Kane Dies — Roger Erik Tinch

Kane Dies is a political satire project drawing from the iconography of Citizen Kane: the media mogul as cautionary figure, the promise of power as a long con. The brand leans into campaign poster aesthetics: bold typography, high-contrast illustration, the visual language of a political movement that knows it is a joke and commits anyway.

The K Mark

A standalone logomark that works at any scale, from lapel pin to billboard. The letterform reads as institutional, just loose enough to feel subversive.

Logo and wordmark on white, red, and black — the K mark holds across all three backgrounds without adjustment. Red and black are the only colors the brand needs.

The Face

A portrait illustration built for reproduction: sticker, poster, zine cover. The style sits somewhere between woodcut and screen print: high contrast, flat color, designed to survive bad printing conditions.

The Face — woodcut-and-screen-print style chosen for reproducibility. High contrast, flat color, designed to survive bad printing conditions and still read clearly.

The Wordmark

The full Kane Dies logotype. Set in a condensed grotesque with deliberate tracking, the kind of type that shows up on campaign materials and protest signage. The name does the heavy lifting; the mark stays out of the way.

The full logo system — K mark, portrait, and wordmark as a coherent set. Each piece works independently; together they read as a political movement that is entirely in on the joke.

The system

A complete brand identity for a project that earns its absurdity by taking the execution seriously — logomark, portrait, and wordmark, all designed to hold from lapel pin to billboard. The visual language holds its satirical edge because it commits to the conventions it is parodying — campaign poster aesthetics, institutional letterforms, protest-signage tracking — rather than winking at them from a safe distance.