Grand Slang Italic is paired with Söhne and Söhne Breit for the website of San Francisco-based immi:

immi reinvents the delicious Asian American foods we love with added nutrition. We’ve started by enriching the comforting, umami rich, and nostalgic bowl of instant ramen. Our single goal: capture that same oh so satisfying ramen feeling with a makeover of better ingredients and crafted flavors for a more nutritious, and equally delicious bowl.

Released in 1999, one year after his sensational debut Unrest, Opa*q is the second album of Rei Harakami, and described as a masterpiece of the Japanese techno scene.

The cover was designed by Masashi Iwasaki, with a photograph by Tomoko Iwata. The typeface is the Black weight of Helvetica Rounded (or maybe Bitstream’s version named Swiss 721 Rounded), used in all lowercase characters, with stretched proportions and a glow effect.

[More info on Discogs]

Pelican is a bar in the heart of Hamburg’s iconic St. Pauli. Conceived as Sonny Crockett’s favourite place the Miami Vice inspired bar serves fruity cocktails and longdrinks in a Memphis Design spatiality.

Pelican Poster is the bespoke typeface, designed by Paul Eslage, that defines the identity of the bar. Its combination of circular shapes and runic strokes gives it a clear yet playful character. Taking you back to Miami in the 1980s, this typeface embodies the unconventionality and clarity of that design era in a contemporary manner. It was developed from the wordmark and is used in any display usage in the menu, on the website and as signage inside the bar. Lemur is the main typeface for any informational text and is accompanied by Knif mono for second hierarchy texts like ingredient lists inside the beverage menu.

Bottle and label design for the very limited cider edition of 2022 Sidra Nouveau, made by Faca Nos Dentes and Juicy.ttf.

The cidre nouveau, or new cider, is an international celebration (just like Beaujolais Day for Beaujolais nouveau) that some producers like to embrace and release their first fermentations like we did with Sidra Nouveau. The idea is to open and drink those bottles from the middle of November till the end of the year.

Since there is no official stencil version, it was necessary to do a bootleg modification of Atica (authorized by its designer, Rui Abreu), to mark the bottles.

For more detailed info, check out these Instagram posts and feel free to get in touch with the producers.

Photos by João Peixoto.

The visual identity of Slabs Pizza, located in Auckland suburb Onehunga, New Zealand, was designed by fellow Auckland company Blink. Brik is used throughout from logo to packaging and headlines, with Gustavo for supporting text.

Food Society is a company opening food courts through big French cities. As for now, one has been opened in Lyon and one in Paris, although at least another opening is planned. The food courts house a collection of small stalls ran by already existing restaurants from each city, often offering a smaller and adapted menu than their main venue. Besides their food function, the places also offer a range of cultural events, from DJ sets, concerts, conferences…

Situated in rather commercial neighborhoods (malls) close to big train stations, Food Societies distinguish themselves by a strong interior architecture led by Belgian architect Lionel Jadot, himself inviting many different designers from The Zaventem Ateliers to contribute an eclectic collection of hand-made furniture (seats, lamps, tables…).

The branding was created by AAAAA Atelier in collaboration with Studio Triple for the logo and all typographic aspects. Triple created a two-headed custom type family including 65 titling styles – Poivre – and six text styles – Petit Poivre. The all-caps titling family is set up across a wide range of widths and weights together with outline styles that also span across multiple weights. Combining the outline styles with the plain ones allows for multi-color type-setting. The typeface mixes inspirations from Art Deco and street art in a playful and irreverent way.

The fonts are used for signage and packaging all over the place, painted on ceramic tiles by ceramic artists Mon Colonel & Spit, and part of the distinctive architecture. The identity makes a good use of variable fonts through animated logos and a website randomly flexing all the styles of the fonts when users over titles.

Art Direction by AAAAA Atelier
Ceramic art by Mon Colonel & Spit
Architecture by Lionel Jadot
Pictures by Julia Grüßing, Studio Slurp, Vincent Frances

Designer Aurélie Mansion used Pleasure Inktrap with extra cheeeeeese for the smiling gastronomy and wine photographer Maki Manoukian.

©Aurélie Mansion

Panama and Sackers Italian Script are paired in this series of flyers/social media posts. From Mexican wine bar Sorbo (translated):

Elborde X Sorbo is a collaboration that unites two projects to celebrate the complicity and friendship between both brands. We merged the versatility of EB with the spirit of SORBO – natural wines –, to create a limited edition piece: the Sorbo Pants.

