Claudia and I have different skills and approaches that happen to be uber-complementary. The communication of the design is paramount for both of us, but my end results tend to be brash while hers are intricate and beautiful. I build my pages; she paints hers. We joke that we start out in different races, and then collide when the courses overlap. Fortunately, the collisions tend to be pretty cool.
For our logo, we started with the idea of an old-timey small-town bank ... responsive, friendly, professional. We knew from the get-go that we wanted a serif face to communicate that personality, and we wanted some serious weight to connote gravitas and expertise. But within that broad outline, we also wanted a sense of a sense of delicacy ... a flourish to counter the in-your-faceness of the letterforms.
Our first explorations were roman but we gravitated pretty quickly to the strong, precise shapes of a wedge serif. The name of the company breaks beautifully into the constituent syllables, so we took advantage of the mirrored "n" and "u" to visually echo our counter-intuitively complementary work styles. (Say that three times fast!) Claudia drew the base letters, and then we passed them back and forth with notes like "I messed with the curve on the 'q' ... you like?"
After a little back and forth, we landed on a set of letters that felt "us" that we handed off to the amazing Tal Lemming. He dialed in the details, and sent it back to us as the perfect mark. —Margaret Swart