Graphic design agency in Dallas

Because Bruno starts by finding the sign that will make your brand recognizable, then builds the whole system around it, from the website to the trade show booth. The whole team is in-house: illustrators, motion designers and art directors work together, no freelancers. You talk directly to the people designing, and the project never changes hands. Since 2012, more than 500 brands have taken that route.

A Bruno art director, named at the start, runs your project from San Francisco or Paris, since the agency has no office in Dallas. At 9 a.m. in Dallas, Paris is into its late afternoon and California is just waking up, so your mornings get both teams. Routes are presented over video, and you comment directly on the design files.

A brand’s graphic design goes well beyond the logo: it sets the type, the palette, the illustration, the motion and how they all fit together. Bruno gathers the visual identity in an online brand book and can extend it into motion and video. The logo is the visible part. The system is what stops your banner from looking like the one next to it.

Bruno led the rebrand of Sendinblue, now Brevo, keeping its original blue and adding a 3D mascot that looks like a building-block toy and turns from bike into rocket along the customer journey. Brevo’s revenue went on to grow fivefold in three years. For Ornikar, the identity followed the company from driving school to insurance. Two symbols that can do the work on their own.

Bruno thinks so, as long as the symbol is simple, unmistakably yours and used consistently. The Dallas star works because it’s been repeated everywhere for decades, from jerseys to caps. A young brand doesn’t have that kind of time: it needs a system around the symbol to get recognized quickly. The symbol can stand alone later, once people are used to it.

Bruno looks for three signs: your team works around the guidelines, the brand no longer looks like what you sell, or it disappears next to your competitors. If only one applies, an update is often enough. If all three do, it’s time to go back to strategy. Either way, ask your sales team which materials they’ve quietly stopped bringing to meetings.

Bruno delivers most graphic identities in two to three months. The real timeline depends on your starting point, how many formats need designing and the size of the approval committee. A 3D mascot or a full illustration style adds its own production time. The gap with Paris doesn’t slow things down: the files keep moving while you sleep.