Marks that have to survive the object.

Most identity work is judged on a slide. This one is judged on a collar tag at two inches, on stainless at six millimetres, and on the first photo a customer decides to save. That constraint comes first and it rules out most of what looks good in a presentation.

Every project starts from the processes the client actually runs — laser engraving, cerakote, embroidery, screen print — because a mark that only holds on a screen dies on a slide.

The studio has worked this way since 2019, from Colonia del Sacramento, Uruguay. The work travels further than the studio does: a breeding program in California, a firearms shop in Texas, a drop-based label whose customers wear the mark as a uniform. Briefs arrive in English and Spanish and are answered in both.

One hand does the drawing, so the number of projects per quarter is deliberately small. Scope, schedule and two rounds of revision are agreed in writing before the first mark is drawn — a project that never closes is not a relationship, it is a scope problem.