Elevated golf, defined by touch.

Primary logo

Site header and footer, email header, ad sign-off, documents. If you are unsure which mark to use, use this one.

Secondary logos

Approved color combinations

Five colorways exist: Onyx, Charcoal, Nimbus, Bone, and White. These are the approved pairings.

Logo usage rules

• One mark per surface. The wordmark and a bar never appear together in the same layout.
• Clear space on all four sides equals the cap height of the A. No type, no rule, no image edge, no other mark enters it.
• Never re-typeset or re-letterspace the wordmark. It is artwork, not live type.
• Never stretch, condense, rotate, or skew.
• Never place the wordmark inside a new shape to imitate a bar. Use Bar 1 or Bar 2.
• Never reconstruct a mark from the fonts. Use the supplied vector.

Clear space and minimum size Proposed

Misuse

Every one of these is a real thing that happens. None of them is acceptable.

Primary palette

Hover any swatch to copy its hex.

Gradient

One gradient, Bone to White. Bone holds solid through the top half, then blends to white across the bottom half. Used as a section background. Nothing else in the brand uses a gradient.

Accessibility

Every approved pairing passes WCAG AA. Nimbus on Charcoal does not clear AAA and should not be used for type.

Color guidelines

• Backgrounds and surfaces are Bone, White, Onyx, or the gradient. Roughly 85 percent of any layout is one of those. Bone is the warm default, White is the clean default, Onyx is the dark section.
• Nimbus is a surface only: product tiles, section fields, swatch grounds. Never a type color.
• Charcoal for secondary type, body text, hairlines, and the callout device.
• Type is always Onyx, Charcoal, or White.
• No pure black. Onyx is the black.
• No warm swatches. Cognac and tan are leather, not palette. Warmth enters through photography and material only.
• One gradient only, Bone to White. Do not invent others.

The three faces

Adobe Fonts access is a requirement, not a preference. Futura PT and Coordinates are the ASHER typefaces and there is no approved alternative to them in design work. If you are producing anything for ASHER, you need your own Adobe Creative Cloud or Adobe Fonts subscription. The right column is not a substitute set for general use. It applies to email and nowhere else, for the one reason given below.

Specimens

Hierarchy

H1 through H4 are fluid, scaling linearly between a 375px and a 1400px viewport. Body is 14px on desktop as well as mobile, smaller than most themes default to, and part of the restraint.

The tracking ladder

The most transferable rule on this page. Letter spacing scales with type size, and it is most of why ASHER reads the way it does. When in doubt, interpolate.

Font rules

• Letter spacing scales with type size. Interpolate from the ladder above.
• Uppercase for headlines, eyebrows, nav, buttons, product names, and labels.
• Capitalized for running copy only.
• Lowercase for feature callout labels, and nowhere else.
• Never track body copy past 0.5px. It stops being readable and starts being decoration.
• Coordinates is never a headline and never a body face.
• Type is always monochrome. All warmth comes from photography and material.
• Buttons and body are Nunito Sans, deliberately, not Futura PT.
• Jost and Space Mono are for email only. Everywhere else, use the real faces.

Email substitutes, side by side

Email is the only place these are used. Email clients will not load Adobe Fonts, so Futura PT and Coordinates cannot render in an inbox at all. Jost and Space Mono exist to solve that single problem in Klaviyo. They are not a general fallback, they are not for decks, documents, ads, social, packaging, or web, and nobody should be building ASHER work without the real fonts. Outside email, there is no substitute.

Space Mono runs wider than Coordinates at the same point size. Letterspaced eyebrows built in Klaviyo will need slightly less tracking, or a point smaller, to occupy the same line.

The callout · geometry

Two elements and one rule. The circle's outer diameter is 9.66 times the leader stroke weight, and the leader runs into the circle edge with no gap. That holds at any size, on any canvas, in any tool.

The callout · anatomy

• The open circle sits at the product end. It is the anchor on the garment. The leader terminates bare where it meets the type.
• The type is always horizontal, whatever angle the leader runs at.
• The type block is centred on the bare end of the leader.
• Color is White over photography, Charcoal on light grounds. Nothing else.
• One callout system per image. Multiple callouts are fine. Mixing the two registers in one image is not.

The callout · leader angle

Free rotation is allowed, and in practice it is common. But it is a last resort, not a first move. Try horizontal, then vertical, then 45 degrees. Rotate freely only when the image and the space around the anchor require it. The angle serves the photograph, never the grid.

The circle and the line weight never change. At a given canvas size the stroke thickness and the circle diameter are fixed. Only the length of the line changes, extending or shortening to suit the layout. All four examples above are drawn at exactly the same stroke and circle size.

The callout · text registers

One device, two jobs. The difference is the type, and it matters more than it looks.

The lowercase is a voice rule, not a type rule. thumb and tab in lowercase is the brand being quiet about a technical detail. In caps it would read like a spec sheet.

