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
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Every Comment Can Be Positive – How to Give Constructive Feedback to Designers
Constructive feedback for designers is one of the most underestimated skills in any creative collaboration. Get it wrong and you stall the work; get it right and the next version is better than anything you would have briefed. We've been on the receiving end of both kinds — and after 81 logos and 128 projects, we've learned to tell the difference.
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.
12 Proverbs
Design wisdom proverbs don't come from books. They come from the gap between what a client asked for and what they actually needed — a gap we've been navigating since 2004. These twelve distillations aren't motivational. They're diagnostic, drawn from real projects where design wisdom proverbs were the only honest way to say what went wrong, or right.
How to Create Logos That Last
Logos that last are rarely accidents. After 81 identities built over twenty years, we've learned to distrust trend and trust structure — the marks that endure are the ones stripped of everything circumstantial. What makes a logo that lasts isn't mystery; it's discipline applied at every decision point.
If You Were Ever a Developer, This Is Your Time to Return
Developers returning to coding right now are walking into something different than what they left. The tools got faster, the frameworks multiplied, and somewhere in that churn the advantage quietly moved — away from raw output, toward judgment. If you built things before and stopped, developers returning to coding after a break carry something the continuous practitioners often don't: distance, and the clarity that comes with it.
Hell Yes
Hell yes creative approach is how we decide what to make — and what to walk away from. If a project doesn't produce that immediate, visceral pull, we don't take it. That filter, applied consistently since 2004, is the reason our work holds together as a body rather than a portfolio of compromises.
Why Branding and Web Design Must Be Aligned
Branding and web design alignment fails the moment two separate teams touch the same project without talking to each other. We've watched it happen — a considered identity system lands on a site that treats it like decoration. Branding and web design alignment means the strategy that shapes the mark also shapes the architecture, the copy rhythm, the interaction logic.
Why Making by Hand Still Matters in the Age of AI
Making by hand isn't a romantic habit we've held onto — it's the part of our process where the actual decisions happen. Before any screen gets involved, we draw, we cut, we test with our fingers. That physical resistance is where making by hand produces something AI can't replicate: a choice made under uncertainty, not optimised from existing data.