Hairline Crack — What Online Editing Shows About a Brand Before It Breaks

Brand Control When Everyone Can Edit: What to lock, what to hand over, and the early signs a brand is drifting in self-service design tools

Max Dunn has built browser-based editing systems for Adobe customers since founding Silicon Publishing in 2000, growing from two people to over 20, including original InDesign engineers. The moment a brand opens its templates to non-designers, control of the output moves from one design team to hundreds of people who mean well and edit anyway. Max watches for the early signals: the field someone unlocked, the logo swapped at the last minute, the local version that quietly becomes the master. He explains which parts of a template have to stay locked, which can be handed over safely, and who owns the rules once editing is self-service. Leaders leave with a test for whether their own online editing setup is protecting the brand or slowly rewriting it.

About Max Dunn

Max Dunn, podcast guest

President

Since 2000 Co-founded and leads Silicon PublishingBertelsmann Former Director of Software DevelopmentAdobe Publishing automation partner since the 1990sInDesign User Group speaker on automation and AI

Since August 2000 I have run one company on one platform, which is the opposite of the advice most founders are given.

I co-founded Silicon Publishing with Alissa Whitney, now our CTO. There were two of us. We are over twenty now, and in all that time we have never moved to a second platform: everything we build automates Adobe technology. The conventional warning is never to tie your business to another company's software, because the vendor can change its pricing, its direction or its whole product line without asking you. I took the opposite bet and went deeper, and I can say what a quarter of a century on someone else's platform actually demands of you.

Before that I was a software engineer at Bertelsmann in the 1990s, building early systems that combined automated pre-press and database publishing with workflow management. I have worked in publishing automation since the mid-1990s, which means I watched the last great upheaval in this industry from the inside, back when layouts were still assembled by hand. It is the closest thing we have to a rehearsal for what AI is doing to creative work now, and I am candid about what that earlier shift cost and who it passed over.

The part of the business I am proudest of is the bench.

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