Corporate Identity · Methodology
Corporate identity is based on measurement—
,not on taste.
We explore how color, typography, and digital applications work together before we finalize a visual direction. One case study runs throughout the entire process: Ontslagspecialist.nl.
Each contrast number on this page is calculated by your browser; it is not typed in.
EQwise · Custom Branding
measured now
Before we make any claims about a client’s brand, we apply the same rule to ourselves. This is the blue from our own logo, showing what it can and cannot handle.
Ratio of the luminance of two colors, according to WCAG 2.1. A higher value indicates a greater difference.
The order
Why Research Comes Before Design
A brand identity that starts with a color palette is a gamble wrapped up in a nice presentation. You don’t know if it works until it’s applied somewhere. And by then, it’s already been paid for.
That’s why we’re reversing the order. We start with the people who visit the site and the behavior they exhibit there. That determines the impressionImpressions The number of times your site was displayed in search results. we need to create. Only then do we move on to design—not as a decision, but as a hypothesis: something you can test and, therefore, also reject.
That also changes the conversation with a client. It’s no longer about whether you like something, but about whether a design does what it’s supposed to do. The question “Why this color?” should be answered in a way that someone can verify or refute.
Steps 01 and 02 · Target Audience and Personas
Who are we designing for?
To show how this works in practice, let’s look at one example: Ontslagspecialist.nl, a law firm specializing in termination and employment law. This isn’t the only way we work, but it does illustrate the entire process in a single case.
The four personasPersona A detailed description of a typical customer, including their needs, questions, and concerns. below do not include a place of residence, a car brand, or hobbies. They only include characteristics that influence the design: how someone reads, where they have doubts, and what they need to take the next step. Anything that isn’t relevant to the design isn’t included.
The Employee Who Was Robbed
Has unexpectedly received a notice of termination or a settlement agreement.
- Behavior
- Scans. Doesn’t read everything. Quickly looks for an answer when pressed for time.
- Need
- ClarityMicrosoft Clarity A free tool from Microsoft that shows how visitors use your website, featuring heatmaps and session recordings., trust, and knowing what the next step is.
- Impact on Design
- Calm, a strong hierarchy, minimal elements in the frame at once, and an action that can’t be missed.
The Analytical Comparator
Has already gathered information and is comparing several specialists.
- Behavior
- Reads the terms and conditions, compares options, and verifies whether the knowledge is actually there.
- Need
- Expertise, transparency, and evidence rather than mere assertions.
- Impact on the form
- ContentContent All content on your website, such as text, images, and videos. structure, a typographicTypography The selection and formatting of letters: which typeface, what size, and how much spacing. hierarchy that conveys depth, minimal decoration.
The Vulnerable Employee
In addition to being laid off, is dealing with conflict, illness, or prolonged stress.
- Behavior
- Seeks security first. Postpones making contact. Is susceptible to sales pressure.
- Need
- Humanity and tranquility, without compromising security.
- Impact on the design
- Smoother surfaces, a calmer rhythm, accessible language, warmth without being too casual.
The Quick Decider
I already know that legal assistance is needed, and I want to proceed.
- Behavior
- Goal-oriented. Wants direct contact and wants to know what happens next.
- Need
- Speed, clarity, a short route.
- Impact on design
- One clear action colorAccent Color The striking color in a brand identity that draws attention, for example for buttons., a short path, and as few distractions as possible.
Personas 01 and 04 want speed. Persona 03, on the other hand, doesn’t want speed. That’s not a contradiction you can resolve by taking the middle ground. That only partially satisfies both. It’s a reason to place two entry points side by side: a fast route and a slow route, both clearly visible.
Step 03 · Brand Perception
What perception should be created?
Between the personas and the initial color choice lies a step that is often skipped: determining what impression should be created in the first place. Without that step, any color can be justified—and therefore none at all.
We work with six axes. Each axis represents a question you can ask about a design, one that can be answered with a “yes” or a “no.” This is intentional: an axis that cannot be tested is simply an opinion with a label attached to it.
Trust
Does this organization seem trustworthy enough to entrust it with an important decision?
AuthorityAuthority How much trust search engines and AI have in your website.: Does the identity convey sufficient knowledge and experience?
Humanity
Does the organization remain human when the subject matter gets serious?
Distinction: Is the brand identity recognizable among comparable providers?
Clarity
Does the design help users understand complex information?
