Twopots Better business.brands.

Tyto PR is an international communications agency built to accelerate high-impact technology companies across Europe. Their PRWithoutBorders model eliminates friction and borders. The brief was clear: no decoration, no convention, no compromise. A system that works as hard as the agency it represents.

Tyto refers to a genus of owls, a symbol of wisdom, agility and strategic vision. The isotype is derived from the last two letters of the logotype: T and O, rotated to form an owl’s eye. The brand mark is the concept. The fluid curves embody the dynamism and adaptability of the agency.

The system scales without modification across every format, from favicon to billboard and from email signature to brand film. Motion guidelines were developed alongside the static system from day one, so every touchpoint is considered as part of the same argument.

Full brand identity system including primary mark, motion guidelines, colour system, brand guidelines and asset library. Deployed across all European markets.

Tràmit has advised individuals, freelancers and businesses across Catalonia for nearly thirty years, accounting, tax, labor, commercial and legal services built on rigor and a personal approach. The reputation was earned; the identity hadn’t kept pace. The brief was to modernize the brand and make it stand out in a conservative sector, without spending the trust three decades had built.

We organized the firm around what it actually does: five areas of service, each with its own color and voice, Labor (orange), Fiscal (yellow), Commercial (red), Legal (green) and Tràmit (blue). The “T” isotype is the point where all five meet: a single symbol that holds the system together and signals that, however specialized the service, it comes from one firm.

We defined a full brand book, typography, palette, iconography and the rules that govern how the five colors behave, and extended it into a poster collection and every corporate and communication touchpoint. The identity is modular by design: the color blocks recombine and resolve into the “T”, which is exactly what animates on the cover.

Tràmit gained an identity that scales with the business instead of dating it, flexible enough to absorb new services, coherent enough to read as one brand everywhere. The work reframed a thirty-year track record as something current and confident, and was recognized as a Best of Behance project.

Thewa makes spiritual bracelets rooted in Mutelu, the Thai belief that amulets, rituals and talismans attract fortune, love, prosperity and health. The brand needed an identity that carried that meaning across an international market without turning literal or generic, anchored in Asian tradition but built to travel.

We built the system around circularity, the cyclical energy of life, divine connection and protection. The lowercase e sits at the center of the wordmark, its rounded form reading at once as a circle and as a bracelet, the brand’s core object. One letter carrying unity, eternity and connection.

The monogram fuses three elements into a single mark, the Naka, the Thai dragon-serpent that guards the sacred, the curve of the bracelet for the cyclical nature of the universe, and the letter T that gives it structure and recognition. Around it sits a full system, an ultra-symmetric wordmark and a deep palette of black, signature red, gold, night blue and green, all governed by one geometric logic.

Thewa gained an emblem rather than a logo, a symbol of power and transcendence for people who look for meaning, balance and beauty in the detail. It reads as international while staying rooted in the tradition that gives it weight.

Kyma roasts and serves specialty coffee in Al Khobar, Saudi Arabia, selecting and roasting high quality beans from producing regions around the world. The brief was to build a brand that turned each cup into a sensory journey, refined enough to stand on a vibrant street and own its corner of a fast growing specialty scene.

Kyma means wave in Greek. It speaks to the fluidity of the flavors and to the undulating movement of the beans during roasting. We made that idea literal in the letterforms, a wordmark built on wave-like curves, so the identity carries the meaning of the name in its own shapes rather than explaining it.

The wave runs through the whole system, from a custom wordmark to packaging, cups and the physical space, paired with botanical illustration and a warm palette of yellow, deep red, olive and black. Every undulation traces back to the same source, the motion of the roast, giving the brand one coherent gesture that reads on a bag, on a façade and on a label without losing itself.

Kyma gained an identity people recognize before they read it, a single visual idea, the wave, that ties product, place and ritual together. It positions a local roaster with the confidence of a brand that knows exactly what it stands for.

Ice Cream Truck is a full-spectrum creative agency in San Francisco, working across film, live experiences and digital. The brief read like three briefs at once, part magician turning the ordinary into something else, part creator chasing visions into form, part entertainer with a rebel streak. The identity had to carry all of it, serious and playful in the same breath, without flattening into a single tone.

