Radio prvi
Radio prvi design je naloga, ki ne dopušča kompromisov. Nacionalni radio nosi pričakovanja poslušalcev, politični pritisk in tehnične omejitve — vse hkrati. Ko smo se lotili tega projekta, smo vedeli, da mora vsak vizualni element opravičiti svoje mesto v sistemu, ki mora delovati enako dobro na zaslonu kot v zraku.
Gost nedeljskega Nočnega obiska bo Gregor Žakelj, eden najbolj uspešnih in največkrat, tudi mednarodno nagrajenih oblikovalcev v Sloveniji.

Pred kratkim je za oblikovanje stekleničke za bučno olje družinskega podjetja Kocbek, prejel eno najbolj prestižnih in uglednih oblikovalskih nagrad na svetu – Red dot. Njegova dela in uspehi so poželi veliko pohval v tujini, izbran je bil med 10 najperspektivnejših kreativcev v Evropi s strani ADC*E Barcelona in prejel je več kot 80 slovenskih in mednarodnih nagrad. Med njimi ADC*E, European Design Award, Golden Drum, Sof, Brumen, Volvo Design Award, Regpak, German Design Award,etc.). Svoje znanje predaja na številnih konferencah doma in v tujini, kjer zagovarja svojo misel, da je dobro oblikovanje za dobre naročnike. V leta 2004 ustanovljenem lastnem oblikovalskem studiu VBG (Visual Brain Gravity) delajo vse od grafičnega oblikovanja in oglaševanja do strategij in spletnih nastopov. Pred mikrofon ga je povabila voditeljica Liana Buršič.
Kaj naredi Radio prvi design funkcionalen in ne le estetski
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Know Your Duty, Poet
It doesn't matter how much I design, win, or fail. There is always the possibility that I could have somehow made more. Pushed myself further. Finished that personal project. Made more art. Helped more brands.
What are you buying with a designer?
What you buy with a designer is rarely what appears on the invoice. The file is the last thing — what precedes it is accumulated judgment, pattern recognition sharpened across decades, and the discipline to reject work that almost works. We've built 81 logos and won over 80 awards not by delivering what clients asked for, but by understanding what they actually needed.
Definition of a brand
Definition of a brand is where most projects quietly fail — not in execution, but in understanding. A brand is not a logo, not a palette, not a tagline. It is the gap between what a company says it is and what people actually believe. We've spent twenty years closing that gap, and the distance is rarely where clients expect it to be.
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.
The Why
Brand why statement is the first question we ask — before color, form, or name. Not because it's fashionable to talk about purpose, but because a brand built without a clear why collapses under its own aesthetic eventually. We've seen it. Defining your brand why statement early is the structural decision that holds everything else together.
What Does a Branding Agency Actually Do?
What does a branding agency do — and what separates the ones worth hiring from the ones who just make things look nice? We've been answering that question through work since 2004. What does a branding agency do at its best: it builds the strategic and visual foundation a business can actually stand on.
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.
We use craft in every project. Not as decoration. Not as nostalgia. As a way of thinking.
Craft in design thinking is how we structure every decision we make — not what it looks like at the end, but how the problem gets interrogated from the start. We've been working this way since 2004. Craft in design thinking means slowing down where other studios speed up, and knowing exactly why.