Energy
Does identity inspire action without creating pressure?
| Perception | 01 Robberies | 02 Comparer | 03 Vulnerable | 04 Decision-Maker |
|---|
What comes out. Trust and Clarity are at the top of the list for three of the four personas; these two form the foundation. Authority is the core priority for the comparator and must therefore be present everywhere. Humanity is not a foundation but a corrective: without that corrective, a firm dealing with layoffs can quickly come across as cold. Distinction has the lowest score in the table and is also the reason this field looks the same everywhere. It’s a brand strategy choice, not a user need. Energy belongs in the context of the action, and nowhere else.
Step 04 · Hypotheses
From Perception to Visual Hypothesis
Choosing a color is different from testing a direction. A choice involves a preference; a hypothesis involves an expectation, and that expectation may turn out to be incorrect.
We therefore formulate a visual hypothesis for each perception. If we structure the page this way, we expect the impression to shift in this direction. Then we implement that hypothesis in a real interface and see if it holds true—and what it costs. After all, every direction that strengthens one aspect also weakens another.
Hypothesis A
Cool and composed
A single color family across the entire palette, with low saturation in the light areas. Expected result: maximum confidence and clarity.
Hypothesis B
Dark and tonal
An almost black carrier with an accent in the same shade next to it. Expectation: maximum Authority.
Hypothesis C
Warmer and softer
The light areas have the same warm hue as the accent. Expectation: more humanity.
Hypothesis D
High-visibility color
A neutral carrier with one saturated accent. Expected outcome: greater Distinction and Energy.
Step 05 · Color
Color Research in a Real Interface
Color swatches placed side by side don’t tell us much. A color only comes to life once it’s applied to a surface, given a frequency, and has something to contrastContrast How much a color differs from the background, and therefore how well something can be read. with. That’s why the hypothesis is presented here on a recreated front page, rather than in a row of squares.
When making changes, pay special attention to the dark fields. They carry the page and set the tone much more strongly than the highlights, even though the highlights stand out more.
Cool and composed
A single color family is used throughout the layoutTemplate A fixed layout used for an entire group of pages simultaneously., with low saturation in the light areas. As a result, there is little color variation between the different areas, and the focus is entirely on the text.
Dark and tonal
The background color is very close to black, and the accent color is in the same color family and very similar. So there is hardly any color difference to direct attention: hierarchy must be established through size and white space.
Warmer and softer
The light areas are not neutral gray but have the same warm hue as the accent color. As a result, the tone of the entire page shifts, even in areas where there is no color at all.
High-visibility color
Two colors, nothing more: a neutral base colorBase Color The calm primary color of a corporate identity that fills large areas and backgrounds. and one saturated accent color. The accent color is too light to be used for text on a white background. Therefore, a second, darker shade of the same color is needed for buttons and links.
Everything within this frame is part of the case and changes accordingly. Everything outside of it is part of EQwise’s corporate identity and does not change. The content in the example is sample content: it deliberately does not include any performance metrics, rates, or phone numbers for Ontslagspecialist.
Check out the alternatives we’ve also set up
These three are not separate hypotheses but variations within the same four. They are included here because a line of reasoning is only convincing once you have seen it side by side with a closely related one.
The mobile window displays the page at actual size and scrolls within its own frame. You can navigate it using the keyboard by pressing the Tab key and then the arrow keys. The fonts are fixed here. If you were to change both the color and the font at the same time, you wouldn’t be able to tell afterward which of the two made the difference. That’s why the typographic study is presented separately later on.
Color Rolls
Brand color is not the same as interface color
Just because a color works on a building facade or in a logo doesn’t mean it’s suitable for text. This isn’t a matter of taste but a measurable difference, and it’s the most common mistake in corporate identity designs created without a digital review.
That’s why we assign tasks rather than colors. Each color is given a role, a use, a frequency, and—just as important—a list of what it’s not allowed to do. Below is the breakdown of roles for the hypothesis you mentioned above.
| Role | Value | Application | Not for | Frequency | On the ground |
|---|
The Accent
The promotional color
Step 06 · Typography
A Two-Phase Typographic Study
When it comes to fonts, the same rule applies as with color: change one thing at a time. If you change the headline and body text at the same time, you’ll notice a difference that you can’t pinpoint.
That is why we conduct our analysis in two phases. In Phase A, we keep the body text font fixed and compare only the headline fonts; any changes you observe are due exclusively to the headline. In Phase B, we fix the chosen headline and compare the body text in terms of reading rhythm, x-height, and information density. The color remains constant in both phases, based on the hypothesis you selected above.
