Brand
guidelines.

The Philippine flag's triangle, stood on its point, woven in banig. The flag's geometry, never its colours.

Five grounds from paper to deep indigo, three heats from ochre to flash orange. Two working type colours.

Four voices: a slab for headlines, a grotesk for body, a mono for labels, an italic serif for the aside.

Taglish is talent-side only. Client-facing pages stay in English throughout.

Jamie was a client first — she experienced how slow, bureaucratic and needlessly costly traditional outsourcing was, and how little attention was paid to the people doing the work. Because the client has been burned before, that story belongs on the homepage, not in About.

Riso colour, hand-painted signage, market lettering. The reference is print that had to work fast and cheap and still be seen from across a road. That is why misregistration is a feature.

Banig, the woven mat in every Filipino household. It appears as pattern behind everything, never as an object in its own right, and it is what carries the mark.

Every picture sits at an angle, edged in paper, casting a shadow. The board reads as something a person assembled by hand, which is the opposite of a stock-photo grid.

One indigo and one orange per board, no more. The rest of the photography runs untreated so the treated ones actually register as a decision.

Type over photograph is normally a readability bug. Here it is the whole point: the wordmark is printed on top of the board, so it overlaps by design and only ever at large size.

Either the starburst or a saturated ground. Never both at once, on any board, in any application.

Real people at real desks, real streets, real food. Available light. Faces mid-sentence rather than posed to camera.

Greyscale, contrast up, screened over one flat colour. Indigo for calm surfaces, orange for loud. One of each per layout, never more.

Stock people. Generated people. Anyone smiling at a laptop in an office that is not Trinity's. If it is not real it does not go in.

RA 8491 specifies an equilateral triangle at the hoist, not a chevron. The mark takes that triangle exactly.

Three stars on the flag, three island groups — Luzon, Visayas, Mindanao. Three sides. The name is already in the shape.

The sun and the three stars are spoken for. Every Filipino bank, agency and beer brand owns a version of them.

Mark left, wordmark right, optically centred on the wordmark's x-height. Use the supplied files — never rebuild it.

Alfa Slab One is a stand-in for painted lettering. Drawing a real wordmark is part two, and until then the mark and the wordmark are allowed to travel apart.

Paper, sand and mist take the woven or ink mark. Deep and ink take lift. Flash orange takes paper only.

Only over a flat area, only in paper or lift, and only where the mark keeps its half-X of clear space against detail.

The mark is made of weave. Putting it on more weave makes it disappear — put a plate behind it first.

The triangle is equilateral. Scale it proportionally or not at all.

No keyline, no stroke, no drop shadow. It is a solid or it is woven.

Apex down, always. It is not a dynamic element and it does not tilt with the photographs.

Three weaves exist — quiet, tonal, hot. Mixing new thread colours is not an option.

A slab never sets body copy. A mono never sets a headline. The italic is never a caption.

Familjen Grotesk at 400 and 600. Nothing heavier, nothing lighter, no italic in the grotesk.

.14 em minimum, uppercase, and never below 5.5 pt in print or 10 px on screen.

If a face will not load: Georgia for the slab, system sans for the body, any monospace for the labels.

The weave sits behind things. It is never an object, never a border, never a divider.

Quiet, tonal, hot. New thread colours are not a decision anyone downstream gets to make.

Roughly 2.5% of the surface width per thread. Too fine and it moirés in print; too coarse and it reads as checks.

The mark is woven from the same tile. That is the join between texture and symbol — do not break it.

The mark. The five grounds. The four typefaces and the job each one does.

Weave strength, burst presence, how much surface an accent owns, and whether Taglish appears at all.

A drawn wordmark, to replace the Google Fonts stand-in

The Manila photography commission — staff, office, street

The client site, built on the homepage direction in this book

First merchandise sample run, to settle ink on dark cloth