The brand world of FL Public Relations & Communications is built on one gesture: the right fold gives an ordinary surface direction and movement. We do not make our clients louder. We give their words 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 straight crease is familiar; the value lies in finding the unexpected angle. We approach the story the same way: we find the angle the journalist has not yet seen, place the right story in the right title at the right moment, and leave the rest to the editor.
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 cannot be distorted when 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.
This palette was not built simply to make four colours work together; each one has a distinct role. Paper opens the space. Petrol green carries the brand. Ochre directs attention. Ink anchors the copy. Here, colour is not decoration; it creates hierarchy.
The primary ground. Long-form copy, imagery and generous whitespace sit on this surface. It replaces pure white with a warmer, more editorial base.
The primary brand colour. It carries the identity across navigation, strong headline fields, brand panels and reversed applications. It is not an accent; it is the backbone of the system.
The accent colour. Used for numbers, small markers, selected headings and calls to action, it directs attention to a single point. It is not used as a background for long-form copy.
The main text and contrast colour. Used for body copy, rules and, when needed, dark surfaces. It is the most neutral and stable tone in the system.
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 they say about you after you leave the room.
Everything written in the firm's name should read like a senior advisor briefing a chief executive: short, declarative and unhurried. The goal is to explain the work clearly and with authority. The message should come from the substance, not from persuasive language.
FL is a public relations and communications practice based between London and Istanbul. 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.