The answer lived in the wordmark itself. ICE CREAM is set in a tight, no-nonsense grotesque, the serious half, the part that tells a client these people deliver. TRUCK carries a liquid display cut where the letters curl and melt, the creative half, the part that says they also play. Held together, the two faces let a director, a photographer or a brand lead all see themselves in the same logo.

Everything pivots on the U in TRUCK, redrawn as a fluid swirl that the system spins out into a whole language. That single liquid form becomes pattern, becomes garment, becomes the shape the photography is cut into. A loud Pantone palette of cyan, pink, butter yellow and green keeps every surface high energy, while the grotesque half holds the line so it never tips into noise.

The identity stretches from a business card to a film title to a full event space without losing its center. It can read serious for a Fortune 500 pitch and absurd for a launch party, sometimes on the same day. Ice Cream Truck ended up with a brand as wide ranging as the work itself, and the project went on to be featured by Behance for both graphic design and editorial craft.

The eighties label art that VHS and cassette brands printed on their covers was already strong, confident type, bold color and a clear grid, but it was buried under the visual habits of its time, drop shadows, fake depth and small decorative excesses that dated it. Retro Brands Videotape started from a simple instinct, that this work did not need reinventing, it needed cleaning. The project takes ten posters from nine of those brands, BASF, Scotch, AGFA, Kodak, Polaroid, TDK, Philips, Fujifilm and Sony, and brings each one back to what it was always trying to be.

The method was restraint, not reinvention. Every original kept its proportions, its spacing and its exact typefaces, because that part was already right. What came off was everything that had aged, the shadows, the gloss and the decorative noise. Taking the excess away is what finally let the underlying design breathe. Each poster is the same brand it always was, only honest now about how good its bones were.

The work was almost entirely subtractive. Shadows stripped, false depth flattened, every redundant effect removed, while the letterforms, the spacing and the color relationships stayed exactly where the originals had placed them. What remains is pure type and pure color on a clean grid, lifted from a small printed label to a full poster. The discipline was knowing when to stop, taking away just enough to reveal the design without ever turning it into something else.

The collection has been published widely, from Adobe to Experimenta and Abduzeedo, and years later it still gets shared as an example of pure design and of nostalgia handled with respect. More than a personal exercise, it made a quiet point, that the strongest move a designer can make is often to remove rather than add. Ten posters, nothing added that was not already there.

Matoke Experience is the travel agency of the naturalist Jaume Sañé, built on a simple promise, that you go out and meet the wild up close, the birds, the reptiles, the insects, in the field and not from a coach window. The brief was to give that promise a brand as credible and as alive as the trips themselves, far from the packaged, generic language of group tourism. It had to look like the real thing, because it is.

The identity is built on a single isotype, an M whose outline never changes but whose interior shifts shape, color and texture from one piece to the next, the way the jungle is always the jungle and never twice the same. That one rule, a fixed frame holding a living inside, became the engine of the whole system. The palette comes straight from that world, a warm yellow, a deep red, a forest green and a soft cream, vivid where the wildlife is vivid and grounded where the field is real.

The work pairs the clean wordmark with a collection of natural history plates, a toucan, a snake, a king vulture, a beetle, birds of paradise and more, the real creatures a traveler can expect to meet with Jaume in the field. Set over the brand’s geometric color blocks and tagged with field coordinates, each poster reads like a sighting logged on a real expedition rather than a stock image of adventure. Shown together as a grid, they become the catalogue of encounters the trip actually delivers, not the usual packaged tour.

The result is one coherent world, a mark that mutates like its habitat, a palette, a pattern, a full poster collection and its applications, all speaking the same language. Featured on Behance for both graphic design and editorial craft, the identity reads expert without turning cold and wild without turning decorative, ready to front everything from a field expedition to a phone screen. A brand that promises a real encounter with the wild, and looks like it keeps the promise.

