Tamarind
Hill

Two readers arrive at this identity with opposite expectations. Founders want a partner who will sit in the trenches. Investors want a track record and a steady hand. The static system answered that by splitting one palette into a warm range and a deep one, with white as the ground they share.

Motion could not split the same way without splitting the brand in two. So the mark assembles from its own parts, and that sequence stays identical everywhere it lands. Timing, easing and order do not change between a pitch deck, a feed and a story. What changes is the frame the mark grows into and how the composition reflows around it.

Four Lottie files for the site. Colour is rewritten at runtime from one token rather than baked into the file, so the same asset works on either ground. Each one scales without resampling, and can be interrupted mid‑play when someone navigates away.

Every file runs at 60fps and every duration is a multiple of twenty frames, the same twenty-frame unit the staggered layers step on, so an eight-second build and a 2.7-second banner stay on the same grid. The set ships as .lottie rather than raw JSON, which is identical output at just over a quarter of the weight. Reduced motion holds the resolved state and cross-fades only.

A token set and a folder of runtime files, not a folder of renders. Durations, easing and reduced-motion behaviour are written down, so the next person to touch this extends it instead of guessing.