FerGonz

Social design usually dies of its own success — post four looks nothing like post one because each was drawn from scratch. Two layouts carry this entire feed instead: a numeral variant where a single figure does the talking, and a text variant that leads with a line icon. That means a post can be rewritten without being redrawn, and the set still reads as one voice in a scrolling timeline. Every figure on these boards is pulled from an article already published on the studio blog rather than invented for the layout, and only one post carries a photograph — a real screenshot of client work — because stock imagery would break the 80/20 ratio of empty ground to brand that makes the set recognisable at thumbnail size.

I built my studio’s kit to the same standard I hand a client, because it has to pass the same test — a blog post, a proposal PDF and a nine-post feed made months apart still have to look like one company. A single gradient is the only accent in the system, which keeps the dark ground doing the structural work and makes the brand recognisable at favicon size. The type scale is fixed at five steps precisely so nothing gets improvised at 2 am, and every value here is the same one that ships in the site’s CSS, so design and code never drift.

Handmade silver lands on the same search results page as mass-market jewelry, so the identity has to read as expensive before a single price is seen. The mark is one geometric facet — a cut stone reduced to line — set in wide letterspacing on near-black, because a dark ground is what product photography of silver actually needs behind it. That decision is why the live storefront is dark too: the identity was designed for the medium it would spend its life in.