The brief

Relmu wasn’t selling objects: it was selling the experience of making them. That changes the whole approach — the site didn’t need to work as a shop but as a front door to a physical place, and the brand had to feel handmade without looking careless.

What I did

I started with the logotype: a lowercase word where the bar of the “l” cuts across the stroke, like the mark a tool leaves on the wheel.

From there came the colour system: eleven tokens on a base of cream and pine green, with clay orange as the primary. The decision that holds it together is that each craft has its own colour — ochre for ceramics, teal for glass fusing, cobalt for cyanotype — so the studio can signal a workshop, a piece or a post without spelling out which discipline it is.

With the system in place came the social media pieces: firing announcements, rates and service launches, all built from the same elements — cut paper, grainy gradients and heavy type — so they read as Relmu without needing the logo.

On that base I built the website, organised around a single action: booking a workshop. Workshops up front, the gallery as proof of what you’ll take home, and contact via WhatsApp because that’s where people actually write.