Direct answer: Request three things separately: the usable design files, clear permission to use the work in the intended channels, and a record of any third-party elements with their own license terms. A folder containing exported logos answers only the first question in part.
A brand launch may look complete until someone needs to resize a mark for signage, hand a template to a new team, or reuse a photograph in a paid film. The final PNG can be visible while the editable file, font license, or reuse permission is unclear. Solve that at procurement and handoff, while the decisions and suppliers are known.
WIPO's copyright guidance says the original creator is generally the first owner of copyright, with important exceptions that differ by country. It also explains that use of protected work usually needs authorization, which may be a license or an assignment. WIPO's explanation of assignment and licensing distinguishes transferring rights from permitting specified uses. These are general concepts; the contract and law relevant to a particular project determine the actual position. Have qualified local counsel review material rights questions.
Separate the handoff into three records
| Record | What to ask for | Why it matters |
|---|---|---|
| Production files | Master vector marks, approved lockups, color definitions, editable templates, export specs, and a simple file map | A later team can make correct assets without rebuilding the identity |
| Project rights | The signed agreement's scope for use, adaptation, media, territory, duration, sublicensing, and transfer to future suppliers | File possession alone does not settle permission |
| Third-party inventory | Font names and licenses, image or footage IDs, stock terms, music or voice permissions, and any limits | A commissioned design can contain elements the designer does not own outright |
This is a buyer's request list, not a universal claim that every project must transfer copyright. For some work a broad, well-drafted license may serve the business; for other work an assignment may be important. Ask what happens if the company changes agency, expands into a new country, or produces a new campaign format. The answer should be in the agreement, not inferred from the existence of an editable file.
Ask the next-production questions now
Before accepting delivery, try one realistic task: have someone outside the design team make a new social tile, presentation cover, or packaging adaptation from the supplied files. Can they identify the approved mark? Is there a licensed font they can access? Do they know which imagery can be reused? Is there an approval contact for a new use? A successful test shows the system can travel beyond the original designer.
Keep the handoff inventory with the brand book, supplier records, and contract. The book describes how to use the identity; the inventory identifies the files and dependencies; the agreement governs rights. If a stock asset is restricted to one campaign or a font seat belongs only to a supplier, document that limit so a future team does not mistake the asset's presence in a file for permission to reuse it.
ARCHV can scope a brand identity project around the actual production assets a client needs. The buyer should agree deliverables and rights language before work begins, then review the supplied package against those terms. For domain, hosting, code, and platform access, use the separate website asset transfer checklist. This avoids a common launch-day surprise: a recognisable identity that no one else can confidently operate.