Everything you need to make something on brand.
The logo files and the rules that govern them, the color values, the type system, the layout grid, the photography direction, and the motion principles. This page is the source of truth. If something here disagrees with a file you were sent, this page wins.
Playful Swiss-Bauhaus modernism
Swiss clarity, structure, and typographic discipline, carried by Bauhaus color, geometry, and optimism. It reads precise and technically capable without going cold or corporate.
Connection is the central visual idea. Lines are the movement of information. Nodes and terminals are platforms, people, and endpoints. Interwoven paths are separate systems becoming one continuous experience. The logo states this directly: three flowing currents joined by a series of terminals.
Expert. Accountable. Partner. The most experienced connector specialist in the room: clear, calm, commercially aware, fully accountable.
The visual identity carries the playfulness. The writing carries clarity, maturity, and trust. Never both at once.
The connector layer is handled. Indisea sells technical execution; the value underneath is confidence and focus.
Indisea is India plus Seattle
Two founders are from India, two from Seattle. The company is a joint venture across an ocean, and the name says so. That matters when you write about it: this is not an offshore vendor arrangement, it is one firm in two places, which is why the voice says "we" about delivery.
The sea in Seattle. The strokes are ocean, which is the "sea" in the name and the distance the partnership crosses.
The same strokes read as fiber cable running into endpoints, which is literally what Indisea builds. Connectors, drawn.
So the mark is a visual pun with a business meaning: an ocean crossed, and a connection made. That is also why the primary logo puts Signal Yellow endpoints on Sky Blue strokes — blue for the sea, lit yellow ends for the fiber. Read the colorway as sea-plus-signal, not as decoration.
Anatomy, lockups, and files
The mark is 11 shapes: 5 connector strokes and 6 endpoint squares. A two-color tone colors those two groups differently; a single-color tone fills all eleven the same. The mark never uses a tint of a brand color, only the 500 values, and never a color from outside the palette.
Use the supplied files. Never redraw, recolor, re-space, or rebuild a lockup from an icon plus type.
Which lockup
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Which colorway
Two rules decide the tone, in order. One: the first logo in any design is blue — top of the website, first slide of a deck, whichever logo the viewer meets first. Two: every logo after that matches the nearest layout color, with the connectors matching the neighboring element. Then the background overrides both: on a 500-value fill go mono, white on color, and stone on charcoal.
Keep clear space around every lockup equal to the height of the logomark's endpoint square. Nothing enters that field: no type, no rule, no image edge.
Below roughly 24px the endpoint squares stop registering as a second color, so switch to a single-color tone. The two-color mark is never used below that.
Color lives in the mark. The wordmark is type, so it behaves like type: charcoal on a light page, stone on a dark one. The -Alt files carry the stone wordmark, so following the page means picking a different file, not restyling one.
There is no blue, green, yellow, or red wordmark file, and none should be made. Wordmark-Black.svg is true black rather than brand charcoal: treat it as print-only.
Never do this
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Download the files
SVG is the master format: use it for anything digital or vector. PNG is generated at 2048px wide on a transparent background, for slides, documents and anywhere SVG is not accepted.
Six colors, and every one is a place
The palette comes from three places: India, Seattle, and Kansas where the CEO lives. It is urban and innovative, tied to the vibrance of India and the farmland of Kansas. That gives you a useful test: a color that cannot be traced to one of those three places does not belong in the brand.
Click any value to copy it.
The ramps
Lighter and darker values come from these 20% tint ramps, never from opacity on a brand color over an unknown background. Click a chip to copy its hex.
The rules that catch people out
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Never set text on blue 600, green 600, yellow 700, or red 400. Each clears neither polarity at 4.5:1. They are legal as fills behind imagery or as chart colors, and nowhere else.
Twelve approved gradients, and nothing else
Three per hue: light (100 to 500) for blocks on a light canvas, medium (300 to 700) for connector strokes and chart ramps, and dark (500 to 900) for blocks on a dark canvas. Always 180 degrees, top to bottom, light end up. Single hue only. One fixed angle is what keeps a gradient Swiss rather than decorative.
