Design that has to work at sixteen pixels and sixty feet.

The logotype, drawn in the run-up to the IPO. All caps, the letters lifting as they go, one exclamation point doing the work of a symbol. Still legible at favicon size three decades on.

Drawn as TheDJ.com became Spinner — the first internet music service, and a wordmark sitting inside its own broadcast. Acquired by AOL the following year.

Seven bars — a frame’s worth of television pixels, one moment sampled and tagged. The company’s whole product in a mark. Acquired by Comcast.

Title identity for a live trivia format, built to hold up on a phone held one-handed and on an ad-sales stage the same week. One word, two weights, no second element to lose.

The startup’s founding wordmark. LOOP knocked out of a stadium shape, so the second half of the name draws the idea. Built to animate from the outset.

Monogram, lockup and chart style guide for the human-centric research platform — a system built to survive being pasted into a client’s deck.

A television that is also a frame, drawn with one corner rounded away so the set reads at banner size and at avatar size without redrawing.

A monogram that is also a waveform: the M drawn as a signal crossing a frame, set against a slab serif heavy enough to hold a masthead.

The publication’s mark, stamped on every title card. Not an asset — it is drawn in type and sized to its container, so one mark serves a thumbnail and a share image without a swap.