Phase A · Title font and body font are fixed
Designed for use as headings: sturdy trunks and little difference between thick and thin. The entire weight range from 400 to 900 is included in a single file.
A sans-serif typeface with distinctive details in the “a,” “g,” and “R.” It has a bit more character than a standard sans-serif typeface, without the letters being too prominent in a headline.
The only font with a width axis. At 85, the same character becomes narrower without changing the font size or weight. That’s exactly the feature you want for long Dutch words.
Hand-drawn letter with an axis for optical size: drawn more delicately in header size, more robust in body size. Compact in width.
One weight, and only one axis for optical size. So heads cannot become heavier; emphasis must come from size. That limitation is the argument here, not the objection.
This is what the site uses today, but only at the third heading level. The two highest heading levels revert to the body font.
Phase B · Body text, headline text finalized
Designed for screens. With a high x-height, the difference between the uppercase I, the lowercase l, and the number 1 remains visible at 15 and 16 pixels.
A neutral sans-serif font with no axis for optical size. It reads smoothly in a long paragraph, with little character of its own. This is an advantage when the headline font already has its own character.
A serif font with an axis for optical size. It gives long text more rhythm, but at 16 pixels, it has a lower x-height than Inter. This is noticeable in small labels.
A bolder typeface, designed for extended reading on screen. It has a more pronounced presence than Source Serif 4, making it more suitable when the text takes center stage.
A sans-serif font with open shapes and a short tail on the “a.” It holds up well at label sizes, where many text fonts become cramped.
This is the font currently used on the site, and it also serves as the headline font, since the two largest heading levels do not have their own line spacing. It features a large x-height and a wide character width.
The color in this area is taken from your selection in the color test above and is fixed here. This way, you can be sure that any difference you see is due to the font.
View the technical details of these two letters
A variable font is contained in a single file and has axes along which you can select a value. This reduces loading time and allows for adjustments later on without needing a new file. For most readers, this isn’t necessary; however, it is for those who will be building the style later.
| Letter | As | Meaning | Range | Now |
|---|
The mobile window scrolls within its own frame. When switching to the mobile column, look at the heading and the button text. That’s where you’ll see the difference that isn’t yet visible on desktop: for one letter, the line fits; for another, it wraps.
Step 07 · Digital Application
Where a Letter Breaks
Dutch uses long words. “Vaststellingsovereenkomst” is 25 characters long and appears in this box in virtually every headline. A font that can’t handle that is unusable for this client, no matter how good it is otherwise.
Below is a sample of the two fonts you currently have selected. You’ll see individual letter pairs containing the character, numbers, currency symbols, punctuation marks, and accents. Below that, we measure how wide that same word appears in each font, at exactly the same font size. That number is not a matter of opinion and can be verified at any time.
Kopletter ·
Aa Ee Gg Qq Rr
Numbers and Symbols
0123456789 € % & @ é ë ï
The word that’s the sticking point
settlement agreement
The same headline at 390 pixels · the word doesn’t fit and gets cut off
Having a settlement agreement reviewed
Text letter ·
A settlement agreement contains provisions regarding the termination date, compensation, and the wording of the reason for termination. What is not included often carries just as much weight: a non-compete clause that remains in effect, or a reference letter that has not been arranged. We review the agreement with you before you sign it.
| Head Climb | Weight | Width at 40 px | Compared to the narrowest | Still fits with |
|---|---|---|---|---|
| The letters will load as soon as this section appears on the screen… | ||||
Why this matters: on a 390-pixel screen, there are … pixels left after the margins. Not a single font candidate can fit this word on a single line there with a 40-pixel headline. That’s the first conclusion, and it applies to all seven. The second conclusion is more useful: the difference between the narrowest and widest font candidates is large enough to determine the mobile headline size. The last column shows exactly where that boundary lies. If you choose a wide font, the mobile headline drops a few steps, and that affects the entire vertical rhythm of every page.
There is another solution, and that’s why Anek Latin is included in the collection: that font has a width axis. You can use it to make the same headline narrower without changing the font size. This isn’t a trick but a design choice that comes at a cost: a narrower font is harder to read in long headlines. It’s exactly the kind of trade-off you want to make in advance, not halfway through the layout process.
Step 08 · Validation
Contrast consists of four requirements, not a single rule
“Everything must score at least 4.5 out of 1” is a guideline that, in practice, goes wrong in two ways. It rejects elements that are perfectly fine and lets through elements that don’t meet the standard.
