Black and white
Black and white design is where we start every project — not as a stylistic preference, but as a structural test. If a mark, layout, or identity doesn’t hold in two tones, it won’t survive color, scale, or time. Black and white design is the first filter, and for us, it’s often the only one that matters.
The combination is so basic that I don’t consider it a color. It is more of a structural element or a form.
It is one of my favorite elements, obviously, not just because of its minimal aesthetics but merely because it is clean and timeless. I test all designs in black and white. It is a trick to make sure all this simplicity helps to focus on other specific elements, such as text or key graphics. With all the colors removed, the design focus shifts from the forms, shapes, and lines to the content, which is always the most important.
Not to mention, I usually start designing in black and white, especially for identities. If that works, the color scheme for the specific brand (carefully selected with the whole branding in mind) will be versatile and impactful.
What Black and White Design Reveals That Color Conceals
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The Currency of Respect
Respect as currency is not a metaphor we use lightly — it is the actual unit of exchange in every client relationship we have built since 2004. We have watched projects collapse not over budget or concept, but over the slow withdrawal of basic professional respect. When respect as currency depreciates, no invoice or award recovers the loss.
Have you ever tipped a designer?
Tipping a designer is something almost no client ever considers — and that silence is worth examining. We've delivered work that changed how companies present themselves to the world, and the conversation about money always ends at the invoice. Tipping a designer feels foreign, even absurd, until you ask yourself why.
Ljubljana to do
Ljubljana to-do lists are usually the same – the castle, the market, Plečnik. We have been designing in this city since 2004 and we see it differently: through the facades, the typography on the windows, the details that the tourist guide doesn't mention. This guide is Ljubljana to-do for those who observe.
Claude is using your computer. Yours, Skynet.
Yes, I let Claude use my computer. Yes, I watched it open files, navigate folders, write code and do things that felt like magic. I gave it a task, leaned back, and watched the machine do the work.
I’ve seen inspiration exploding to space
Creative inspiration process isn't something we manage — it's something we survive. The ideas that actually change a project don't arrive through briefs or brainstorms. They detonate. Understanding where ideas come from in design means accepting that the creative inspiration process runs on its own schedule, not yours.
A healthy brand
Healthy brand design starts with honesty — not aspiration dressed up as values. We've watched too many briefs arrive wrapped in sustainability language that dissolves the moment you press on the strategy underneath it. A healthy brand isn't greener or louder; it's structurally coherent, and that coherence is what we've been designing for since 2004.
Gravity Grotesk, Gravity Serif typography 1.5
Gravity Grotesk is a neutral sans for my web. A lower x-height and tighter spacing give it a grotesk voice. Flat ledges where curves meet stems and angled terminals give it a character of its own. Gravity Serif shares its x-height, cap height, and line height, so the two mix on one line.
Slovenia the fun facts
Slovenia fun facts are rarely what they seem. The bear counts and flute discoveries are real enough — but the stories built around them, the way a nation curates its own mythology, that's where the design work begins. We've been pulling apart Slovenian cultural identity since 2004, and the gap between documented fact and inherited fiction is where the most interesting visual problems live.