How WestDigital looks, sounds and moves.

Software and AI for airlines, rail and cruise operators: passenger experiences that adapt to each person, insight from the data journeys create, and the operational leverage that follows.

WestDigital is built by the team behind entertainment services for airlines, private jets and cruise operators. It is the home of four products.

WestIQ

The intelligence layer: personalization, recommendations, analytics, advertising, commerce and passenger insight.

Stream

The streaming platform.

StreamIQ

Stream with WestIQ built in.

TOM

AI-assisted content review and content intelligence for in-flight entertainment.

The name is written WestDigital, one word, capital W and capital D, everywhere including legal lines: © 2026 WestDigital. No other company name appears on a WestDigital surface.

The passenger is the solid centre. Intelligence compounds around them.

One orbit of three arcs whose lengths double, forty, eighty, one hundred and sixty degrees, with gaps that double too. Each pass around the individual, the system knows twice as much. The opening is where the next doubling would land, and in the lockup it faces the name.

The name carries the second idea. West is set in solid ink; Digital takes a two-stop ramp from pink to ultraviolet that starts exactly where the two words meet. That seam is the company story: an established travel operator crossing into software and AI, with the digital half carrying the energy.

Together they give the brand one sentence to live by: everything WestDigital builds is arranged around one person.

Clear space is one core, the diameter of the centre disc, measured from the edge of the mark and the wordmark on every side. Nothing else enters that space: no type, no rules, no other logos, no edge of the page.

Minimum sizes. The lockup is never narrower than 120 px on screen or 28 mm in print. The wordmark alone: 80 px or 20 mm. The mark alone: 16 px or 5 mm. Below 32 px the mark uses its flat cut, which has slightly wider gaps and a heavier stroke so the three arcs still read.

120 px

80 px

16 · 24 · 32 px

Dark surfaces

Light surfaces

Contrast

The ramp runs in one direction, from Core to Orbit, with two stops. It appears once per composition: in the wordmark's Digital, or on one hero element, or on one tile. It is never applied to West, to body text, to buttons or to more than one thing on a page. Angle: horizontal in the wordmark, 45 degrees rising to the right on tiles and fields.

Proportion on any surface: about seventy percent ground, twenty percent ink, eight percent Orbit, and Core as the last two percent. Core is a signal, not a colour scheme; if a page has more than one pink element, one of them is wrong.

Dark is the brand's home. Light surfaces are for documents, partner materials and anything that has to print well; both are complete systems and every asset exists for both.

The name sits at the wide end of the axis, width 125 and weight 600, and is only ever used as the outlined wordmark. Display lines step in to width 118; titles to 112; headings to 106; body text runs at the normal width, 100, weight 400. The effect is one voice that gets wider and more certain as it gets larger, and the wordmark is its loudest register.

B612 Mono is the second voice, the instrument voice shared with WestIQ. It is for eyebrows, codes, data, timestamps and captions set in capitals with wide tracking, never for paragraphs.

Both faces are published under the SIL Open Font License and come with the asset pack. Fallbacks: Archivo, system-ui, sans-serif; B612 Mono, ui-monospace, monospace.

Sentence case everywhere, including titles and buttons. No faux bold or italics; Archivo has real weights. Never set the name WestDigital in live type where the wordmark belongs.

Twelve columns, 24 px gutters, 1200 px maximum content width, 24 px page margin on small screens and 48 px above 900 px.

Spacing steps: 4, 8, 12, 16, 24, 32, 48, 64, 96, 128 px. Corner radius: 8 px for controls, 14 px for cards and tiles, 24 px for large panels; app tiles use 22 percent of their side.

Space is the brand's quietest asset and its most used. The lockup gets one core of clear space; sections get at least 96 px between them; a paragraph never runs past 66 characters. When in doubt, remove one thing and add space.

Corners are rounded, never sharp and never pill-shaped except on small buttons. Borders are one pixel of the Line colour. Shadows are not used on dark surfaces; on light surfaces a card may carry a single soft shadow at 8 percent opacity.

Orbit field: abstract imagery generated from the mark's own geometry.

Product surfaces. Show the products as they are: real screens on a dark ground, no invented interfaces, no retouched results.

Orbit fields. Abstract imagery is built from the mark: arcs at doubling radii, one ramp, on Night, with a single Core point. It replaces stock illustration everywhere.

Photography. Travel in progress, seen calmly: a cabin at cruise, a screen in use, a platform at first light. Natural light, quiet colour, no clouds with a plane through them, no handshakes, no staged smiles. People are never identifiable without consent, and no airline, aircraft or partner is identifiable unless they have agreed to appear.

The brand has one motion signature. The arcs draw clockwise in doubling time: 40 degrees over 120 ms, 80 over 240, 160 over 480; the core lands at 840 ms; the seam ignites across Digital at one second. After that the seam breathes on an eight second loop, a slow drift of the pink and the violet along the word.

It plays once per page, where the brand is introduced: the cover of this guide, the hero of the website, the first slide of a deck. The breathing loop is reserved for WestDigital's own surfaces; partner materials use the static lockup.

Everything else is restrained: 200 ms ease-out transitions, a two pixel lift on hover, and nothing that loops. When a viewer has asked for reduced motion, the finished mark is shown and nothing moves.

Say what it does. Then stop.

• Short sentences, present tense, active voice. The product does something; say what.
• Specific beats grand. No superlatives, no "revolutionary", no "seamless". Numbers only when they are true and approved.
• Quiet about the machinery. WestDigital never names the suppliers, cloud providers or models behind a product. It says "AI" and "cloud" and moves on.
• Sentence case everywhere, including titles, buttons and navigation.
• Straight quotes. Commas, colons and periods do the work of dashes; the em dash and the en dash are not used.
• The name is WestDigital, one word. Products are WestIQ, Stream, StreamIQ and TOM; on first mention, "Stream by WestDigital".

The pack holds every cut on this page as SVG and transparent PNG, the product marks and lockups, the favicon and tiles, both typefaces with their licences, and a print folder: every mark and lockup as a press-ready vector PDF in CMYK (the flat cut in colour, one-colour black, and reverse), with the colour values file. Use the SVG wherever you can on screen and the PDF for anything that goes to a printer; the PNG sizes are for tools that cannot take vector.

Files ending in dark are for dark grounds and light for light grounds. Do not alter the files; if you need a cut that is not in the pack, ask.

Version 1.0, August 2026. For permissions and questions about the brand, write to hello@westdigital.ai.

Vector PDF, CMYK, one page each, one core of clear space built in, with the Coated GRACoL 2006 output intent embedded so the values mean one thing on press. Three cuts of every asset: the flat colour cut for white stock, one-colour black for one-ink jobs, and the reverse cut (white artwork on a Night field, for dark stock). Hand the file to the printer as it is.

The values file lists every colour in the identity as hex, RGB and CMYK under both Coated GRACoL 2006 and Coated FOGRA39, and marks the hues that need a spot ink.

Colour values