Identity and naming for Volado – Mexican cuisine with a Madrid accent – by Tres Tipos Gráficos. The logo uses the Pimpit typeface by Benoît Bodhuin, with a customized v. On the menu, the business cards and elsewhere, it’s accompanied by what looks like Helvetica/Helvetica Condensed, sometimes with stretched proportions.

The magazine logo appears to combine Jackpot (with some glyphs inserted from another typeface) and Middleton Brush.

Secret Menu is a new print title from DoorDash that takes a behind-the-scenes look into local food culture, starting with Asian food in Los Angeles.

The magazine is founded on the belief that restaurants mean more than food and focuses on the communities forged by chefs and owners, examining the way their businesses are connected to their neighborhoods.

Words from Studio Yukiko, the designers of the magazine:

We wanted it to look as yummy and creative as cooking itself, with diverse design ingredients, mouth-watering typography, and nutritious colour palettes. Overall as enjoyable to digest it’s contents.

The main display typeface is Pimpit by Benoît Bodhuin. Other fonts in use include Surt by Matthieu Salvaggio and ITC Bookman by Ed Benguiat (body copy), Compagnon by Juliette Duhé and Léa Pradine (captions), Delikaat by Florent Courtaigne (names), and a number of 1970s revivals by Canada Type: Jackpot, Goudy Two Shoes, Middleton Brush, Stretto.

Art Director: Michelle Phillips
Design Director: Sebastien Millot
Designer: Antonina Kozlova

Table of contents

“The Sanctity of Sushi Knives” featuring what looks to be Neue Haas Grotesk.

“Hail Hail beloved Strip Mall” featuring Goudy Two Shoes, Stretto, and an unidentified serif

“From Sea To Table” featuring an unidentified serif

“Forget About Pho” featuring an unidentified serif

If there is one place where Italy and France know how to agree, it is around a table!

Cacio Pepe, an Italian trattoria located in the heart of the Passage de l'Arsenal in Valenciennes, brings together the creativity of Italy through that of a starred chef of Italian origin and the French audacity of an entrepreneur-restaurateur who does not have cold eyes. Two gourmets at heart who have taken up a bet: to set up a restaurant together in the pure Italian tradition.

I lent a friend an early release of my own font Atwin, which is a digital interpretation of Franco Grignani’s Gemini Computer. Sometime later, and to my surprise, I received this gift in the post.

It is a white enamel mug decorated with the phrase “Greetings Earthlings!” with black text typeset in Atwin. The letters are cut out with a CNC vinyl cutter and stuck onto the mug. The cutter has introduced its own minor deviations from the glyph outlines, for example the counter in R has a small step in its outline made by the cutter that isn't present in the digital design. Weeding vinyl cut letters and transferring them onto an object can be a little bit tricky sometimes, and we can (just about) see that the crossbar on the first G is a little bit wonky.

The designer tells me that the cutter software ignored the kerning in the font file, so the unkerned type had to be adjusted by hand. Good job!

It is a source of great joy to receive things made with your own type.

It’s not possible to get the whole phrase in one shot, here we can see the right/hand part

Poster for Paul & The Microcosm playing an open-air-in-the-streets-of-Köln-Nippes concert for Wenzel Rehbach’s finissage of Der Garten at Galerie Lindemann. Using Marielle Niels’ PicNic and Helvetica. Poster design by Lara Liske with artwork by Wenzel Rehbach.

The French hein can mean a couple of things: something like “hey!”, but also “isn’t it?” and “sorry, what did you say?”. It’s not so much a word as a spontaneous utterance that you’ll understand instinctively when it pops up. Add the definitive article le and it becomes precisely a bar-restaurant in Lille, France.

Le Hein is one of three taprooms in French Flanders run by Brique House, a local craft brewery with a strong stance on regional identity, products and cuisine – plus a cosmopolitan outlook, as the mix of French and English shows.

Responsible for the visual communication of both Brique House and Le Hein is Nash and Young, a branding agency with branches in Paris and Lille. Le Hein is presented as pas normal etaminet, i.e. not your usual tavern. This deviant quality is reflected by upside-down words, distorted letterforms, and symbols that include UFOs and burning planets.

Apart from the colors black and yellow – signaling danger (think bees), but also Flanders – the visual identity fully relies on distinctive typefaces. To a minor extent, the unconnected script-sans hybrid G2 Ciao by Gruppo Due is used. However the leading part lies with Signal Compressed and Kreuz, both primarily designed by Emmanuel Besse and published by Production Type.

