Everything beautiful is analog
Everything beautiful is analog — that’s not nostalgia, it’s a working method. We’ve spent two decades in Ljubljana making things by hand first, screen second, and the difference shows up in the work. Analog design philosophy isn’t a romantic detour; it’s where the real decisions get made.
We can’t avoid digital; it is everywhere, and not all is bad, of course, but we are focused on it way too much, staring at our phones, for instance. Just think that everything beautiful that has ever happened to you was analog.
If we ignore the romantic aspect of that claim for a second (it is a beauty, isn’t it), trust me, holding a product is way better than holding a phone. The whole process of creating a real product involves working with your hands and meeting different craftsmen (those awesome people), learning and understanding their craft, understanding limits, adapting, changing, and finally holding it in your hands, remembering how impossible it felt when you started to create one.
Even now, we are trying to get over the phone addiction and shift back to the reality we ran away from on the phone. Realizing that this claim holds more truth than I thought.
Why analog design philosophy still shapes every project we start
81 logos designed from the ground upDon’t miss the next essay. Signup for our newsletter
⸻ Newsletter signup
Team 2 team
Team to team design is how we've always worked — not because it sounds progressive, but because the other way produces worse outcomes. When your strategist sits across from ours, decisions happen in minutes instead of weeks. That direct team to team design dynamic is what most studios promise and few actually practice.
Excited?
Excited clients are not a bonus — they're a design material. We've watched the same brief produce two completely different outcomes depending on whether the client came in energised or resigned. Excited client energy doesn't just make meetings easier; it changes what branding becomes possible.
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.
The Gap
Vanishing middle designers are the most interesting people in any studio — and the first ones the industry stops talking about. The gap between junior promise and senior authority isn't new, but it's getting harder to cross, and we've been watching it happen up close for twenty years. What follows is what that looks like from where we sit.
Art is Provocation: Raising Questions, without Giving Answers
Art is provocation — and that alone makes it fundamentally different from design. Where design resolves, art destabilises. We've spent two decades navigating that tension, and art is provocation precisely because it refuses the comfort of conclusions.
Logo Design vs Brand Identity: What’s the Difference?
Logo design vs brand identity — we get asked to explain the difference on almost every first client call. A logo is a mark. A brand identity is the entire system that gives that mark meaning across every surface it touches. We've spent twenty years building both, and the gap between them is where most projects either hold together or fall apart.
Passion
Passion in design gets misquoted constantly — treated as fuel when it's closer to weather. We've spent twenty years watching it ignite projects and abandon them halfway through. What keeps work honest isn't feeling, it's the decision to continue when passion has already left the room. That gap between passion in design and actual commitment is where studios either build something or quietly repeat themselves.