The questions founders actually ask.

It depends on who draws it and what you are buying. Across the market, logo work runs from about $5 on a marketplace to $50,000 at an agency, for what looks like the same deliverable.

We quote a fixed fee from your brief. What a logo actually costs, and why is the long version.

Because you are paying for more than the picture. The price covers the research behind the mark, the originality of the result, the rights you end up holding, and the completeness of what you are handed. A cheap gig is a template with your name set in it, delivered as PNGs with unclear rights.

Budget against use. Ambition is not the measure. One mark for a landing page is a smaller problem than packaging, signage and a product interface. Across the industry, a custom mark from an independent studio typically runs into the low four figures. The expensive version is doing it twice.

The fee is fixed and agreed in writing before any work starts, schedule included, so the number in the quote is the number you pay. Ownership transfers to you once the project is paid in full.

The quote sets out whether there is a deposit and how the payments are split, since that varies with the size of the project and with how you prefer to book the work.

The logo is the mark. The identity is everything around it: colour, type, layout, graphic language, voice. If every new asset is a fresh decision you have a logo; if someone else can make one without asking you, you have an identity. The line between the two is worth understanding first.

Colour, typography, layout and grid, a graphic language, art direction for imagery, and the written voice. All of it is drawn as one system and written down, so the rules outlast the person who made them. The brand identity page has the full list.

Often, yes. A well-drawn mark and a decided colour and typeface will carry a website, a deck and one social profile. It stops being enough once more than one person is making things, because the absence of rules shows up as drift.

Yes, if the mark is sound. Building an identity on an existing logo is the cheaper, sensible route. If the mark is the problem we will say so, and the job becomes logo design. You also need to actually own it.

Long enough to research, draw, reject and redraw. The schedule is agreed at the brief stage and written into the quote. We will not name a turnaround before knowing what is being drawn.

Longer than a logo. The mark leads, and it is drawn with the rest of the system already in view. The four stages are the same either way; an identity simply has more inside the last two.

Most of it at the beginning. The brief needs you properly present: the company, the audience, the ambition, and who has the final say. After that, respond to each round once and completely. Feedback in fragments costs more time than the design does.

A small number of genuinely distinct directions. Each one is presented in context and argued for. Thirty options are only possible if very little thought went into any of them.

Enough to get it right. Refinement is a stage of the project, and its scope is fixed in the quote before work starts. We do not sell rounds as an upsell.

It usually means the brief was wrong, not the drawing. So we go back to the brief instead of editing a direction nobody believes in.

Yes. The studio works remotely with founders worldwide, and briefs, reviews and delivery happen over email. Written feedback is more precise and leaves a record both sides can return to. If you want daily calls inside your working hours, we are not set up for that.

Usually fine, and occasionally an advantage. A designer who has drawn forty logos in one sector tends to produce the forty-first. The work in the archive (opens in a new tab) spans categories for that reason. If you want someone who already knows your industry’s conventions, say so; it may not be us.

You get vector masters: SVG and EPS, plus the editable source. You also get raster exports, a print-ready PDF, a favicon set, and written usage rules. The exact export set is agreed in the quote, because a mark going onto packaging needs files a mark going onto a website does not.

The vectors are the artwork. If you are handed only PNGs, what you own is pictures of a logo. Which logo files you should receive covers each format.

With us, yes. Full ownership of the final work transfers to you on final payment, in writing, source files included.

It is not automatic elsewhere. In most jurisdictions copyright rests with whoever created the work unless it is explicitly assigned, and paying an invoice is not the same as being given the rights.

Yes. Registration turns on whether the mark is distinctive and actually used in commerce. Who holds the copyright does not come into it. You should still get the copyright assigned in writing, because they are two different rights and you want both.

Registration is a separate process from design: it is filed per class of goods and services, in each territory where you want protection, either directly or through a trademark attorney. This is a description of how it generally works, not legal advice.

Not in the United States, if the output is purely AI-generated. The US Copyright Office set out in its January 2025 guidance that copyright requires human authorship. Writing a prompt does not make you the author of what a model produces, however specific the prompt is. Human-authored contributions can still be protected, but only those contributions.

That is the US position, not settled the same way everywhere, and none of this is legal advice. What matters is the consequence: a mark you cannot protect is one a competitor may copy freely.