Logo and name

The logo was delivered as six artboards: the horizontal and the stacked lockup, each on a light ground and reversed on ink, then the glyph alone on a 100 mm square of each ground. They are drawn here from the press files of this site, with its paper in place of white; the ink square is the ink tile.

The glyph is the part of the logo that also stands on its own: on the ink tile and, a size larger within the same square, in the favicon, on the company page panel and on the not-found page. In the navigation, the footer and the share cards it appears inside the horizontal lockup. On this site it is one SVG path, kept in one shared module and drawn in currentColor, so it takes the colour of the text around it. The path is the designer’s own, kept character for character.

Sizes in use

The components of this site size the glyph alone by width and the lockup by height; the other dimension follows from the proportions. These are the glyph widths in use today, at actual size. They are sizes in use, not a scale and not a minimum.

• Take the glyph and the lockup from their shared modules. Never paste a path into a component.

  WhyOne source for each keeps the navigation, the footer, the company panel, the not-found page and the share cards the same shape. A pasted copy drifts the first time someone edits it.

  TestEnforced by a test on every change.

• Where words nearby say the name, the glyph is decorative. Where it must carry the name on its own, it gets a title.

  WhyA screen reader should hear the name once. In the navigation and the footer the lockup is hidden from assistive technology and the link carries the name as visually hidden text; the company panel has the name in its heading and the not-found page in the navigation above. None of them has a title; the only glyph with one is the specimen on this page.

  TestEnforced by a test on every change.

No construction grid is documented for the glyph, in the code or in the logo files. What follows is measured from the coordinates of the path itself, so each number here changes when the path changes. Read them as measurements, not as a specification.

One stroke weight.

The bar, the diagonal, the ring and the opening measure 21.68, 21.65, 21.65 and 21.66 units: they differ by less than 0.04. The glyph is 6.22 strokes high and 4.69 strokes wide. The centre of the bar, at x 50.81, and the vertical axis of the ring, at x 50.80, are less than 0.01 apart.

How the numbers are found.

The path is read command by command into straight edges and cubic curves. Horizontal and vertical edges give the bar. An edge at 45 degrees lies on a line where x + y is constant, so the distance between two parallel edges is the difference of their constants divided by the square root of two. The curves are sorted by radius into an outer and an inner set, and a circle is fitted to each set.

In the logo files the word zerone is set in lowercase in New Black ExtraBold and converted to outlines, so the letters are shapes, not type. This site uses those outlines as they are: the navigation, the footer and the share cards draw the designer’s horizontal lockup, and nowhere does the site set the name as live text next to the glyph. ExtraBold is not loaded as a font; the site loads New Black only up to Bold.

Apart from web and e-mail addresses, the lowercase form appears on this site only in the lockup: in the navigation, in the footer and on share cards. Everywhere else the name is written Zerone, with a capital Z. The lockup is a drawing hidden from assistive technology, so the home link carries the name as visually hidden text and is announced by it alone.

A lockup fixes the glyph and the word in one drawing, with their sizes and the space between them. In the horizontal lockup the glyph stands to the left of the word; in the stacked lockup it is centred above it. Both are the designer’s drawings and come as files in ink and in paper.

The navigation, the footer and the share cards draw the horizontal lockup from one shared module, which a test keeps equal to the press file. For its sizes in use, see The wordmark.

The designer gives the logo two colourways: ink on a light ground, and the reverse on an ink ground. In the logo files the light ground and the reversed logo are white; this site uses no pure white, so here both are paper. On this site the glyph meets paper, paper-2 and, on the company page, an ink band.

The ink

The designer defines one colour, the ink, for screen and for print. Its screen value is the site’s ink token, --color-ink.

The ink tile

The designer’s set ends with the glyph in paper on an ink square. On this site that square is the ink tile, a press file and the logo in the structured data: the designer’s artboard as drawn, with square corners and the glyph at its own size in the centre. Its values below are read from the file and compared with the artboard. The favicon keeps this square with a larger glyph; see Added by Zerone.

Three names, each with its place. The company is Zerone in copy and Zerone Security in metadata. The product is Zero Door, always two words.

Written as one word, the name appears only inside machine names, such as web addresses and cookie names, and those are lowercase: the site path is /zero-door and the console runs on zerodoor.zeronesecurity.com. Two checks refuse the one-word form with a capital letter wherever it appears, and in lowercase unless it is part of a machine name such as a web address, a cookie name or a storage key:

• Zero Door is two words in every language, in visible text and in text attributes.

  WhyA name spelt two ways reads as two products. The checks refuse the one-word form, so nobody has to remember it.

  TestEnforced by a test on every change.

• Zerone in copy, Zerone Security in metadata.

  WhyCopy reads better with the short name. Search results and link previews show the name without the page around it, so they get the full one.

  ReviewKept by review, not by a test.

• Names are not translated.

  WhyZerone and Zero Door are proper nouns. The Turkish pages use them as they are and add suffixes after an apostrophe.

  ReviewKept by review, not by a test.

The tagline is written in title case with a comma, and it is not translated: Turkish pages use the English line. In use, it ends with a full stop where it stands as a sentence and has none where it works as a label.

Zero and one recur in the copy: the home headline reads ‘From zero trust to one verdict.’ and the first of the four principles is ‘Nothing is trusted for having been there yesterday.’.

• The tagline is not translated.

  WhyIt is a fixed line, like a name. A Turkish version would make two taglines.

