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Case study · Tadal Studio

Brand guide and stationery for Tadal Studio

A short brand guide built on one unit taken from our own logo, so every card, invoice, sign and post we make follows the same few rules.

Client
Tadal Studio
Industry
Web design and development
Package
Design project
Our role
Brand guide, logo system, stationery and mockups
Stack
  • Figma
  • Claude
Tadal Studio brand guide pages for logo versions and colour, next to the stationery set: letterhead, invoice, envelope, business cards and an ID card.

The problem

We had a logo and a colour, but no rules for using them. The green mark sat in a black tile on one page and straight on paper on the next, the name was set in three different sizes and spacings, and every new item (an invoice, a sign, a social post) started with the same questions. We tell clients that a brand only looks trustworthy when it looks the same everywhere, so we needed to prove it on our own studio first.

What we did

  1. Measured the mark before changing anything. Our logo is the Jawi letters Ta and Dal drawn on a 21 × 15 pixel grid, so we made one grid cell, the nuqta, the unit for every rule: spacing, clear space and type size.

    The Tadal mark on its 21 by 15 grid, with the two dots of the Ta highlighted and one grid cell marked as a nuqta.
    One cell of the logo's own grid sets every measurement in the guide.
  2. Cut the logo down to three versions. A horizontal lockup, a two-line lockup for tight spaces and the mark on its own, each with a minimum size, so choosing one is a matter of how much room there is, not taste.

    The three logo versions on their construction grids, with guide lines showing the 2-nuqta padding and clear space.
    Primary, secondary and mark alone. Two layouts we tried were retired.
  3. Made green the exception. Pages are paper and ink, and the logo green is kept to about a tenth of any layout. We measured every colour pair: green on paper scores 1.3:1, so it is never used on a light background.

    The colour page of the guide: paper, ink and green swatches, a 60-30-10 proportion bar and a table of measured contrast ratios.
    Contrast is measured, not judged by eye.
  4. Gave each typeface one job. One face for words, one for numbers and labels, and one used only inside the logo, so the name never turns up as a heading by accident.

    The typography page: three typeface cards and the full type scale shown at real size.
  5. Tested the rules on 30 real pieces. Letterhead, invoice, receipt, proposal cover, ID card, lanyard, tote, sign and more. Anything that kept needing exceptions, like a stacked logo that never balanced, was removed from the guide.

    A spread of Tadal Studio stationery: letterhead, invoice, envelope, both sides of the business card and an ID card.
    Names and phone numbers on these samples are placeholders.

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