Retro Brands Videotape began as a set of ten posters, and the response made something clear, the eighties video aisle held far more design worth recovering than a single collection could carry. This second volume widens the shelf with AMPEX, Konica, BASF, GoldStar, Maxell, Sony, Panasonic, Zenith, Rainbow Magnetics, Rarevision and JVC. The instinct is the same as before, these labels were never weak, they were only dressed in the visual habits of their decade, and underneath each one sat confident type and color waiting to stand on its own.

Nothing about the method changed, because the method was the point. Each label keeps its proportions, its spacing and its original typefaces, the parts that were already right. What comes off is everything that aged, the gloss, the false depth and the small decorative habits of the time. This volume is the idea tested at scale, the same discipline applied to a new set of brands, proof that the approach was a system and not a single lucky exercise.

The work stays subtractive. Effects are stripped, surfaces flattened and every redundant flourish removed, while the letterforms and color relationships hold exactly where the originals placed them. Each design is then lifted from a small printed sleeve to a full A-format poster, where its underlying structure finally has room to breathe. Twelve covers, one consistent treatment, each one cleaned rather than redrawn.

The second set confirmed what the first had suggested, that the strongest move a designer can make is often to remove rather than add. The work keeps circulating as a reference for clean design and for nostalgia handled with respect, and across both volumes it reads as one body of work rather than two separate exercises. Twelve more posters, nothing added that the originals had not already earned.

Mamba installs the systems a building runs on, plumbing, heating, electricity, air conditioning and renewable energy. The brief was to turn a broad, technical, unglamorous set of trades into one brand with personality and bite, something a homeowner and a contractor would both trust and remember. The client arrived with a single firm condition, the name Mamba had to stay tied to the black mamba itself, one of the fastest and most feared snakes, and that energy had to live in the mark without tipping into a literal animal logo.

The idea lives in a single move. We stretched the B of the name into two long parallel lines, the body of the snake, that close into the bowl of the letter at the end, so the mark reads as the name and the animal at once. A clean and laconic sign that says Mamba and shows the mamba in one stroke. That double meaning became the fixed asset of the whole system, the form everything else is built around.

The palette is deliberately tight, two achromatics, black and white, plus one chromatic, an orange close to the exact tone of the tools and equipment these trades run on. That single hot color does the heavy lifting, it signals work, energy and safety, and it makes the mark unmistakable across a van, a folder, a business card or a screen. Everything is drawn to stay legible and confident at any size, from a stamped sign to a full vehicle livery.

The result is a corporate identity that is memorable, universal and functional, expressive enough to stand out in a crowded trade and disciplined enough to apply anywhere. One sign carries the whole company, the name and the animal in a single form, sharp where the work is sharp and clear where it has to be. Featured on Behance for graphic design and editorial craft, it is a brand with the speed and bite of its namesake, doing a plain job with real character.

The Bauhaus, founded by Walter Gropius in Weimar in 1919, was the school that taught the twentieth century how to see. Its idea was radical and simple, to bring every art together into one total work, the Gesamtkunstwerk, where architecture, design, typography and craft would finally speak the same language. The brief here was a tribute, a poster collection marking the centenary of a school that lasted only fourteen years and shaped design for the next hundred.

The temptation with Bauhaus is to quote it, to borrow the primary colors and the geometry and call it a homage. The concept went the other way. Rather than imitate the look, the collection honors the method, the belief that form follows a system, that color and shape carry meaning, that nothing on the page is accidental. Each poster is built the way the school taught, structure first, decoration never.

The pieces are made from the Bauhaus vocabulary used with restraint, the circle, the square and the triangle, the primary palette, the grid that holds everything in tension. Type and shape are treated as one material. The craft is in the discipline, knowing what to leave out, letting a single diagonal or a block of color do the work that a lesser hand would crowd.

The Bauhaus existed for fourteen years and has never stopped influencing art, architecture, graphic and industrial design and typography. These posters are a small return on that debt, a contemporary salute built on its own principles rather than its surface. The collection found its audience beyond the studio, featured on Behance and picked up by international design press, proof that the school still speaks to the people it taught to look.

Caravann Consulting is a strategy and executive coaching firm in Berkeley, California, built to help other companies reach their business goals. The brief was to give that purpose a face, an identity that feels like progress itself, modern with a vintage touch, serious enough for the boardroom and warm enough to trust. Not a logo that sits still, but one that suggests a journey already in motion.