  TestEnforced by a test on every change.

The press kit states the usage rules for the logo. This is its text, as published on the company page:

• Ink on a light ground, paper on an ink ground.

  WhyThese are the designer’s two colourways. One colourway for each ground keeps the logo the same at every size, and it leaves the accent to its one job on this site: marking verified signal.

  ReviewKept by review, not by a test.

• The press files and the favicon carry the designer’s paths, in ink and paper.

  WhyThese are the copies that leave the site. A test compares the glyph in each with the glyph module, the word with the designer’s outlines and every fill with the colour tokens, so a hand edit cannot drift unnoticed.

  TestEnforced by a test on every change.

• Do not stretch or squeeze the logo; scale it with its proportions.

  WhyThe glyph and the lockups are measured drawings. A changed proportion changes the stroke and the spacing those measurements describe.

  ReviewKept by review, not by a test.

• Do not outline the logo or draw it as a stroke.

  WhyThe designer drew filled shapes. An outline changes their weight, and at small sizes it breaks up.

  ReviewKept by review, not by a test.

• Do not crop the logo or let an edge cut through it.

  WhyA cut glyph no longer reads as zero and one, and a cut lockup loses part of the name.

  ReviewKept by review, not by a test.

• Do not place the logo on a busy ground, such as a photograph or a pattern.

  WhyThe two colourways assume a plain light or ink ground. On a busy ground the edges of the glyph are lost.

  ReviewKept by review, not by a test.

• Keep other elements outside the clear space.

  WhyThe clear space, two strokes on every side, is the room the logo needs to be read as one shape.

  ReviewKept by review, not by a test.

The press kit rules out recolouring, rotating and effects. The rules on stretching, outlines, cropping, busy grounds and clear space are Zerone’s own; their values and methods are under Added by Zerone.

Six SVG files, the same ones as in the press kit. The lockups are the designer’s drawings; the glyph files carry the path of the glyph module. Each has fixed fills, so it keeps its colours outside this site, and none has a width or height, so each scales to its container.

• Horizontal lockup (SVG, ink)For light grounds. The glyph stands to the left of the word.viewBox 0 0 463.183 93.2263 · fill #0f1c26 · 3080 bytes
• Horizontal lockup (SVG, paper)For an ink ground. The file has no ground of its own.viewBox 0 0 463.183 93.2263 · fill #fdfaf6 · 3080 bytes
• Stacked lockup (SVG, ink)For light grounds. The glyph is centred above the word.viewBox 0 0 355.37 193.164 · fill #0f1c26 · 3268 bytes
• Stacked lockup (SVG, paper)For an ink ground. The file has no ground of its own.viewBox 0 0 355.37 193.164 · fill #fdfaf6 · 3268 bytes
• Glyph (SVG, ink)For light grounds. The file has no ground of its own.viewBox 0 0 101.6 134.69 · fill #0f1c26 · 412 bytes
• Glyph on ink tile (SVG)The designer’s ink square, with its own ground. This file is also the logo in the structured data of every page; the favicon is the same square with a larger glyph.viewBox 0 0 283.465 283.465 · fill #0f1c26 and #fdfaf6 · 516 bytes

The press kit on the company page has the same six files and the three brand colours with their print values.

The fills are the values of the ink and paper colour tokens. The token file of this site is available to download as tokens.css.

Share cards are rendered at build time: 1200 by 630 pixels on paper, with the horizontal lockup, a title, a kicker and a short accent rule. Pages without a card of their own, such as the legal texts, use the home card. No card is drawn by hand.

• Card colours are the colour tokens of the site.

  WhyThe renderer runs in Node and cannot read CSS custom properties, so it repeats the hex values. A test keeps them equal to the colour tokens.

  TestEnforced by a test on every change.

• Every page links an absolute share image that exists.

  WhyA missing or relative image shows an empty box in link previews. The gate opens every built page and checks the file.

  TestEnforced by a test on every change.

The logo files leave clear space, minimum sizes and print values for paper and accent open. The rules below are ours, set in 2026, not the designer’s; each one is measured from the files or stated with its method.

Clear space

Keep two strokes free on every side, measured from the bounds of the drawing: 43.32 units in the glyph file, 0.32 times the glyph height. In a lockup the stroke is measured at the size the glyph has there, so the clear space scales with the lockup. The files themselves are cut to the drawing and carry no margin.

Minimum size

These minimum sizes are ours, chosen from the smallest uses on this site; the designer set none. On screen they are CSS pixels. In print they are the same sizes at the CSS reference of 96 px to the inch, rounded up to the whole millimetre.

The favicon

At 16 px, the browser’s tab size, the designer’s square leaves the glyph 7.6 px high, too small to read. The favicon keeps the square, the square corners and the centring of the ink tile but enlarges the glyph to two thirds of the side, so it is 10.67 px high at the same size. This is Zerone’s rule, not the designer’s; the ink tile in the press kit and in the structured data stays the designer’s square.

Print values for paper and accent

The designer gives print values for the ink only. For paper and accent these are ours. Paper is not printed: on paper its colour is the stock itself, so choose an uncoated natural white close to #fdfaf6 and do not print a tint. The accent is converted from its screen value, #00847e, through the macOS Generic CMYK Profile with relative colorimetric intent, which gives CMYK 84 17 44 13. It is a derived value, not the designer’s specification: confirm it on a proof before a print run.