Posh Robotics

Posh sells a plug‑and‑play battery pack a household can hang on a wall and ride a blackout with: backup power and off‑grid solar storage for people who were never going to be sold a utility‑scale system. Behind it is a proprietary robotic line that takes retired EV packs apart, tests what is inside, and puts the cells that still have a life ahead of them back to work. Y Combinator picked them up on the strength of it.

The strategy named all of that transformation, and meant it three ways at once: discarded batteries become new ones, complex technology becomes something a person can plug in, electricity becomes movement.

Which is a brief that suits motion unusually well, because transformation is the one thing a static mark can only imply. So the mark is not revealed. It is constructed on screen, from its own parts.

The visual system is built on connection, on the reading that transformation happens where innovative ideas and people come together. It holds two poles at once to say so: flat shapes on one side, 3D renders on the other, vibrant colour and humanised imagery across both.

Colour is what keeps the two poles in the same brand rather than in two. It has to survive a flat vector and a rendered surface, which are not the same problem, and it has to stay legible at the scale the next two pieces work at.

Outdoor is the format with the least patience. Whatever the system is has to land in a glance, from a distance, with no sound and no second pass.

A feed cut gets a second, maybe two, before the thumb moves. That is less than the full construction takes to resolve, so this one does not try to fit the whole story into that window.

Two screens, shown in the devices they run on. The phone app is where a household manages its own battery; the watch is the glance version of the same information. Both are the interface itself, placed in a mockup.

Posh ships more surfaces than most companies its size: a B2B site for stakeholders, a B2C site for households, an interactive landing page, an e‑commerce front, and the app two sections up. Three of the pieces that dress those surfaces are Lottie rather than video, because at this size a render is the expensive way to get a loop.

Each file scales without resampling, can be interrupted mid‑play when someone navigates away, and costs a few kilobytes rather than a few hundred. The logo loop was delivered as two exports, white and black, one per background. On this page it is a single file with its fills rewritten at runtime from a CSS token. That is what the background buttons below are doing. The other two carry their own colour and are left alone.

Under reduced motion every player here holds its first frame instead of looping.

A folder of runtime files and a folder of masters, not a folder of renders. Durations, frame rate and reduced‑motion behaviour are written down, so the next person to touch this extends it instead of guessing.