The Situation:

The Tarpestry Company is a small, two-person operation based in Denver, CO that produces blanket-like products with a waterproof tarp backing. Perfect for picnics, festivals, or camping, these blankets are sold around the country, primarily at music festivals and through a quickly growing online store. After a long, iterative process and a lot of trial and error, The Tarpestry Co. is now profitable and able to begin expanding beyond their traditional customer base of glampers and free-spirited festival goers. So far, their presence has been spread largely by word of mouth, but as they continue to grow, they need a stronger brand presence.

Old Identity


Retain an organic, handmade feeling while creating something slightly more mainstream and appealing to a broader audience.



The Tarpestry Co. logo was the first priority in defining their new identity. The old logo had changed annually for four or five years, usually due to running out of stickers at shows and needing something new. To keep things authentic, I put a pen to paper and sketched out a variety of letters and shapes, ultimately settling on a "slightly hippy-ish design without [it] being too much."


The resulting logo shape is, logically, the shape of the product itself, a squat rectangle with rounded corners. For more visual interest, I added two more rectangles at an angle to imitate a pile of Tarpestries. As a happy coincidence, the additional rectangle layers created mountain-like peaks – a perfect fit for a company that's based in Colorado. Next, I added a few extra nature elements to enhance the mini wilderness scene. The final logo is a malleable piece that can be deconstructed and simplified when needed.

Picking colors was a challenge because labels should complement their host fabric without clashing or blending in among an ever-changing inventory. My solution: the more, the merrier! Teal, bright blue, green, purple, orange, red, and generic black and white were all chosen to pair with Tarpestry’s most common color patterns.

The next hurdle was choosing a type style for brochures, etc. I played with making an entire font using the logotype, but it was just a little too rough and became difficult to read after more than a few words. Most serif fonts felt too fancy, while most sans serifs felt too cold and unfriendly. The Museo family was chosen as a suitable compromise, because it is clean enough to read easily but has plenty of amusing character. Fono Compressed was chosen as the headline type but is used sparingly.

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