Logo and Identity Adapted for Advertising Surfaces

In advertising the mark is asked to do something it was probably never drawn for: be identified at 32 pixels across, inside a profile avatar, over a video the viewer did not choose to start, on a dark interface belonging to somebody else. Most identities fail two of those four. This engagement does not redraw your logo. It produces the reduced forms, lockups and technical variants that let the existing one survive the surfaces your media plan buys, and it states in writing where the mark must not be used at all. What comes out of it: A reduced ad mark for sizes where the full lockup turns to mud. Horizontal and stacked lockups with clear space expressed as a fraction of the mark rather than in pixels, so it survives every resize. A square avatar crop tested at 40 pixels, which is roughly how a feed renders it on a phone. Monochrome positive and negative. A contrast plate rule for video, defining when the mark needs a scrim and how dense, instead of leaving that to whoever is editing at six in the evening. And a minimum size per surface, written as a number, because numbers are the rules people follow. Technical hygiene: SVGs with outlined paths, no live strokes, no stray clipping groups, small enough to inline. A raster set matched to the specifications that actually reject files: a 1:1 square logo asset at 1200 pixels and a 4:1 landscape version for asset-based Google formats, an app icon at 1024, a favicon set, and profile images per network. A video-safe colourway, since 4:2:0 subsampling at platform bitrates frays the edge of a saturated mark and turns a red serif into a smudge on a six-second bumper. Every file named so a buyer finds the right one without asking anyone. Motion: A logo build with a stated duration, around 0.8 seconds in and a hold long enough to be read on a six-second unit, which in practice means it belongs on the end card rather than the intro. Delivered as Lottie JSON where the placement supports it, and as ProRes 4444 with an alpha channel for editors working in a timeline. If you commission the sound logo as well, the sync point between the two is fixed here rather than negotiated later by whoever assembles the cut. What this is not: Not a new logo. Not a rebrand, not a modernisation, not a redraw of your wordmark because I would have kerned it differently. If the identity is genuinely wrong for the categories you sell into, I will say so in the first week and decline, rather than sell you a repair for a structural problem. No trademark search, filing or clearance: UIBM and EUIPO work belongs with your counsel and I will not opine on registrability. No packaging, signage or environmental applications; this stops at advertising surfaces. Who should not buy it: Companies mid-rebrand. Wait, then do this against the new identity in one pass instead of paying twice. Startups without a settled name. And anyone hoping the exercise will make a weak mark distinctive: reduction reveals whatever the identity already is, and in law-firm and banking work, where six competitors share the same three colours, that revelation is occasionally the finding. Working method: The audit comes first. Your mark placed in every real surface at real size, screenshotted from live placements rather than mocked up on a clean artboard. Most decisions here get settled by looking at that sheet for ten minutes with the people who have been arguing about it for months.