We engineer the systems behind live productions. When the tool doesn't exist, we build it.

The punctuation is the brand

The name is "Let's Go Live!", apostrophe and exclamation mark included. We have seen every possible way to get it wrong. "LGL" is fine inside the team and in file names, but it never goes public.

Who we are, in four words

Name	What it is	When to use
Let's Go Live!	The company name	Everywhere public. Copy, contracts, credits, print
LGL	Internal shorthand	Inside the team, file names, repo prefixes. Never in public copy
letsgolive.nl	The address, not the brand	URLs, footers, business cards

One wordmark, two endings, three plates

The wordmark is Lato Black with one modification: the round punctuation dots are squares. That detail is older than this guide and we like it too much to lose it. There are two versions. The exclamation mark version is the brand-name lockup; the period version is the original wordmark. Both are always one colour: ink on paper, white on rack black or on orange. Keep it off photos unless it sits on a plate, and below 120 px switch to the square mark.

We rebuilt the wordmark as vector paths, so nothing needs the font installed. The original raster file stays hosted for reference.

Assets

Everything is hosted here, ready to link. Wordmarks come as SVG and as 2000 px transparent PNG. The square plates and the avatar are for social profiles; platforms crop avatars into circles, so the plates keep the wordmark clear of the edges.

Workbench, not garage

Most of the palette is paper, grey and ink. Then there is the orange, which we ration. It marks state or the single primary action on a page, and that is it: no decorative washes, no warm backgrounds, never more than a tenth of the screen. The status colours mean what they mean in a control room, because that is where we learned them.

Three typefaces, three jobs

Three typefaces, each with one job. Lato Black shouts the headline, IBM Plex Sans carries the argument, and Martian Mono states the facts. We tried letting them trade jobs once. Never again.

Shot at work, shown as-is

We only publish our own photos, and honestly they are a bit boring: flat light, no grade, cables dressed. That is the point. Screens show the real software running the real show. If a stock library could have supplied the image, it does not go up.

The rewrite test

Here is the test we use: if a sentence would survive unchanged on a competitor's site, it is not ours yet. Name the protocol, name the number, and start with what actually broke. Readers can decide for themselves whether we are capable.

The spec line is the evidence

Every case gets the same card. Photo with a status chip, Lato title, the mono spec line, a few lines of body, one link. The spec line is the part we actually care about. It carries the proof; the paragraph is commentary.

The details are the brand

Everything is built like the racks it describes: square corners, hairline rules, printed labels. We ask one question of every detail. Would it survive in a control room? If not, it does not ship.

Two devices, two places. One background.

The burn-in lives on project overviews; the signal path lives on project pages. They never share a viewport. The patched-schematic background sits behind heroes and print, never behind body text. Everything else stays plain: paper, ink, hairlines, one orange.

Every photo in a list or grid carries two corners: source label top-left, timecode bottom-right, the way a multiviewer labels a source. Orange plate and a 2 px orange frame only when that project is live right now. Nothing else on the image.

One continuous 1 px ink line runs down the left of the page. Each section is an orange node on it; a section not yet written is a hollow node. Directly under the title, every case is told as three stations: IN · WE BUILT · OUT. No rack texture, no rails. The line is the whole device.

A faint dot grid is the canvas. Routed hairlines snap to it: right-angle bends only, every bend on a dot. Hollow nodes are open ports; where a cable is plugged, the port and its line turn orange. Always on one side of a surface, always fading under content. Same DNA as the signal path, one scale up.

Card 85 × 55 mm, shown at 4:1. The front's orange cable exits the bottom edge; the back's enters the top edge at the same column, so the route continues around the card.

Where each one goes

No other decorative devices. Bracketed values are placeholders on purpose; leave them visible until the data exists.

The numbers, for whoever builds it

The values a build actually needs, in one place. The full token set lives in this page's own source; view source and copy the :root block.