The name and the mark

A planning system takes in more than any person can read, every sale, every order, every promotion, every exception the night’s runs threw up, and owes the planner back a short list of decisions worth their attention. The instrument that does that is a sieve. Complexity goes in; what comes out is smaller, cleaner and worth acting on. That is the whole name, and it is also the tagline we say it with: Complexity in · Clarity out. Two clauses, one pivot, no full stops. The middot is the sieve.

The mark

We were clear from the first sketch about what the mark must not be: a picture of a sieve, a funnel, an arrow, a globe, a swoosh, or anything that looks like a neural network. The mark is refinement through a sieve, never a drawing of one.

What survived is small. Two slabs of ink lean toward each other, and beneath them sits a single dot, the one that passed through. That is all the geometry there is, and it is enough: at 16 pixels in a browser tab it is still legible, in one colour on a stamp it is still itself, and on a grey social banner it does not need help.

The brand is typographic first. The wordmark is the logo; the mark rides along for the places a wordmark cannot go: favicons, avatars, the corner of a slide. Below the lockup’s minimum width of 120 pixels the mark stands alone; above it, the lockup carries the name.

Two colours, and why

The wordmark is set in one geometric sans as a single word, tight, and it wears two colours on purpose. Plan is set in the ink: the solid, the refined, the thing you keep. Sieve is set in the teal: the mesh, the mechanism, the part that does the work. The dot over the i is ink; the dot beneath the mark is teal. The two dots are the same size, and they are the quiet rhyme in the design: one belongs to the letters, one belongs to the sieve.

There is no third colour, no gradient in the master, no bevel and no shadow. The palette is three roles: the ink, the teal, and a fixed canvas behind them: a cool near-white for the light pair and a deep near-black for the dark pair. Everything on this site that is not a product screenshot is drawn from those tokens and nothing else.

Dark is the brand’s face

The kit ships both pairs, and the two laws of use say which goes where.

The first law: dark is the brand’s face. Avatars, link previews, the website’s hero and proof band, the title slide of a deck, anywhere the brand introduces itself, use the light lockup on the dark canvas. The dark canvas is fixed; it does not follow the reader’s theme, so the first thing a person sees is the same everywhere. Light is the paper default, for documents, print, proposals and email signatures, where the reader has chosen the page and the brand should sit quietly on it. This site follows that law exactly: the header, the hero and the footer are always dark; the body follows your theme.

The second law is about breathing room. Clear space around the lockup is the height of the slab on all four sides, the lockup is never set narrower than 120 pixels, and the text in every shipped file is converted to outlines so that no one ever needs the font to render it.

Why we are telling you this

Because a planning platform asks to be trusted with the numbers a business runs on, and trust starts with a company that means what it says down to the small things. The name is a claim about what the product does. The mark is a claim about how it does it. The rest of this site is the evidence.