Brand Book

Logo

Three shapes, and the names matter because the filename is what the next person trusts.

3×1 is the horizontal lockup — shield left, wordmark right. It is the default wherever there is width for it.

1×1 is the stacked lockup — shield on top, SKO COMPOUNDS beneath. Roughly square. This is the app icon and the avatar.

SHIELD is the mark on its own, taller than wide. It is not the 1×1 — the 1×1 still carries the wordmark.

Clear space on all four sides equals the height of the shield. White on coloured grounds and photography, navy on light. Disclaimers always take the flat white shield.

Below roughly 48 px, and over any image, drop to a flat shield. The full‑colour lockup is a render and does not survive either.

The Flat Shield

Two cuts, and they are not interchangeable.

PLAIN is the solid silhouette — no helix, nothing inside it. It is the badge: reach for it to contain something, to sit over a photograph, or anywhere the mark would be too busy to read.

MARK is the shield with the helix knocked out. Because the helix is a hole, it takes the colour of whatever is behind it — which is right on a flat ground and wrong on a busy one. On a photograph, use PLAIN.

Both are one colour, cut from the vector: no gradient, no bevel. White for coloured grounds and every disclaimer; blue and deep for light grounds.

Below roughly 48 px, and over any image, these are the only cuts. The full‑colour mark is a render and does not survive either.

Colour

One blue at three values. SKO Blue is the primary, measured off the label. Field is the same blue held brighter — what blue becomes when blue is the whole surface. Foil is a material, not a colour: two bands on the label, and it appears only where it physically exists.

The blue is already Yves Klein Blue. IKB is #002FA7, hue 223. SKO Blue is #173384, hue 224 — the same hue, ours darker. Nothing to chase. But Klein’s blue was never a backdrop, it was the work, and that is the rule we take.

Measured 29 Aug 2026 off the label artwork. #26379B, #1B2A7A and the store’s #1447D6 were read off photographs, not the pack, and are retired.

Helix — the cuts

One helix, seven cuts. Every one is rendered off the same reference — the chrome helix on the cover — so the geometry is identical in all seven: two and a half turns, strands offset 0.42 of a turn, rungs as paired bars. The only variable is material.

Three are rendered. Liquid chrome is the hero cut and carries the thin‑film iridescence of the foil. Soft white and matte blue are the quiet ones.

Three are flat. Unlit colour, no shading, no highlight. These survive small sizes, flat print and embroidery, and they are the default wherever a render cannot be trusted to hold.

And one is the mark itself. The logo ombré runs the lockup’s own range down the strand: light chrome blue at the top, through the palette, to the deep navy the shield ends on.

Each sits on the ground it is for: white on blue, blue on paper, chrome and light blue on carbon.

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The Compound

The linework on the label is a molecule. A column of fused rings up one edge, a branching chain with its atoms down the other, both fading toward the centre so the type sits on clear ground. On the pack it is foil. Rendered, it is liquid chrome — the same material as the helix.

It lives at the edge. The compound frames a composition; it never fills one. There is no honeycomb cut, and there will not be one. Two fragments at the margins, fading in, and never behind type.

Four grounds. Field is the default. Deep for dark work, Halo for light, and white for print and paper. The chrome is the same in all four; only the ground changes, so the reflections change with it.

Three frames. 16:9, 9:16 and 1:1, each composed for its shape rather than cropped from the wide one. In print it runs as a foil deboss along the edges of the box and the card.

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Typography

Two faces. DM Sans does the talking, Inter does the work, and nothing else is added without replacing one of them.

Both load from Google, so what this page shows is what ships — there is no licensed file to chase before artwork can be approved.

Labels are uppercase at 0.18em. Nothing else is uppercase. Set tabular figures wherever numbers line up in a column.

Manrope stays in exactly one place — the Machine Vision readouts, because that is the face the overlay system renders its labels in. It is not a brand face.

Motion

The glitch DNA transition is the brand’s own move, read off the reference frame by frame at 24fps. These are the values the build uses — running, not described.

