Morgan already owns a mark that works: a solid badge with a chevron notched out of its top edge, stamped on the tolex of every amp Joe builds. What follows turns that badge into a system a printer, an embroiderer, a dealer or an agency can apply without calling to ask.
The Morgan mark is a solid block, a touch wider than it is tall, with a chevron notched out of the top edge and MORGAN AMPLIFICATION reversed out of the base. It is a nameplate first, screwed to a cabinet, so it holds its shape at the size of a postage stamp.
Primary, on dark. The badge reversed out of ink or charcoal. This is the version on the amps and the one to reach for first.
Secondary, on light. Same geometry, dark ink. Use on oat, on paper, on a spec sheet, on white packaging.
Clearspace. Keep clear space on every side equal to the depth of the chevron notch. Nothing crosses that ring: no type, no rule, no photograph edge.
The palette is not invented. Twilight and Driftwood are the finishes Morgan sells, and the gold is the accent already running through morganamps.com. Everything here clears WCAG AA at the size it is used.
Three faces doing three jobs. The display face is chosen to echo the badge: square, wide, heavy. The legend face is the engraved lettering on a control panel, and it never runs long.
Headlines, product names, statistics. Wide and square so it rhymes with the badge. Never below 17 px, never in sentences longer than a line and a half.
Section heads and card titles. The same face one step down, so a page reads as one voice getting quieter.
Joe designs for the working musician, whether that means a Sunday morning church gig or touring the world with James Taylor. Tube amps are only as good as their components, so he picks the best of the best.
Everything a person actually reads. Measure caps at 62 characters. Body type never goes below 14 px anywhere.
Spec labels, prices, section kickers, anything that behaves like engraving on a faceplate. Uppercase only here, and never more than five words.
Morgan's existing product photography is already the strongest asset the brand owns: square, even, honest, shot on white. The art direction is what happens to it afterwards.
Morgan's site is already written in the first person by the man who builds the amps. That is rare and worth protecting. The edit is about punctuation and hype, never about personality.
Morgan brought back the AC20! Similar to its big brother, the Morgan AC20 is a deceptively simple hand wired in the USA, all-tube, 1×12″ combo that is capable of producing a myriad of early 60s British AC tones.
The AC20 is back. Hand-wired in the USA, all tube, one 12″ speaker, and a power level control that lets you find the volume without giving up the tone. Early sixties British chime, in a cabinet you can carry in one hand.
Morgan Amplification was born out of a desire for touch sensitive, responsive and great sounding amplifier's that become as much of an instrument as your guitar.
I build amps that respond to your hands. An amp should behave like an instrument, not like a box you plug an instrument into.
Nothing Rocks like the KT66! The KT66 may be one of the most revered and under-appreciated tubes in rock history.
The KT66 is the most under-appreciated tube in rock. Clapton used it. Angus Young used it. It is the reason the MVP66 sounds the size it does.
Is my amp ready? If I have not contacted you and told you that your amp is ready then it is not ready. I want you to have your amp as bad as you do.
Unchanged. This is the voice the whole brand should sound like, and it is already written.