Everything starts from a single idea, the journey toward success, the path walked alongside the client. That metaphor runs through the whole system. The typography, Awards Display, was chosen for the tail of its R, which reads like a road bending into the distance. The lines that structure the identity are drawn from that same road, so the brand never just names the destination, it shows the way there.

The palette does the emotional work, warm tones for closeness and trust, cool tones for professionalism and seriousness, held in balance so the brand feels human without losing authority. The shapes and details are deliberately distinctive, modern lines with a vintage memory, so the mark stays recognizable and stays in the mind. Nothing decorative, every element carrying a piece of the meaning.

The result is an identity that turns an abstract promise, we will get you there, into something you can see and feel. The journey reads in the letterforms, the lines and the color, giving a strategy and coaching consultancy an image that is modern, memorable and unmistakably its own, a brand that looks like the path it helps its clients travel.

The Mercat de Música Viva de Vic reaches its thirtieth edition, the meeting point of the music industry in a Catalan city for four days every September since 1989, where programmers, labels, agencies and the public all converge. The brief was not to design a poster. It was to build one image strong enough to hold across dozens of applications, from urban banners and stage backdrops to screens, press, outdoor, television and digital. It had to be immediate, recognizable and powerful, a simple system yet distinctive enough to stay solid at every format and scale, and to honour three decades without sliding into nostalgia.

Thirty years of live music is not a monument, it is movement. The concept turns the 30 into a living element and lets a female figure, caught mid leap, carry energy and celebration through a highly structured typographic composition. On a second level the gesture is a tribute to all the women who made the festival possible across the decades, because without them MMVV would not exist as it does today. The institutional and the human share the same image, holding tension, rhythm and a clearly contemporary voice.

A single intense orange does the work of instant recognition, loud enough to own a wall in the street and disciplined enough to carry a programme. The numerals are set in a high contrast serif whose thick and thin strokes give the 30 an editorial elegance against the raw energy of the figure. The composition stays minimal on purpose, so impact is maximised at every size. From street banner to stage backdrop, the identity keeps the same strength, recognition and coherence.

The image moved from large format banners across Vic to stage, press, television and the festival full digital presence, holding its force at every size. It marked the thirtieth edition as a moment rather than another year on the calendar, and gave the professional and public sides of the event a single, confident face. More than a poster, it became a flexible visual identity system designed to last well beyond one edition, as current as the music it announced.

Glam Hairstylist opened in the center of Barcelona as a unisex salon, a wide, calm space for a cut, a color or your nails. It needed a brand that felt modern and a little daring, and that announced exactly what it was the moment you saw it.

The answer lived inside the name. A lock of hair, a comb and the letter G collapse into a single mark, Hair plus Comb plus G equals GLAM. Typography carries the rest, a direct, confident voice that reads as a salon before you read a single word.

The system is built on the power of type. The wordmark and the comb-G mark lead, clean and bold, and run across signage, print and the launch campaign, so the salon speaks with one clear voice throughout.

A new salon arrived with a grown-up, unmistakable presence in a competitive local market, and the identity was featured twice on Behance, in Graphic Design and in InDesign.

Unió Esportiva de Vic turned one hundred, and the commission was a single commemorative poster. We saw something larger. A centenary is not a date, it is a hundred years of people, so we proposed not an image for one season but an identity the club could make its own and carry forward.

We asked supporters for one word to define what the club meant to them: movement, history, force, flag, pride, dedication, glory, dream, future. The club is the sum of all of them. We needed a single sign able to hold them, and we found it in the captain’s armband, the object passed from one captain to the next, season after season, across a century. We drew it as a ribbon with no beginning and no end that, folding over itself, forms a 100. That infinite ribbon is the whole idea, the relay that never breaks between the people who were, are and will be Unió Esportiva de Vic.

We did not want a fixed logo but a system. The shape of the 100 stretches, turns and reconfigures without losing its reading, which let us carry it from the poster to audiovisual pieces and to the team’s own equipment. A dynamic identity, made to move and timeless by construction, so the centenary reads as a starting point and not a finish line.