Product callout example

Feature callout example

The boxed text device

A Futura PT element paired with a boxed qualifier set in Coordinates. The Futura element can be a numeral, a word, or the ASHER wordmark. The box always contains Coordinates type, never Futura, and it is never filled. Box height matches the cap height of the Futura element beside it.

The technical dot

The dot marks the emphasis word. In GOLF'S MAJOR GLOVE it sits in the O of MAJOR, not GOLF'S or GLOVE. In DEFINED BY TOUCH it sits in the O of TOUCH. It is a pointer, not a decoration, so it goes on the word that carries the meaning.

One accent device per piece. A callout and a boxed proof mark in the same frame is one too many. The devices are quiet because they are rare.

A small, fixed set of surfaces the brand returns to. Like a fashion house with its signature fabrics.

Paper

Herringbone

Sueded leather · Charcoal

Sueded leather · Bone

• Build on the material, do not only photograph it. Full-bleed paper, herringbone, or suede as a background or a section break.
• Type can be embossed or debossed into the surface in hero moments. It stays monochrome and still feels physical.
• The two faces of the leather are a recurring device. Smooth is refined, suede is warm and intimate. Use the transition between them as a divider or a hover state.
• Paper is the print and bone-ground surface. Herringbone is the apparel surface. Suede is the glove surface.

Eight marks, each with one job. They support the wordmark, they never replace it. One alt mark per piece. Shown here in White on Onyx so the set reads as one system.

The 100 Wash Test · approved wording

Two versions, both live on ASHER product pages. Use the first for apparel generally and the second for anything with a collar. Do not paraphrase.

Legacy marks

Both are discontinued. They are shown here so people recognize them and know to stop using them. They still exist on product in the market and in old files, which is exactly why they need naming rather than quietly dropping.

Neither legacy mark goes on anything new: no ads, no email, no packaging, no site, no deck. If you find one in a template, replace it with the wordmark.

Buttons and links

Three styles, and only three. Each has one job.

• Never round a corner. Not a button, not an input, not a card, not an image.
• One primary button per view. If everything is primary, nothing is.
• Button copy is two to four words, uppercase, verb first. Meet the Major. Shop multipacks.
• Never an exclamation point, never a countdown, never shouting beyond the standard uppercase.

Containers and spacing

Color schemes

Layout guidelines

• Generous negative space. Few elements per screen. Luxury is partly the absence of noise.
• Wide editorial margins. Let the page breathe.
• Divider lines are thin. Where a line separates two sections or two rows, it is a single pixel of Charcoal at 20 percent opacity, so it reads as a faint hairline rather than a hard border. Never a thick or dark rule. Every horizontal line on this page is an example.
• Icons are drawn with thin lines. The small line icons on the site (the truck, chat bubble, and shield in the trust bar, and the search, account, and bag icons in the header) use a 1.2px line weight. Most icon sets ship at 1.5 or 2px, which reads heavier and cheaper. If you commission or buy a new icon, set its stroke to 1.2px to match.
• A considered pace. Unhurried transitions, soft cross-fades, micro-interactions with a gentle give.

The vibe, in one line

A brand that feels like handling a well-made object. Warm, unhurried, and specific. Light reveals touch, so shoot to show the pore of the leather, the nap of the suede, and the rise of each stitch. Shadow is depth is the feeling of a real object.

Lifestyle

Both are shot in a studio, and they are two different things. Ghost imagery is the product alone, cut out, used only on product pages. Studio photography is the product on a hand or a body, lit and shadowed like the lifestyle work. Do not apply the rules of one to the other.

PDP ghost imagery

The cutout. Product alone on white or light grey, hard edge, no environment. This is the only place a cutout belongs, and it exists to show the product plainly on a product page. It is never a hero, never an ad, never a campaign image.

Studio photography

Product on a hand, on a body, or at macro range. Controlled, but never flat. Studio work still gets directional light and real shadow, and the seamless keeps its falloff.

Five traits

Two registers

The two ditches

ASHER drives down the middle: warm, assured, understated.

Built for both men and women

• Default to you and we. Second person sidesteps gendered pronouns and reads warmer.
• Describe the persona by values, not by him.
• Lead with universal territories: touch, feel, the land, time, the people you play with.
• Cast and photograph both, naturally. Never a men's brand with a token woman dropped in.
• Speak specifically to the women's line on its own pages, never as a sub-brand or an afterthought.

The Argument

The central brand story. It flatters the customer instead of lecturing them: it takes someone who has already proven they care and points, gently, to the one gap. Used on the About page, campaign openings, glove PDP intros, and as the in-person sales and wholesale pitch. The closing line is always playful and knowing, never scolding.

Approved vocabulary

Mechanics

The signature

A golf glove is the only thing between your hands and the game, the one place where you and the club become a single motion. It is the most ownable line we have, so it is used deliberately and never diluted.

Tagline usage

Sign-off hierarchy

Never stack the two. A capsule sign-off replaces the master one in that moment.