An event brand.

Revival To My City lives on posters, dates, and city names. Its real design system is not a page, it is the city instance: how the mark locks up with a city and a date, the poster, the stage backdrop, the countdown graphic. The name itself is built for this, because "My City" becomes each city's own sentence, and most people will meet this brand on a poster before they meet it in a room.

What this door owns.

The three doors are told apart by temperature and proportion, not by three separate palettes, so the house still reads as one house. This is what Revival To My City owns.

Why this door exists.

CLEAN is the first movement of the process. A heart is cleaned before it burns, so this door is the invitation, not the intensity. Its work happens in evening services: worship, preaching, the altar call, and testimonies captured as they are given.

The unit of this identity.

Revival To My City is met on a poster before it is met in a room, so the unit of this identity is not a page. It is the city instance: the mark, a city, and a date, locked up as one announcement.

[City] · [Month Year]

The mark already carries the blank. MY CITY sits inside Word Blue brackets because it is the field a city fills: Kampala, Mbarara, Jinja. Replacing those two words is the only permitted change to the artwork, it is made once per instance from the record, and it is set in DM Sans to match the line it replaces. The date line beneath is letterspaced DM Sans caps. The lockup is never redrawn per city, and no other word in the mark ever moves.

• The poster. The mark or the stage word, the city and date line, one action, and the endorsement, which is either the co-brand lockup or the line set beneath. Footage runs full bleed behind the Midnight scrim with White or Parchment type only, or the poster stays paper with Midnight type. The mark itself carries no Flame, so the 5% ceiling is spent on the surface: a rule, a numeral, one tick, and nothing more.
• The stage backdrop. The reversed mark and the city line, nothing else. The room provides the colour.
• The countdown. The poster reduced: mark, city and date line, and the days remaining as the only numeral on the surface.
• The record. Every city instance is entered into the record, city, venue, dates, and host church, before anything is printed.

Documentary capture, from the record.

Real moments from real ministry. Nothing stock, nothing staged, nothing generated. Every published photograph carries a caption in the record register.

Dates come from the capture record. The location is recorded as Sanga, Mbarara, Uganda in the capture folder and is pending confirmation against the official ministry record, so it is stated here and not yet frozen into the guide.

What this door still needs shot.

Today all three doors draw from one conference, so the three guides read as three views of one event. Three ministries need three libraries. These are the shots this door records next, and the brief is recorded as a gap in the asset record.

• Night altar calls. The room responding: hands, tears, the front filling.
• The city by day. Streets, markets, and skylines of the host city, so each instance can open with its own place.
• The host church serving. Local people running their own room: ministry of helps, prayer teams, setup.
• The empty venue. The room before anyone arrives, for the countdown and the record.

A serif, and a bracket that is a blank to be filled.

The wordmark is three faces converted to outlines: the swash R is Hello Paris, EVIVAL is ITC New Baskerville, and TO MY CITY is DM Sans, the house sans. The R’s leg sweeps out and cradles the rest of the word, and that gesture is the mark. The Word Blue brackets around MY CITY are not decoration, they are a blank: this door’s identity is the city instance, and the mark says so on its face. The brackets are drawn geometry rather than typed characters, set to fixed proportions of the sub-line’s cap height: each arm is 0.54 of it, each stroke 0.114, and the frame clears the words by 0.42 on every side. They are built by the logo build, not by hand, which is why every published form has them in exactly the same place.

The editable original lives at https://canva.link/ou17pf8asqkgg3c. Changes start there and come back through the inbox, because the published files are generated and a hand edit to one of them is overwritten by the next build.

Where this door is found.

One label per platform, read the way an ingredients panel is read. This door opens an account only on the platforms its kind of brand needs, so no channel goes quiet. Anything not listed is carried by the parent, whose own channel facts live in Brand Guide §12.

These handles are the recorded standard, not a claim that every account exists. Registration status is pending confirmation against the account record. A handle that cannot be secured on a platform comes back here through a changelog entry, never as an improvised variant.

Where this door departs.

Everything in the Brand Guide applies here. These are the points where Revival To My City is deliberately not the parent.

• Lead with air. This door carries the most whitespace in the house. Crowding it contradicts what it is for.
• Flame at five percent. Half the parent's ceiling. A single tick, a rule, a numeral. Never a panel.
• Midnight type on light ground. The evening footage is dark enough on its own; the page around it stays paper.
• The altar call is the call to action. Every surface ends with something the reader can do, and it is an invitation before it is information.