Most brands pick a colour. We picked a temperature.
Unwrapping lives in green — a near-black forest green and a bright, living green, with the whole distance between them to work in. The dark one is the ground: serious, quiet, the colour of a thing that will last. The bright one is the signal: new growth, the moment something turns over. Put them together and you get the whole idea of the studio in two swatches — keep what lasts, notice what's new.
Working inside one colour family is a constraint, and constraints are the point. When you can't reach for a rainbow, you start paying attention to everything else: the grain of paper, the weight of brass, the way linen eats light. Colour stops being decoration and starts being air.
How it shows up:
- Deep green as ground — backdrops, type, the frame around an object.
- Bright green as accent — one mark, never a wash. A single leaf of it.
- Everything else earns its colour — a wood, a stone, a printed card brings its own, and we let it.
The objects change season to season. The green doesn't. It's how you'll know a picture is ours before you read a word.