The standard distinguishes based on what an element is. Regular text requires a 4.5:1 contrast ratio. Large text—24 pixels or larger, or 18.7 pixels or larger if it’s bold—requires a 3:1 contrast ratio. This is because thicker characters remain legible even with a smaller contrast ratio. Interface elements that are not text—such as the border of an input field, a meaningful icon, or a focus ring—also require a 3:1 ratio. And color that is purely decorative and conveys no information has no requirement at all. However, the condition applies that it must not contain any information that you would miss if you did not see it.
| Combination | What It Is | Requirement | Measured | Rating |
|---|
These values are calculated based on the colors currently in the test area. If you change the hypothesis above, this table will update accordingly. A table that does not update will be inaccurate within a week.
Exclude
What was cut, and why
A strong design also comes from consciously rejecting good ideas. These approaches weren’t mistakes; they simply didn’t meet the needs of this project, and that’s easy to point out.
Olive with Signal Red
Both the background and the accent color demand attention here. The olive green is dark enough to carry entire areas, and the red , when paired with white , easily meets the requirements for body text. Two colors that both want to take center stage leave no room for a single clear call to action. In an interface where personas 01 and 04 need to see where to click within a few seconds, this undermines the hierarchy.
Petrol as the major
Distinctive, and cool without using the blue that dominates this field. However , the accent only stands out… on the background. That’s enough for a shape, a line, or an icon, but not for text or a button label. A second, darker variant would be needed. Then there wouldn’t be much left of the distinctive character: what you’d see most would be the darker variant.
Playfair Display as a header
There’s a big difference between the thick and thin parts of the letter. In a large headline, that’s exactly what makes it appealing. On mobile, where the headline shrinks to 33 pixels, the thinnest hairline becomes narrower than a single pixel, and the headline visually falls apart. We also expected this font to be the widest in the series. That turned out not to be the case: in the measurement above, it falls in the middle of the pack. So one of the two objections was ruled out. The remaining objection is sufficient on its own.
One family for headlines and body text
There are typeface families that include both sans-serif and serif versions, with thirteen variable axes. That sounds like the safest choice, and technically, it is. But axes that you don’t adjust don’t add anything, and what remains is a neutral typeface without any distinctive character. In this case, that amounts to a deliberate weakening of precisely the axis that already scores the lowest: Distinction.
The existing combination
On the current site, only the third heading level has its own font. The two largest heading levels do not have their own font and therefore fall back to the body text font. In effect, the site currently has no dedicated heading font—only the body text font in a larger size. This was not a stylistic choice, and it explains why the pages look flat without anyone being able to pinpoint exactly why.
Let the customer put it together
The temptation with a sample like this is to turn it into a menu of options: all the color palettes, all the fonts—take your pick. That shifts the work onto the client and results in an outcome that no one can defend. Comparisons help you understand the direction; the rationale and advice remain with us.
If not, then yes
Six Mistakes We See Almost Everywhere
None of these errors were ever intentional. They just happen: because of a plugin, a random tip, or a logo that just happened to become a button. That’s why they’re so common, and that’s why the correction is listed right next to each error.
Three colors, three meanings
If notBrand blue on headings and icons, an orange button from an A/B test, and the green WhatsApp button added by a plugin.
That’s rightNeutral headings, one action color, and WhatsApp as a regular second button. The route stays the same; it just doesn’t scream anymore.
Why. Visitors don’t learn what a color means. Orange stands out only because it doesn’t appear anywhere else, and on mobile devices, the floating green button takes precedence over the action you actually want to take.
Light gray text for halftime
If notBody text in light gray, because black looked “too harsh” in the design.
That’s rightDarker text, shorter lines, and more white space. Calm comes from space and line length, not from less contrast.
Why. Light gray does not meet the requirement for regular text. When viewed on a phone outdoors, the explanation that Persona 02 is looking for is actually obscured.
White text on the logo color
If notThe button will be the same color as the logo, since that is “the brand color.”
That’s rightThe logo color is retained for backgrounds and large headings. Buttons and links use a darker shade from the same color family.
Why. A logo color is chosen to stand out, not to display text. We ran into this problem ourselves: our logo blue just doesn’t quite meet the requirement when paired with white text. The calculation sheet at the top of this page shows the math.
Text superimposed on a photo
If notWhite text directly on a light-colored photo, because it was barely legible in the design photo.
That’s rightThe text is placed on its own solid background. This ensures consistent contrast, regardless of which photo is placed beneath it.