The way these ingredients are used refers back to the French lettering tradition in which the combination of bold upright caps and script played an eminent role. Considering the contemporary feel of the typefaces the design thus reflects well the two-sided character of the business.

The Hein wordmark is based on Signal Compressed, with some customized rounded corners.

Menu

Kreuz Condensed used for a neon sign affixed to the wall

Neon sign with outlined Signal Compressed above the take-away fridge

Light box sign featuring Signal Compressed

Vinvino is a bar and shop in Bern, Switzerland serving and selling a carefully selected range of European wines.

In 2021, Vinvino got a new visual identity designed by the Swiss creative agency INTR. The centrepiece of the new identity is the bold and heavy wordmark using Kiosk by Nguyen Gobber in bright red.

All other graphics are purposefully designed in a rather reduced and matter-of-fact fashion. Together with an outlined shape of a wine bottle and simple line elements, Neue Haas Grotesk is used to design different applications on- and offline.

From Eatwith:

Join Chef Fabrizio Ricotta for his pop-up Supper Club, where the food, tradition and modern cooking techniques are the protagonists of the show. Fabrizio will host the evening, taking you on a culinary journey through Italy, from Milano to Sicily.

Fabrizio Ricotta is a London based chef whose passion and love for food started from a young age and his experience now spans over 10 years and developed in some of the best restaurants across Italy and England, harnessing a cooking style, that is rooted in Italian tradition, fused with elements of British, French and Scandinavian gastronomy, which influences his personal taste into delicious and elegant dishes.

Trying to shape the idea of private dinners as something that can be fun and young and more of an experience than just a meal, the communication and identity is focused on being professional, with a touch of fun and fresh.

Here, a mix of three typefaces aims at translating this attitude into the picture, all starkly set against a bright orange background, consistent with the color palette used on his website and social media.

I paired my Mafta Grotesk with Doghebi (Marcello della Puppa) to create a logo that would be both fun and readable while somehow communicating a sense of handmade, taking us back to the process itself of pasta making in particular, and cooking in general. General copy is set in a mix of Mafta and the 2.1 version of Bastardo Grotesk.

A Japanese cuisine based in Kuwait City, inspired by a dark kitchen concept, Koto is created as a bold and playful restaurant where customers are served a delivery-only experience. For the brand to be appealing, the visual identity had to be developed with an engaging timeless narrative.

Typography is the key foundation for Koto’s identity. The logo – set in GT Maru Mega – is rooted and grounded in urban Japanese aesthetics, and recalls the Japanese pop culture concept kawaii. The secondary Information is typeset in the narrow, rounded Miso; the Japanese texts use PingFang.

Likewise, following the brand’s personality, the logo required an uplifting logomark as well. Ms. Koto is designed after two iconic Japanese pop culture characters in the early 80s. Mariya Takeuchi’s emblematic smiling-album cover encourages a sudden familiar warmth while the happy pink cheeks give a nudge to the anime character Heidi; these attributes tighten the logomark’s brand construction.

One of the biggest challenges nowadays in packaging design is to reduce the waste that it generates. Care packaging is part of the brand’s values; we created a modular system layout for labeling the biodegradable containers and bags to produce a flexible and eco-friendly brand.

Koto is a love letter dedicated to Japan.
ありがと

Yoisho has been around for quite sometime but this time the Jakarta based restaurant will be rebooted with fresh new direction. Along with that of course a logo redesign is needed but we think to refresh a concept means to really take another look at how the brand is communicated.

It is important to note the location of the restaurant and the people who frequent this area.
The Senopati neighbourhood itself is proximate to the business district but the low-rise buildings lend a laidback vibe to the area. It’s equal parts stylish and casual.

There has always been generalization of how Asian food is represented. But Yoisho is not a traditional joint, it's focusing more on fusion food that emphasizes on exploration of taste and ingredients. Since we are more on the contemporary side, we want to avoid that sort of stereotyping by developing visuals that responds well to the expectations of Senopati’s crowds.

Sharp Grotesk is the main typeface, used in two weights. The logo uses Chiswick Sans.

Curry Pizza House is rapidly expanding into more locations across the country through franchising. The goal of Barnada Studio’s rebrand was to create a modern, bold, and edgy brand image to reflect their fresh and spicy motto. The brand elements take inspiration from Bollywood movie posters and Indian street signage to pay homage to the founder’s Indian roots.