Context before form
Proposition, audience, content and objectives are organised before a visual direction is set.
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Catalogue design that makes a complex product legible and helps the sales team hold a better-prepared conversation.
Editorial
The approach is defined before it becomes a set of screens.
The project starts with the decision the digital presence needs to support, the information behind it and the operations the team needs to sustain. This way, design and technology respond to a specific need.
Proposition, audience, content and objectives are organised before a visual direction is set.
Navigation, content and actions are shaped around the questions that arise throughout the journey.
The system is prepared so the team can maintain and extend it with sound judgement.
Strategy, content, design and implementation are organised around the organisation’s context. Decisions are documented so the team has a clear foundation for launch, maintenance and future development.
A well-made catalogue answers questions in the order they come up during a sales conversation: what it is, what it is for, how it differs, what sizes exist, what I need to know before ordering. When the order is right, the salesperson can lean on it instead of apologising for it. When the catalogue is organised by the company’s internal product families, the customer finds nothing and the conversation still rests on the seller’s memory.
The real problem in catalogue design is fitting a lot of data on a page without making it unreadable. It is solved with hierarchy, not by removing information: one level for skimming, one for comparing and a table for whoever has already decided. All three coexist if the grid was built for it. Shrinking the type until everything fits is the solution that produces catalogues nobody uses.
A catalogue usually needs a printed version, a PDF to email and sometimes content on the website. Producing them separately guarantees they will disagree within six months. Designing from a shared structure, with the data in one place, allows all three to be generated and updated without redoing the work. When the catalogue changes every season, this stops being a convenience and becomes the only sustainable approach.
To know who you want to look different from, and why. It helps to gather what already exists (even if you dislike it), where the brand is applied today and which pieces have to be produced this year regardless.
By applications, not by number of proposals. We agree where the identity has to work — formats, sizes, materials, who will apply it — and that determines what gets designed and what gets documented.
Few, and argued. Presenting six directions without a point of view hands the decision to the client without giving them the tools. One defended direction, plus the variants that were genuinely in play.
By testing it where it will be used: small, in a single ink, over photography, on a screen and across the material that already exists. A brand that only works in the deck is not finished.
By whether the organisation can apply it without asking, and whether it is recognised before the name is read. Both show up in the months after, not in the handover meeting.
Open and closed files, a manual proportionate to the size of the company, and templates for what gets used every week. A hundred-page PDF nobody opens is not a delivery.
A selection of work showing context, decisions and outcomes.
Tell us where things stand and we can assess the most useful approach for the project.
