. Letterspacing wide and even, one letter with a faint fingerprint on the brushed face. Soft daylight from the upper left, plaster showing a genuine trowel texture. Warm neutral palette, shallow depth of field at the edges, 16:9.
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Embroidered patch on denim
Macro photograph of an embroidered logo patch on a denim jacket. The mark, a stylised fox head reduced to five shapes, worked in satin stitch so the thread direction is clearly visible and each area catches light differently. A merrowed border in rust thread around the circular edge, slightly raised. Small imperfections where two colours meet, a loose thread at one point, the fabric puckering very slightly around the stitching. Warm side light from the left, shallow depth of field, 1:1 square.
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Animal mark in six shapes
Flat vector animal mark drawn using exactly six shapes and nothing more: a heron reduced to a long curved neck, a wedge body, two straight legs, a triangular beak and one eye dot. No internal detail, no feather texture, no outline, no gradient. Solid ink in a deep petrol blue on a pale sand ground, every shape closed and clean with consistent corner radii. The bird occupying a tall proportion within a square field, generous clear space, 1:1 square.
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One module repeated four times
Flat vector logo mark built from a single module repeated four times: one quarter-circle wedge with a small square notch at its inner corner, rotated 90 degrees each time and arranged around a common centre so the four wedges leave a small square of ground at the middle. Every copy identical, spacing even, corners aligned. Solid deep green on a bone ground, no outlines, no shading. Centred within a slightly wider frame with equal margins, mathematically clean, 4:3.
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