The ribbon gave the club a language of its own for every touchpoint, the same idea from the kit to its communications. The project was featured by Behance in Graphic Design and InDesign, and Print Magazine published a piece on how the poster marked a hundred years of the club. What began as a single commissioned piece became the visual foundation of the whole anniversary.

Coolors is a unisex salon in the center of Barcelona, a wide, calm space where you go to switch off, get a cut or have your nails done. The brief asked for an identity to match the place, modern, daring and a little different, with a name strong enough to carry the whole brand on its own.

The idea is a single move. Cool and colors fold into Coolors, one word that says fashion, color and the easy confidence of a good salon in a single read. It points to the whole world of the stylist, the trends and the chair, without needing to explain itself.

We built the identity on type. The message is direct and clear, the wordmark set so it reads at a glance and holds from the storefront to a card. Color comes in as a nod to the name, a flexible system that stays playful without losing its clean, confident base. Nothing decorative that the word does not need.

Coolors ended up with an identity as direct as its promise, easy to recognize and easy to use across the salon. The project was featured by Behance in Graphic Design. One word, built on typography, that tells you what kind of place this is before you walk in.

Case study in preparation.

Case study in preparation.

Case study in preparation.

Case study in preparation.

Watecho is a mindful travel experience in Thailand, based in Hua Hin, that brings together meditation, cultural discovery, nature and deep inner listening. At its center is practice guided by Theravāda Buddhist monks, the oldest living lineage of Buddhism, who still meditate exactly as it was done at the source, more than two and a half thousand years ago. Around that turn the visits to sacred temples and natural settings, the seaside rest, the conscious movement and the Thai food, with room left for silence. The brief was never to design another wellness retreat. It was to give form to a journey that lets a traveller discover a country, a culture and, along the way, themselves.

The name carries the whole idea. Watecho joins Wat, the Thai word for temple, with Echo, the sound that returns, so the brand reads as presence and inner return at once. From there the CO became a symbol in its own right, a mark for sound, resonance and the slow evolution of awareness. The C holds the moon, calm, intuition and inner listening, while the O holds the sun, clarity, vitality and conscious presence. Read together, CO works as a meditative sign that begins within and expands outward.

The visual language grows from Thailand itself. The typography takes its cues from Thai letterforms, keeping their rhythm while speaking in a contemporary voice, tradition and present tense in the same word. The identity is multicolored on purpose, each color drawn from the landscapes, the sea, the natural elements and the energies of the journey, so the system feels alive rather than corporate. Everything resolves around the CO symbol, the still point the rest of the brand moves around.

Watecho ends up being two things at once, a travel experience and a small meditative symbol, and that is the point. The naming, the mark and the palette let it stand apart from the usual retreat language, calmer, warmer and more rooted in place. It invites the traveller in the way the experience itself does, beginning quietly within and opening outward to a country, a culture and a clearer sense of self.

Talent for a Better Society is a foundation that gathers high capacity people who want to change the world, with education as its first lever, a new approach built to reshape the society of the future. The brief was to give that mission a face, an identity simple enough to travel anywhere and clear enough to stand for something larger than itself, the belief that talent, brought together, builds a better society.

The mark works the way the foundation does, by bringing parts together. The imagotype is made of three elements, each standing for a kind of talent a person carries. The base element holds potential talent, the middle element holds hidden talent, and the top element holds natural talent. Interlocked, the three form a T, the first letter of the name and a sign of people with different gifts uniting around a shared purpose.

The symbol was resolved to be plain in the best sense, understood at a glance, recognized once seen and easy to reproduce at any size or in any medium. Nothing decorative survives that does not carry meaning. Each of the three elements keeps its own weight while serving the whole, so the mark reads first as a confident T and then, on a second look, as three talents held together.

The result is a single sign that carries the foundation values without needing to explain them, talent, formation and the union of different people around education. Built from three parts yet read as one letter, the imagotype gives Talent for a Better Society a face that is easy to recognize, easy to use and clear about what it stands for, a foundation assembling capable people to shape the society that comes next.