The name is set in lowercase, deliberately. Not a stylistic quirk — a statement. Lowercase is approachable, human, direct. It’s how you’d write it in a message to a colleague. “agency reporter” in lowercase says: we are serious without being stuffy. The same way we write — no jargon, no performance.

“agency” sits lighter above. “reporter” lands heavy below. The weight difference is not decoration — it’s hierarchy made visible. We cover the agency world. “reporter” is what we are. “agency” is the beat we’re on. The logo tells that story in two words and two weights.

The small green square at the end of “reporter” is not a period. It is a pixel — the single smallest unit of every screen, every ad, every CTV frame, every creator reel, every AI-generated image. Everything we cover begins and ends with a pixel being lit. It is our full stop, our proof point, and our editorial territory, compressed into 8×8 points.

Two colours. Signal Blue — the deep blue of a broadcast monitor, of data travelling through a DSP, of trust built over time. Signal Green — the colour of a live indicator, of a pixel lighting up, of something happening right now. Together they say: we are authoritative and we are live. We carry history and we are always current.

The favicon is simply the first two letters of “agency reporter” — extracted, enlarged, and contained. “ar” is the shorthand the industry already uses. The pixel sits in the corner like a tally light on a live camera. The two colour variants — blue on green, green on blue — are interchangeable. Both are equally primary. No hierarchy between them.

Fraunces — an optical serif designed to get richer and more expressive at display sizes. The double-storey ‘a’ and the curved arm of the ‘r’ give the “ar” mark its character. At large sizes the letterforms carry editorial authority. At small sizes they stay legible. It was built for exactly this: a publication that lives at every scale from a browser tab to a stage.