A product marketing, design and production studio.

What the studio does, all the way through.

Most studios hand off at the logo. We stay through the thread colors, the vinyl spec, the minimum size on a favicon, the edit, the grade and the run of show. The reason is simple: a mark that has never been tested at sixteen pixels or on a sixty-foot LED wall is not finished.

Marks drawn to outlast their briefs.

One ink, one weight, so they read against each other rather than their own brand colors. Made with the people named beneath them.

Publications, out every day.

A masthead is the hardest test a mark ever gets. It has to hold the top of the page while everything underneath it changes, every day, with nobody from the studio in the room. So we draw the mark and then build the thing it has to survive: the templates, the type scale, the category plates, the rules that let an editor file at seven in the morning without breaking the page. All three of these appear again as marks below.

The Measure

themeasure.net ↗

Masthead  ·  site  ·  design system

Exclusive insights for media and marketers. The waveform beneath the masthead is the publication’s only ornament, and it has to hold from a full-bleed header down to a favicon.

TVREV

tvrev2beta2.ghost.io ↗

Masthead  ·  site  ·  design system

The future of television, dissected daily. An editorial serif at display size over a monospaced deck line, with the week’s signal pinned above the fold and a ranked index down the right.

medianexis.

medianexis.com ↗

Masthead  ·  site  ·  design system

The business of media, ads and measurement, built to be cited. Each story sits on a dated plate with its category ghosted behind the headline, so the front page never waits on a photograph; The Signal and the Wire run down the right.

Walmart × VIZIO NewFront, March 2026.

Creative direction across the whole surface of the show: the title system on a wall wide enough to seat the audience under it, the screen content between segments, and the printed program in the hand. One identity, three very different reproductions — which is the entire argument for standards.

Fewer people, further through.

A small studio: one principal, Geoff Katz, and a short list of people it works with. What sits behind it is a career spent inside the networks and platforms — TiVo, DIRECTV, Fox, Disney — running the organizations that commission work like this.

Editions, printed and numbered.

Original art out of the studio, published as Stardust Gravity Editions. Each sheet takes held source material — Apollo-era photography, television frames, roadside Americana — and runs it back through a printing process until the process itself becomes the subject. Prices on request.

Five two-color studies held as continuous tone, with no halftone anywhere. Each is built from two screens: one carries the photographic image, the other a flat color field and its off-register ghost. Ten separated plates in all.

Studies

Five, two inks each

Screen

Continuous tone, no halftone

Plates

Ten, separated

Format

4:5  ·  1200 × 1500

Six glitch reductions from the same held sources, run back through a corrupted screen — halftoned, mis-registered, dragged into the feed: the propaganda poster after the machine got in.

Edition

30, with 8 A/P each

Stock

Bright white card, 290

Process

Four-color CMYK, one fluoro hit

Screen angles

C 15° · M 75° · Y 0° · K 45°

Prices on request  ·  geoff@stardustgravity.com  ·  Sheet 002 ↗  ·  Sheet 003 ↗