Why. The brightness varies throughout a photo, so the contrast changes from word to word. What works in the design photo falls apart in the first photo the customer uploads.
Color Only as an Error Message
If notThe field will have a red border. Nothing else.
That’s rightRed is okay, because this is a real status. But there’s also a symbol and a sentence that explain what’s wrong and how it should be done.
Why. If you have trouble seeing red, you won’t see anything here. And even if you do see it, just seeing a red border doesn’t tell you what’s wrong.
Links You Can Recognize Just by Their Color
If notA dark blue link in the body text, without underlining, because it looks “calmer.”
That’s rightThe same color, with an underline. It costs nothing and solves the problem for everyone.
Why. Dark blue next to nearly black doesn’t differ enough in brightness to stand out as a link without underlining, especially on a phone in the sun.
Not sure? Four questions, in this order
- Does color convey information? No: in that case, it’s just decoration and doesn’t count, as long as no one misses anything if they can’t see the color. Yes: in that case, the questions below apply.
- Does he live up to the demands of his role? Regular text: 4.5 to 1; large text and interface elements: 3 to 1. The validation tool above verifies these calculations.
- Is he competing with the promotion? On the first screen, count the colors that aren’t text or background at 390 pixels. If there are more than two, one needs to go, or there’s a reason you can write down.
- Which persona pays the price? If there is still any doubt, the persona who is most affected by it makes the decision. The decision is made with good reason regarding what was left out, so that the same discussion doesn’t come up again in six months.
Three cases that come up time and again. The logo doesn’t count, but that doesn’t mean its color automatically becomes an interface color. An illustration doesn’t count until it has a button on it. And we never include other companies’ brand colors—such as WhatsApp green or the yellow of a review widget—in our own hierarchy.
Advice
The direction we recommend
Hypothesis A, cool and restrained, using Schibsted Grotesk for the headlines and Inter for the body text. Not because the other styles are weak, but because this one conveys the two perceptions that rank highest among three of the four personas.
What This Program Offers
Using a single color family throughout the layout means there is little color variation between the sections, and all the emphasis is on the text. That’s exactly what Persona 01 needs—who scans under time pressure—and what Persona 02 needs—who delves deeply into the text. The dark background color is dark enough to support entire fields without the text on top getting lost. The headline font has sturdy stems and little variation between thick and thin strokes, so it holds up well on a small screen. The body typeface has a high x-height, ensuring that interface text at 15 and 16 pixels remains legible.
How much this program costs
Distinction. This is also what most providers in this field do, and no amount of nuance can change that. Those who choose this approach opt to be recognized as a category rather than as a firm. In doing so, we deliberately serve personas 03 and 04 less well in the areas where they are most sensitive: warmth and pace. We therefore derive those two elements not from the color but from the page layout. This creates a second, calmer entry point alongside the fast-paced one, with text that doesn’t push. If you do want to derive Distinction from the color, then Hypothesis D is worth discussing. Just be aware that you’ll need a second, darker variant of the same color to create buttons and links.
How the measurement changed this recommendation
We assumed that the headline font we recommend would also be one of the narrowest. That’s not the case: in the width measurement above, it’s actually the widest in the series. That’s a real trade-off, and we’re keeping it because it changes the text slightly but doesn’t affect the design. A headline like “Have a Settlement Agreement Reviewed” no longer fits on a single line on mobile devices; the solution is a shorter headline, not a narrower one. For those who don’t want that workaround, Anek Latin is worth considering. It’s the only option with a width axis and by far the narrowest of the seven. Knowing these kinds of things before you build—rather than after—is exactly what this page is about.
Step 09 · Design System
From Corporate Identity to Design Tokens
Once approved, the visual choices are defined as tokens: meaningful names, rather than color values that someone has to reinterpret.
That’s not just an administrative step. A color called “blue 2” will be used differently by everyone in six months. A color called “ action-primary-bg ” has a specific purpose, and you can verify that purpose. Below is the block for the setting you currently have in the test area.
Second Case · Logo and Printed Materials
The same order, a completely different subject
The example above takes place on a screen. This one doesn’t. MHC Weesp, The Magic Bees, wanted a logo that would work on a three-meter-tall billboard along the field. It also had to work on a jersey and on a ten-centimeter pennant. Same sequence, different physics.
What falls short in terms of contrast and readability on a screen falls short here in terms of viewing distance, ink, and light. That doesn’t change the methodology: we first measure where things go wrong, and the design follows from there. The only difference is what is being measured.