Allowed on three surfaces only: a full section or slide background, a connector stroke that shifts value along its path, and data visualization. Never on a card, never as a photo scrim, never on a small accent, and never under the logo pattern. Text on a gradient is 24px and up, and contrast is measured against the worst end.
IBM Plex, for a functional reason
The brand needed a grotesk to carry the Swiss vision. But almost every grotesk draws the capital I as a single unadorned bar, and that letter leads the company name. In a single-bar grotesk, "Indisea" misreads as "lidisea" at a glance.
IBM Plex Sans is grotesk-inspired: it keeps the neutral Swiss feel but gives the capital I a hat and feet. So IBM Plex is the only approved typeface, and the reason is functional rather than aesthetic. If Plex is genuinely unavailable, the requirement to preserve is a serifed capital I, not the general grotesk look.
Use the role tokens, not a literal weight. Bold 700 is not a text weight in this system.
The scale
Display -0.035em, headings -0.032em, body -0.011em, labels +0.005em. Only uppercase runs positive, at +0.07em. Body copy sitting slightly negative rather than at zero is the detail most systems miss, and it is a large part of what reads as Swiss.
Display 0.92, headings 0.96, snug 1.22, body 1.45, relaxed 1.5. Headings sit almost as tight as display, so a two-line heading reads as one block rather than two stacked lines. Body at 1.45 rather than the 1.55 web default holds the paragraph together.
Left-aligned by default. Hierarchy comes from scale first, weight second. One typographic protagonist per composition — never two oversized statements competing. Sentence case everywhere; ALL CAPS only for small wayfinding, tracked +0.07em.
Mono is a precision instrument, not a texture
Sans is the voice of the brand; mono is the voice of the machine. The test is one question: did a system generate this string, or did a person write it? If a person wrote it, it is sans. No exceptions for "it looks technical". A typical marketing page uses zero mono. Rule of thumb: under 5% of the type on any screen.
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Plex Mono runs optically larger than Plex Sans, so set mono one step down from the sans beside it: 13px mono next to 14px sans, 12 next to 13, 11 next to 12. Always tabular numerals with slashed zero. Regular 400, Medium 500, and SemiBold 600 only; italic mono is not loaded.
Twelve columns, and one intentional break
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4/8-based. Never 18, 27, or 53.
Block rhythm: 70 / 25 / 5
This is what makes a layout read Bauhaus rather than merely tidy. A design is not one background with things on it; it is a sequence of blocks, each declaring a mode. Roughly 70% base mode, 20 to 25% alt mode (the opposite polarity) and 5 to 10% color. Measure by visual area, and count the page body only: the header and footer are fixtures, not compositional choices.
Under 15% alt reads flat and corporate. Over 35% reads striped and loses which polarity is the base. One color block per view, and it should be the thing you want remembered. Never two color blocks adjacent.
Rounded, flat, and two surfaces deep
There are no shadows, ever. No drop shadows, no inner shadows, no glows, no lift on hover. Depth is a surface value step and nothing else: stone canvas, nearly-white card. A flat nearly-white fill on stone is already a card and does not need an outline to prove it.
Buttons and chips are always pill. Cards are 16px, or 24 to 32px for a standalone statement panel. Inputs are 8px. A nested well inside a card steps down to 12px. The one exception to rounding is a pattern field, which is always square-cornered.
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Buttons, lists, and labels
The primary button is the contrast pill, not a colored one: the opposite value of whatever it sits on, with its icon in Sky Blue as the one colored element. Blue is never a button fill. The only colored buttons are the three semantic ones, and a button is colored because the action is a deploy, a caution, or a destruction, never to look important.
Icon placement is a rule, not a choice: an arrow reads as "onward" and follows the label; any other glyph is a category marker and leads. One glyph per button, never two.
The ring is an outline, not a fill, and the ring and numeral are the same color. One color per list; nothing cycles. 32px circle, 2px ring, numeral 14px semibold. Never a raw palette value on a marker.
