Scran Doh · CheltenhamIdentity · Site · Motion
SCRAN
DOH.
A brand built out of one word, one colour, and a film you scrub with your thumb.
scrandoh.com01 / 16
A brand built out of one word, one colour, and a film you scrub with your thumb.
Where every chef's site goes wrong
Shot from above, on white linen, perfectly plated. That sells taste. Scran Doh is selling how you feel two hours later, and nobody has ever photographed that from above on white linen.
Shipped · the red chop, black ink
Seven cuts of the same stamp
Adapted from 美食, bishoku, Japanese for fine food. Two characters redrawn stroke by stroke with the letters of Scran Doh set into them as an anagram, so the wordmark and the symbol arrive in one stroke.
Starting from a real word is what keeps it upright. The rhythm and the stroke weight do the structural work; the anagram is the joke underneath, there for anyone who looks long enough to find it
Knife · sunny side · script column
A chef's knife, a script column and a sunny side mark, taken from references of the real tattoos and traced into white pen and ink. Brand texture that already belonged to the person, rather than a stencil set bought in.
On the site they composite with mix-blend-mode: screen on black, one per section, 8 to 20% opacity. Faint enough to read as a watermark in the paper, not a sticker on top
“Quiet, hands-on, lived-in. Name the herb, the cut, the village. Warm over polished, dry humour over hype.”
The voice, written once and applied to every line of copy on the site
What survived and what did not
Black ground, one red, brush display: all of that shipped unchanged. The three thin line icons along the bottom of page three did not, and they are the reason the brand now has a written rule about icons.
/about
/about
/ feature
/menus
/private-dining
/ enquireThe discipline is the design. Add one warm neutral, one amber, one cream, and the red stops being loud.
The source · 1080 × 1350, brand type baked in
01 — face held
02 — herbs invented
03 — different man
04 — different man
05 — different man
01, animatedOne photograph, widened, animated, then cut up
A portrait social frame went to gemini-2.5-flash-image to be painted out from under its own overlays and extended to 21:9. Five passes. Only the first two kept the man in the photograph, and the first is the one that went forward.
Setting currentTime on a <video> makes the decoder hunt for a keyframe and decode forward from it. Under fast scrolling it step-jumps, worst on iOS.
001
021
041061
081
101
121141
161Every real frame of a five-second clip at 32fps, decoded up front with createImageBitmap, the right one painted per scroll tick. No interpolation: 161 is the native ceiling.
About twenty pixels of scroll per frame. At 200vh the whole film was over in one screen-height and rushed past before it read. On a phone the track drops to 250vh; with reduced motion it collapses to 100vh, the canvas is hidden, and not one frame is fetched.
001
054
107
161
001
054
107
161The mobile hero
Once cover-fit has scaled the film, a portrait phone shows about 26% of its width. Where that window sits is a framing decision, not a detail.
Top row · 20%. Pinned right, the face clipped through the back half
Bottom row · 40%, shipped. Clear of both edges, forearm and fire in shot
shiso
wild garlic
leek
wood sorrel
sorrel
yarrow
cicelyfennel
bay
thymeShiso leads because it is Cam's favourite, and because it is the bridge between the Asian leaning and the foraged-in-Britain register. Nine more followed one per run, the brief field swapped and everything else held identical, so the drawing hand stays the same across the set.
fire a
fire b
fire c
fire d
fire e
fire f
knife a
knife b
knife c
knife d
knife e
knife f
mortar a
mortar b
mortar c
mortar d
mortar e
mortar f
mortar g
mortar h
mortar i
FIRE E
KNIFE D
MORTAR GScran Doh does not use icons. It uses tattoo flash, drawn by the same hand as the knife on the wall. A stock line-icon set is the single fastest way to make a site like this look rented.
Scratchboard · rejected
Open line work · shipped · about 12% white in frame
Only the strokes are white and the black ground shows straight through the body of the object. The failure is not ugliness, it is inversion, and it looks correct until you put the two side by side.
The mark, the palette, the voice, the motif set, the glyph set, six pages and the frame-scrub hero are mine. The cooking, the kitchen and the location photography are not, and I did not take a single one of those pictures.
There is no outcome number on this deck. Enquiry and booking figures sit with Cam, I have not been given one, so there is not one here.