Two names, one word.

The brand name is a contraction of the designer’s surname and first name. It reads as one confident word in Czech and English and carries a quiet echo of “master” — craft, not ego.

Who is behind it.

The brand is a person, so the brand book starts with her. These four traits explain most of the decisions in the following chapters.

Drawn, not typed.

Instrument Serif Italic, optically kerned letter by letter, closed by the star: 0.53 em wide, 0.2 em from the last letter, centred two thirds up the x-height. Always use the supplied vector files — retyping will never match.

A star, never a full stop.

The star is part of the logo, not an ornament next to it. It never changes to a dot or a full stop, and it is the only part allowed to move: on hover, focus or as a loader it turns 90° with a soft spring.

One voice, five forms.

Choose the form by available space and distance from the viewer. The logo always comes first; the others are supporting characters. Every form carries the star.

Give it room to breathe.

The unit x equals the x-height of the logo (the height of the letter “a”). Keep at least 1x free on every side. Nothing — text, edges, other logos — enters this zone.

Ink, paper and one spark.

The letters take the darkest or lightest colour of the background. The star is always Accent Orange — except on orange, where it becomes Void. Mono versions are for one-colour print, embossing and foil.

Please don’t.

The logo is a drawn object. These are the eight most common ways it gets broken.

Initials, in three cuts.

The TM initials come in a stacked editorial cut, a star-divided version and a pill badge. They sign personal pieces — the logo stays the logo.

Try it on anything.

Pick a background and a form — the playground always applies the correct colourway (dark letters on light, white on dark, Void star on orange). Click the stage to spin the star.

Three core colours, two helpers.

Click any swatch to copy its HEX. CMYK and Pantone are the closest matches — always proof on the actual paper stock.

Mostly paper, a little fire.

Across a full layout or a series of posts, the colours should land roughly in this ratio. Orange works because it is rare: if a layout feels orange, reduce it.

Light, not decoration.

Gradients behave like a light source: a sunrise across orange, or an ember glowing out of the dark. Always orange to peach — never rainbow, never blue.

Orange is for large things.

WCAG 2.2 contrast. Accent Orange passes only for large text (24 px+, or 19 px bold) on light grounds — on Void it passes everywhere. For small text on orange, use Void, not white.

Named, never guessed.

Every gradient and glass surface used on the website, with its token name.

Compose, then check.

Combine background, text and accent — the card recolours live and the contrast is calculated on the spot (WCAG 2.2). If a pair fails, you’ll know before it ships.

Speak, explain, label.

All three are open-source (SIL OFL) Google Fonts with full Czech support — free for print, web and client work.

A scale with drama.

Large jumps between levels create the editorial tension. Display sizes are fluid; body sizes are fixed for readability.

Small rules, big difference.

Try it yourself.

Emphasis, four ways.

The only approved ways to highlight words inside a headline or paragraph.

Four points, exact.

A four-point star constructed on a square: tips touch the edges, inner vertices sit at 38.77 % / 61.23 %. It is a precise vector — never an asterisk, never a font glyph.

Draftsman’s paper, film grain.

Backgrounds borrow from technical drawing: a 40 px line grid or a 20 px dot grid at very low contrast. A subtle analogue grain sits on top of everything, so flat colour never feels digital.

Soft corners, hard grid.

Generous radii soften a strict 12-column grid. Space is a material — when unsure, add more.

The full toolkit.

Every background and decorative token from the website, with the class or value that builds it.

The signature effects.

On top of the strict layout system sits a layer of signature effects. They make the identity unmistakable — and they always move. Use one effect per composition, never all of them at once.

The star signs, the ring points.

The fluid ring is the cursor of masterka.eu turned into a brand mark: one liquid line that circles what matters. The star is the signature — exact and still. The ring is the gesture — drawn by hand, alive, a little different every time.

Small marks, big warmth.

Suns, stars, hearts, flowers and scribbles in watercolour and pencil. They are scans with limited resolution, so they always stay small — accents, never heroes.

Less, and smaller.

A stamp in the margin.

How I place the drawings in real formats: one small mark in a corner or margin, slightly rotated, never touching text or the logo. The layout does the work — the illustration adds the smile.

24 icons, one spark each.

Custom set on a 24 px grid, 1.75 px stroke, round caps and joins. One element of every icon carries the accent — that is the signature. Files: brand/07-ikony/svg.

62 scribbles, four series.

The complete tattoo-flash dataset from the website, shown at the size it should be used: small. Filter by series.

Natural light, real hands.

Process over polish: the desk, sketches, paper, dogs, screens in use. Portraits in natural light — in natural colour or grayscale. No colour overlays or duotones, no stock imagery, no staged handshakes.

Spring, then settle.

Things arrive fast and land softly. A slight overshoot gives life to small elements; large surfaces glide without bounce. Respect “reduce motion” settings everywhere.

Things that move on the web.

Live interactions that belong to the brand. Full working demos are in the developer reference.

Say this, not that.

Ready to paste.

Four shapes for everything.

12-column grid. Gutters 24 px (mobile) / 32 px (desktop). Page padding 24 px / 128 px vertical rhythm. Cards radius 40 px.

Asymmetry & harmony.

Feature grids are built from five card types. Mix sizes, keep the gaps equal, never more than one gradient card per grid.

The parts of the website.

Buttons, tags, feedback, inputs and navigation — live, in brand colours.

Patterns from practice.

Extracted from the Aeroscan and Lákavá case studies — reuse them so every project page feels like the same publication.

Every page ends with an invitation.

Respect the interface.

Every platform covers part of your image with its own UI. Text and logo stay inside the safe area; illustrations may run into the rest.

Approved signatures.

Four elements I chose as the purest expression of the brand. When in doubt, look here.

Take it with you.

Vector logos are outlined — no fonts needed. The complete kit with templates, exports and tools lives in the project’s brand/ folder.

Built with.

Brief the machine.

When extending the portfolio with AI tools, paste this context first. It condenses the whole brand book.