A section eyebrow is muted, never colored: it is wayfinding, so it recedes. A verdict carries a judgment, and the judgment is the hue, so it becomes a tint chip. Never a colored label sitting on its own. If it needs a hue, it needs a fill.
The one decorative device the brand owns
The logomark's own idea at layout scale: waves that read as wires, with nodes that read as endpoints. Four weights, all on the 8pt grid, and the corner radius is derived from the weight, never chosen.
A solid dot at 1.75x the weight, the destination. A hollow ring at 2.5x the weight, stroked at the line's width, an origin, or pass-through. Or off canvas, butt cap, no node at all. A hollow ring's hole is filled with the surface it sits on.
A blue line with yellow square endpoints. That is a misreading of the logomark: the mark has square endpoints in a contrasting hue; the graphic element has round terminals in one hue. Also never a diamond, a bar, an arrowhead, a plus, a ring in a different hue, or a terminal that stops short of the line's end.
Segments are axis-aligned: orthogonal runs and derived corners only. No diagonals, no free curves. Always colored, one color per line, never neutral — a charcoal or stone line reads as a divider, which is a different element with different rules.
A background, never a content surface
The wave-and-node motif from the logomark, tiled. Six colorways, each a 600×600 SVG of one solid color on transparency, so the color underneath is the background and the SVG is the ink.
The field is busy on purpose, so type directly on it fails at any size in any color. Copy goes in a solid card or a solid color band laid over the field. That is also what gives the composition its figure-on-field structure, which is the Bauhaus half of this brand.
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Graphic reality, shot as documentary truth
An Indisea image is a real, deeply focused professional photograph that reduces its subject into one clear idea, one strong geometric composition, and one disciplined relationship of brand-aligned color.
Swiss compositional discipline plus Bauhaus color. It must look camera-made: never a render, an illustration, or a visibly generated image. When judging a frame the priority order is photographic credibility first, composition second, brand color third. An image that nails the palette but reads as CGI is a reject, not a revise.
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Drone, aerial, or worm's-eye views. CGI and plastic surfaces. Cyberpunk or neon-tech effects. Corporate-stock behavior: handshakes, meeting tables, pointing at screens. Crowds. Fake UI or malformed text. HDR halos. Bokeh, which is the most common failure because it is every camera's default. And Bauhaus shapes pasted on as decoration — the geometry is found in the subject, never added.
Downloads
The image style guide does both jobs: it is the prompt guide for generating images in the Indisea style with an AI model, and the direction for shooting real photography in that same style. Give it to a model or to a photographer.
Phosphor, fill weight only
One icon library, one weight. Icons inherit currentColor, so they resolve on their own in any scope. Emoji are never used — not on the site, not in the product, not in decks — and Unicode symbols are not used as icons either.
Direct and intentional, never soft
Opacity is never animated. No fades, appears, dissolves, blur-ins, or typewriter effects. Every entrance is either positional, where an object arrives from somewhere real, or masked, where an object already there is uncovered. A fade says the interface is unsure the content belongs; Indisea's motion says the content was always there and the layer in front of it just moved.
No bounce, spring, elastic, or overshoot, ever.
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Easing is cubic-bezier(0.2,0,0,1) for almost everything, decelerate for something arriving and stopping, accelerate for something leaving and not returning. prefers-reduced-motion zeroes every duration and the parallax shift.
How Indisea writes
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solutions provider · digital transformation · synergy · leverage (when "use" works) · robust · cutting-edge · innovative solutions · best-in-class · one-stop shop · effortlessly · magic · disruptive. Plus unsupported superlatives: global leader · world-class · unmatched · revolutionary · industry-leading.
No em dashes, ever. Rewrite the sentence instead. American spelling always. And write FinTech and eCommerce with that capitalization; connector is always lowercase.
Who made this
The Indisea brand and logo were designed by Jacob Schlittenhardt (J.C. Hardt).
Including the logomark, the color system, the type system, the connector-line device, the logo pattern, and the photography direction. Questions about applying the brand, or a use this page does not cover, can go to info@indiseasoftware.com.