Hard cuts only. Every state change happens in a single frame. There are no crossfades anywhere in the system: a dissolve reads as a transition effect, a cut reads as a machine switching modes.

Two clocks, never locked. Structure holds 300–720ms; accretion toggles every 60–320ms on its own timer. The flicker between them is where the life is.

The flash is a cut, not a glow. One frame of flat blue, about 42ms, roughly one state change in six.

The Field

Blue used flat, edge to edge, with the flat white mark in it. This is the Klein rule and it is the only way the blue runs large.

The ground carries no gradient, no vignette and no falloff. What gives the frame depth is the object in it, never the surface behind it.

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The Bar

The rule carrying the mark. Straight angles hold on static work — the slant is for motion, where the camera moves around it.

The bar is a crop of the field, not a graphic laid on top of one. It runs to both edges every time.

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The Bleed

The mark run off the edge. At this scale it stops being a logo and becomes architecture — which is the point.

Crops come from the vector, never from a raster. Any crop that cannot be reproduced from sko-mark-1c.svg is not a crop, it is a mistake.

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The Mark

Construction and the master. Everything here is rendered from the vector master.

Clear space on all four sides equals the height of the shield. Below the lockup's minimum width, drop to the shield alone.

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The Woven Shield

The helix woven into the shield — the connective device and the mark resolved into one form.

Every strand is clipped to the shield outline. Nothing runs outside it, and any stub shorter than the weave pitch is dropped rather than left as debris.

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Photography — the studio

The product is in every piece of content we put out, so this is the most-used page in the book. Every image starts from the catalogue render, which means the label is always the real label: right SKU, right dose, both foil bands. What changes is the world around it, and that world has four rules.

One light, high and to the left. The shadow falls on the seamless, never on a floor with an edge in it. The label reads: nothing crosses it, nothing tints it, the bottle is never warped, flipped or re-lettered.

Dry or wet — both are approved. The studio plates are dry glass. The wet cut is the same plate with condensation on the glass and cap, the foil catching the key; it is an option, not a rule. Use it when the frame wants cold and fresh, and the dry plate when it wants clean and clinical. Every plate on this page has both.

The studio masters on the warm seamless are for listings and product pages. Bundles sit on white to match the site. The Field and the floats are for ads and social.

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Photography — the moments

Four editorial set-ups for when the product needs a world: the helix drawn in sand with the vial resting on it; the vial in a fine light-blue powder; the vial with light moving behind it; and the plush set, where the helix and the shield are soft objects beside it.

In every one the brand asset is in the world and the vial is on top of it. The helix, the shield and the compound appear as things — drawn, poured, sewn — and they never compete with the label. The palette holds: sand and powder are Halo, the plush is Deep and Halo, the light is white.

Nothing candid, nothing lifestyle. No hands, no kitchens, no gym bags. The marble and Halo lifts round out the set for the site. Each moment also has a wet cut on the Assets page.

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The Array

The catalogue in orbit — all 34 units, with the names, sizes and prices read off the live store. Every unit is a real vial in three dimensions, not a picture of one.

The profile is that SKU’s own silhouette, measured off its catalogue render and revolved, so the body, shoulder, neck, crimp collar and flip‑top are the shape the product actually is. The label is its own artwork, un‑projected off the front‑on render and wrapped. Units are held at one height the way the rail shot holds them, and diameter is left alone — so a tall vial reads correctly as a thin one.

At the centre, the helix runs the full height and out both ends — the catalogue orbits it rather than the helix sitting among the units. Liquid metal carrying real thin‑film iridescence, the same physics as the foil on the label. Strands offset 0.42 of a turn, pitch held near twice the diameter so it reads as DNA and not as a spring.

The ground is Field #244399, flat. No gradient, no vignette. The depth in the frame comes from the objects in it, never from the surface behind them.

Drag to spin it. It carries momentum and settles. Hovering holds it still and raises that unit; clicking opens that product.

Claims

This is the complete approved vocabulary. A claim not on this list does not go into an asset until ownership adds it here.

Figures are re-verified before each flight, never copied forward.