Overview
The client came with the request already formed: the typeface felt dated, and the logo had to become more modern and easier to read — without losing the premium read the business is priced on.
That is a narrow path. Most of the ways a brand signals premium are dated by default: ornament, high-contrast serifs, heraldry, gold on navy.
One element was fixed — the lion stays. Everything holding it up was rebuilt.
Now in production:
product tags, retail vitrines, and a stand at a trade fair in September 2026.
That is a narrow path. Most of the ways a brand signals premium are dated by default: ornament, high-contrast serifs, heraldry, gold on navy.
One element was fixed — the lion stays. Everything holding it up was rebuilt.
Now in production:
product tags, retail vitrines, and a stand at a trade fair in September 2026.
Role
Brand identity, brand guidelines, packaging, campaign design
Delivered in one month
A redrawn mark in three lockups, a five-colour system with usage percentages, Onest across Cyrillic and Latin, three patterns drawn from the symbol, packaging, a 45-page manual with two companion guides, 12 campaign banners, and AI-generated retail and exhibition spaces so the client could see the palette at room scale before paying to build it.
What the old logo was made of
Four separate signals of luxury, stacked: a roman numeral, a heraldic lion with a decorative mane, an LN monogram in Libre Baskerville, and a letterspaced serif descriptor — gold on navy.
Each one is a convention, and conventions age together. Stacked, they date the brand to a decade rather than place it in a category. And the monogram carried a practical problem on top of the stylistic one: initials have to be decoded. A brand still building recognition needs its name read, not deciphered.
What kept it premium: restraint, not decoration. Generous letterspacing, a large clear zone, one figurative element and one accent colour capped at 5 %. Everything a premium brand can afford to leave out.
Each one is a convention, and conventions age together. Stacked, they date the brand to a decade rather than place it in a category. And the monogram carried a practical problem on top of the stylistic one: initials have to be decoded. A brand still building recognition needs its name read, not deciphered.
What kept it premium: restraint, not decoration. Generous letterspacing, a large clear zone, one figurative element and one accent colour capped at 5 %. Everything a premium brand can afford to leave out.
A clearer, more contemporary wordmark
The monogram was replaced with the full LANÓRDICA name for instant recognition. The accent on Ó adds a distinctive detail, while the move from Libre Baskerville to Onest removes the historical tone and brings the identity into a more modern, restrained visual language. The Roman numeral XXI was removed as an unnecessary reference to heritage.
A simpler, more ownable brand system
The lion was reduced to a clean, recognisable silhouette that remains effective across print, embossing and digital applications. Gold-on-navy was replaced with espresso and ivory — preserving a premium feel while moving away from the familiar visual clichés of the luxury category.
The system
Lockups. Vertical, horizontal and text-only, with clear space on a 3x module and minimum sizes fixed for both media: 35 px on screen, 20 mm wide in print. A jewellery brand lives at small sizes — on a tag, a clasp box, an icon — so the minimums were set first and the drawing tested against them.
Typography. Onest, from Thin upward, across Cyrillic and Latin. The old typography performed status; this one stays out of the way and lets the jewellery do it.
Colour. The client asked for one thing: keep the beige. It became Soft Ivory — and the constraint that moved the brand off gold-on-navy.
Typography. Onest, from Thin upward, across Cyrillic and Latin. The old typography performed status; this one stays out of the way and lets the jewellery do it.
Colour. The client asked for one thing: keep the beige. It became Soft Ivory — and the constraint that moved the brand off gold-on-navy.
The proportions are the system
The proportions are the system, not the swatches. Espresso on Ivory runs at 15.4:1 and carries every piece of text in the brand. Cognac reaches 3.6:1 — too low for body copy, which is why it is capped at 5 %: a colour for a rule, a detail, the edge of a ribbon. Writing the percentages into the manual is what stops an accent from becoming a theme the first time someone else opens the file.
Patterns.
Three, all drawn from the mark rather than invented beside it: a graphic pattern for surfaces and packaging, a modular one for print and digital fields, a linear one for package edges and ribbons. One source, three densities.
The brand in space
The last part of the work was showing the client the brand at room scale before anyone built anything.
A light vitrine in Soft Ivory for retail: warm ivory, gold metal, soft lighting, the architecture receding and the pieces holding attention. A dark vitrine in Espresso Brown for fairs, where the contrast against gold reads as status rather than decoration.
The purpose was practical. A stand or an interior is commissioned once and paid for in full; seeing the palette at scale beforehand is the difference between a brief and a guess.
A light vitrine in Soft Ivory for retail: warm ivory, gold metal, soft lighting, the architecture receding and the pieces holding attention. A dark vitrine in Espresso Brown for fairs, where the contrast against gold reads as status rather than decoration.
The purpose was practical. A stand or an interior is commissioned once and paid for in full; seeing the palette at scale beforehand is the difference between a brief and a guess.
Campaign
Two creative directions, twelve banners with six formats for a retail partner's site: one summer route shot on location, one minimal route built around a single model. Both used AI-generated imagery, art-directed to the palette and the type system rather than generated and accepted.
Outcome
On the product.
Jewellery tags carrying the new mark are in production — the first place a customer meets the brand after the purchase.
In the room.
Retail vitrines built in the brand's colours, to the design the visualisations set out. An exhibition stand in the new identity goes to its first trade fair in September 2026.
Jewellery tags carrying the new mark are in production — the first place a customer meets the brand after the purchase.
In the room.
Retail vitrines built in the brand's colours, to the design the visualisations set out. An exhibition stand in the new identity goes to its first trade fair in September 2026.
And it keeps going without me.
A 45-page manual and two companion guides mean the client can brief a stand builder, a printer or a partner's ad team from one document — and get back something that still looks like LANÓRDICA.
A 45-page manual and two companion guides mean the client can brief a stand builder, a printer or a partner's ad team from one document — and get back something that still looks like LANÓRDICA.
