Your logo nearly works
Logo Reinterpretation
We keep what people recognise and redraw the rest so the mark was always meant to be printed.
What you get
- Three drawn directions, shown printed rather than flat
- One round of refinement on the chosen direction
- Final mark with mono, reversed and small-size variants
- Separated artwork per process
- Spec sheet and usage notes
How it runs
Step 1
What has to stay
We agree what people recognise — the silhouette, the counter, the colour — and treat it as fixed.
Step 2
Three directions
Drawn, then shown as brand sheets on the stock and finish we would actually specify.
Step 3
One round
You pick a direction; we refine it once against real production constraints.
Step 4
Engineer and hand over
Variants drawn, processes separated, tolerances named.
What changes the price
These are the variables that move the number. There is no calculator — we read the file and quote it.
- How much of the existing mark must be kept
- Whether custom lettering is drawn or a licensed face is matched
- How many finishes the mark has to work in
- Whether a symbol as well as a wordmark is in scope
- How many small-size and reversed variants are needed
The press standards that apply
Hairlines under 0.5 pt
A foil line finer than 0.5 pt either fills in or flakes off the sheet. We redraw thin strokes up to the floor rather than let them disappear.
Counters under 1.5 mm
The hole in an 'a' or an 'e' closes under pressure. Below 1.5 mm at final size it prints as a solid blob, so we open the counter or change the size.
Colours that touch
Two inks butted edge to edge show white at the join when registration moves. We pull them apart by 0.3 mm or trap them deliberately.
Gradients on foil or metal
Foil is one flat tone — it cannot fade. A gradient is redrawn as flat facets, or the foil is dropped and the fade printed in ink.
Islands in a laser cut
Any cut that fully encircles an area drops the middle out. We bridge it at 0.6 mm so the counter stays attached, or we do not cut it.
Inverted mono versions
A mark reversed out of a solid is not the same drawing — strokes gain weight and counters close. The mono version is drawn, not inverted.
More on the processes themselves: foil and metallics, emboss and letterpress and die-cut shapes.
Questions
Do you design logos or only print them?
We do both, and we draw with the die in mind. A reinterpretation keeps what people already recognise about your mark and rebuilds everything else so it survives foil, letterpress and emboss.
Will my customers still recognise the logo?
That is the constraint we work inside. We agree what is load-bearing — the silhouette, the counter, the colour — before any drawing starts, and those elements do not move.
Why does my emboss look muddy?
Emboss needs open counters and a single clear depth. Detail under about 1.5 mm collapses when the paper stretches. A reinterpretation opens the mark up so the depth reads.
Also in this family
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We rebuild your existing mark so it foils, presses and embosses cleanly without changing what it is.
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We draw an identity from the name out, and specify the stock and finishes in the same pass.
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We lay out and engineer a business card so the finish lands where it should and nothing falls off the trim.
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