The brand world of FL Public Relations & Communications — a practice built on one gesture. We do not make our clients louder. We give what they say a structure that can carry itself.
On its own, a sheet of paper has no direction. It accepts whatever is written on it and goes nowhere. A fold changes that in one gesture: it gives the sheet an edge, a spine, and a direction of travel. Paper remembers every crease it is given.
That is the whole of our practice. Founders and executives arrive with the sheet — a company, a decision, a body of work, a reputation that has never been put into words. Our part is not to add volume. It is to find where the story bends, and to fold it so precisely that it holds its shape in rooms we will never be in.
Nothing is added, nothing is removed. The same sheet, given form. This is why our imagery is paper and our colour is the light we photograph it under, and why our mark is not a symbol of communication but a record of a fold.
Structure, not volume.
A paper plane is not made in one move. It is made in five, in order, and each one is irreversible. Our engagements are built the same way — five stages, each with its own deliverable, each depending on the crease before it.
Before anything is written, we decide where the sheet folds. We read the market, the coverage, the competitors and the founder's own words, then commit to a single position — the one claim everything else will be measured against.
The position becomes language. One narrative, written once, then set in the forms the work actually needs: the founder's story, the company line, the paragraph a journalist can lift without calling us to check it.
A symmetrical fold goes straight down. The interesting fold is the one that holds tension — the angle an editor has not seen this quarter. We place the right story in the right title at the right moment, and we decline the rest.
Seen edge-on, a folded sheet is almost a line — and that is how executives are read in public. We prepare the profile: the stage, the interview, the two sentences that survive being quoted out of context, and the discipline to say nothing else.
The work is finished when the story moves on its own — quoted by people we never briefed, in markets we never pitched. Reputation is not a campaign that ends. It is a form that keeps its shape, and it is maintained.
Read left to right it is an F and an L. Read as a silhouette it is a folded sheet in profile, pointing forward. Every angle is 45° or a multiple of it, and nothing curves — because paper does not curve, it creases.
Fold the sheet. Nothing is added and nothing is printed — the mark is simply what the paper does when it is folded once, with intent. Every part of this identity is a consequence of that single move.
Three surfaces and one accent, taken from the studio rather than a palette. Cream paper is the ground. Teal is the voice of the firm. Ochre is the light the folds are photographed under, and it is rationed.
The default surface. Never pure white — the page should feel like stock, not screen.
The firm speaking. Inverse surfaces, large type, the deep step (#013138) for footers.
Studio light. Photography ground and one call to action per page. Never a background for text at length.
What is written. Body copy and hairlines only, never a large surface.
Gilroy carries the system: a geometric grotesque built from the same straight lines as the mark, tracked tight at display sizes. FH Lecturis is held back for the moments that deserve quiet — a quote, a number, one sentence alone on a page.
Reputation is not what you say about yourself. It is what holds its shape after you leave the room.
Everything written in the firm's name should read like a senior advisor briefing a chief executive: short, declarative, unhurried. If a sentence is working to persuade, it is doing our client's job for them.
FL is a public relations and communications practice based between London and Türkiye. Our work is selective. Our standard is editorial.
Media relations. We place the right story in the right title at the right moment — Bloomberg, Forbes, Vogue, TechCrunch — for clients whose reputation depends on the room they are seen in.
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We are passionate about telling amazing brand stories
Hype, superlatives, and words that could be written by any agency about any client. If the sentence would survive a find-and-replace of the company name, it is not ours.
A living identity · 2026 edition
Paper is not a backdrop in this identity. It is the first medium: a surface that can hold a thought, remember a crease and carry it beyond the room. Across every application, the same discipline remains — one decisive fold, generous space, nothing ornamental without a job.
07.1 · Geometry
The F establishes the frame. The L changes the route. Joined in one continuous construction, they turn a monogram into a record of movement: not a decorative sign, but the moment a message acquires an edge, a spine and somewhere to go.
07.2 · Material
The stationery system does not imitate origami. It behaves like it. The front carries information with restraint; the reverse carries the gesture. White space is left active, so the identity can breathe before it speaks.
07.3 · Circulation
A brand world should not depend on a single perfect composition. It should remain itself on a desk, in a hand, or across a room. The fold travels; the rules do not loosen.