From Raster to Vector
The starting point was a 4096-by-4096-pixel grid with gradients, shadows, and hundreds of intermediate colors. Unusable at three meters. Traced into 3,968 separate paths, gradients flattened, 122 trace fragments removed, and merged by color. From 2.2 MB to 660 kB, and infinitely scalable.
The color palette is based on the mascot
Eight solid colors, not chosen to complement each other but derived from a single palette. As a result, the mascot, logo, and typography share exactly the same shades. For each color, the HEX, RGB, CMYK reference values, and contrast value are specified.
The material dictates the requirements
The sign is printed on 5-millimeter-thick rigid PVC foam or 3-millimeter-thick Dibond, with a 5-millimeter bleed on all sides. Lines must be at least 1 millimeter thick, as thinner lines become indistinguishable from a distance. All text must be converted to outlines before submission. These are not minor details to be addressed later; they determine what is possible in the design.
Reading Distance as a Design Requirement
How large should a letter be? That’s not a matter of taste but of optics. An eye with 20/20 vision cannot distinguish details smaller than 0.29 millimeters per meter of distance. This determines a minimum letter height per line of text, which in turn determines the layout. The sign measures 2,950 by 750 millimeters, and within that height, four lines must fit, each of which must remain legible at a different viewing distance.
| Distance | Where that is | What’s still legible |
|---|---|---|
| 10 m | along the sideline | Everything, right down to the website and the Instagram icon. “Honingraat” reads like “raat.” |
| 20 m | across the field | The name and top line are sharp. The bottom line is still legible, but the icon is starting to get blurry. |
| 40 m | from the clubhouse | “HOME OF THE MAGIC BEES” dominates. The bottom line becomes a line, the honeycomb a glow. |
| 80 m | from the parking lot | Only the name and the logo remain. That’s exactly what a sponsor sign should do at that distance. |
That way, the layout naturally falls into place. From the parking lot, you can only see the bee and the club name; the details only become visible as you walk closer. One thing to keep in mind—and this is also mentioned in the simulation itself—is that you should expect these distances to be about 80 percent of what’s shown. Glare, pollution, and motion always reduce visibility slightly. For a different sign size, the layout is redesigned rather than simply scaled up.
Three colors—and why not more?
The sign shows three of them. Not because there weren’t any more available (the vectorized mascot has eight), but because a sign 80 meters away can’t convey any nuance. What appears as a slight difference in shade on a screen is imperceptible from that distance.
| Color | HEX | CMYK | Contrast on black |
|---|---|---|---|
| Black | #000000 | 0 / 0 / 0 / 100 | — |
| Gold | #D89600 | 8 / 45 / 100 / 0 | 8.28 out of 1 |
| White | #F8F8F8 | 0 / 0 / 0 / 0 | 19.77 out of 1 |
One typeface for the entire sign, Oswald SemiBold, in two sizes. No third style. The choice is based on reason, not intuition: slightly lighter than Anton and Archivo Black, and thus closer to the logo’s typeface. The same applies to the margin. It is 30 millimeters and no more, because the sign is cut to size flat and no mounting profile will cover it. The dimensions are determined by the material, not by a rule of thumb.
And here’s the proof that it works
What these two cases show when compared side by side is that the order is not tied to a specific field. At Ontslagspecialist, the visitor and their situation determine the form the design should take. Here, the viewing distance, the ink, and the material determine that. In both cases, the requirements are established before anything is designed, and in both cases, it is possible to verify afterward whether those requirements have been met.
Your brand
Here’s how we apply the same methodology to your brand
The cases above involve labor law and a hockey club. The order remains the same; only the outcome changes.
First, the behavior
We identify who is coming, what their needs are, and where trust breaks down. This results in the functional personas that serve as the foundation for everything else.
Then there’s perception
What impression should be created, and which of these elements serve as a foundation and which as a correction? Without that assessment, any color can be justified.
Only then does it take shape
Three to four visual hypotheses, each in a real interface—on desktop and on mobile—along with the contrast measurements.
Exclude
We document what gets eliminated and why. That prevents the same discussion from starting all over again in six months.
Advise
One option, with what it offers and what it costs. You get a recommendation, not a list of choices.
Record
The approved direction will be a set of tokens with roles and rules, so that the style does not need to be reinterpreted during construction.
Next step
A brand identity that not only looks good, but also feels right
We first explore what your brand needs to do before we determine what it should look like. In our initial meeting, we’ll examine your current style, your target audience, and where those two diverge.
