THE BRIEF WAS A NICKNAME.

David had been called MUTT for years. It stuck from a period of his career shooting street, festivals, raves — places where the camera goes where it fits, not where it's planned. The name carried texture. The problem was communicating it visually without it looking rough.

The tension in the logo comes from that constraint. MUTT as a word reads raw, underground, unfinished. The mark had to hold that energy without letting it spill over into something that looked cheap.

I kept the typography bold and geometric — no serifs, no decorative cuts, full weight. The letterforms needed to feel confident and urban at the same time. The decision to break "MUTT" into "MUT" and "T" with a centered dot in between was structural, not decorative. The dot reads as a lens at first glance, which works for photography. It also functions as a pause, a breath inside the name, which gives the wordmark rhythm without adding any visual noise.

Black on white. No gradients, no texture overlays, no effects trying to approximate the street quality of the work. The cleanliness of the mark is the contrast — David's photography lives in chaotic environments, so the brand sits at the opposite end. Controlled. Precise. Recognizable at any size.

"POTHOGRAPH" in spaced light caps anchors the bottom. The letterspacing there does the work that a heavier font would overdo.

The whole mark fits on a business card or a festival screen with the same read.

Deliverable: Logo design · Brand mark · Typography system

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