104 published examples
The first review question is not layout. It is whether the set of marks matches the promise above them. A line that says “trusted by teams of every size” next to five lookalike startups reads as filler. A short, specific claim next to fewer, more relevant names usually lands harder. Logo treatment is where these sections quietly die. Full-color marks on a busy field fight each other. Forced one-color treatments can erase a brand that only works in its own palette. I tend to ask for a grayscale or single-ink pass first, then restore color only where a mark becomes unreadable. Equal optical weight matters more than equal bounding boxes. Wordmarks and badges never share a true centerline, so optical alignment beats a rigid grid. Watch height. A logo strip that is taller than the headline is doing too much. On small screens, a slow marquee can feel cheaper than a two-row wrap. If you need motion, pause on hover and keep contrast legal against the track. When the brands are yours to sell, stop thinking in logos. Photography, a one-line point of view, and a real destination outperform a mark floating in a tile. When the brands are proof, resist the urge to write a paragraph under every logo. One honest label for the group is enough. If a relationship needs explanation, promote that name into a partnership card and leave the rest of the wall quiet.
Enough to make the claim feel earned, not encyclopedic. Six to twelve well-known or clearly relevant names usually beat a wall of twenty obscure ones. If you cannot explain why a mark is in the set, cut it. A second row is fine. A third row is a signal that the section has become a dumping ground.
Only when the destination helps the visitor. A client mark that opens a case study or a featured brand that opens its shop earns the click. A logo that jumps to a third-party homepage is a leak. If legal or relationship rules block deep links, keep the marks static and put the action on the section label instead.
When you have three names, a story, or a catalog to sell. Three logos look lonely in a five-column grid. A partnership that needs context wants a card, not a glyph. A house of brands wants photography and a point of view. Use the wall when recognition is instant and the job is proof, not narrative.
