The Matcha Kyōto is a modern expression of heritage and craft. Inspired by the tea fields of Uji, Kyoto, the brand captures the quiet beauty and precision of Japanese tea culture.

The identity blends structure and softness, using a restrained grid, minimal typography and natural textures to reflect purity and calmness. Every detail of the identity is designed to be felt as much as seen.

The packaging and printed materials use textured, uncoated stocks to mirror the raw, organic qualities of stone-ground matcha. Subtle grain, soft shadows and fine lines create a quiet tactility that reflects the care behind every handpicked leaf.

Each element of the identity was considered to evoke a sense of calm, craft and connection. A continuation of the brand’s visual language in physical form. From the tea-rich hometown of Uji, Kyōto, to the world.

MUAS is a boutique ceramic atelier (and also a cafe), with products present worldwide, known for beautiful, yet bold and out-of-the-ordinary creations.

Japanese minimalism provided the foundation, aligning with the owners’ cultural inspiration while establishing luxury associations. Generous white space and editorial layouts created breathing room around products, transforming presentation from catalog merchandising to gallery curation. The simplified palette used warm greys inspired by clay tones, providing subtle backgrounds that enhanced rather than overshadowed the rich product glazes. Typography reinforced premium positioning through deliberate scale – small, spread-out text in English and Japanese added sophisticated detail without competing with photography. The organic, rounded logo softened stark minimalism while referencing clay forms. Despite simplification, the MUAS letterforms retained distinctiveness, demonstrating the thoughtful reduction characteristic of luxury design. This visual strategy positioned MUAS as a ceramics gallery rather than retail shop, fundamentally shifting customer expectations and justifying premium pricing. The identity successfully communicated that MUAS products exist at the intersection of craft, design, and art – transforming purchases from functional decisions to cultural investments.

Throughout printed matter, Neue Haas Grotesk is paired with snippets of Japanese text set in M PLUS 1p; on the bilingual website, text is rendered in Inter.

Graphic design of the seventh album for the Musée des Arts décoratifs in Paris, published at the occasion of the exhibition Du bol! À travers les collections asiatiques du musée des Arts décoratifs (From the bowl! Through the Asian collections of the Musée des Arts Décoratifs), shown from 7th June to 9th July 2023 and curated by Béatrice Quette.

I designed a series of booklets for the museum, with recurrent parameters (format, kind of papers, 2two main typefaces). Each new issue welcomes a new typeface for titles. This one is typeset in Immortel Infra for running text and in NEXT Book for titles. For this one, I also used LL Supreme in its lighter weight to match NEXT Book, only for the page number because those of NEXT Book are too exuberant.

The typeface Aconchego found its perfect home in studio Molde’s project for Regalo Casa, where the fluid curves translate the essence of a brand that gathers sophistication and affection. The font contributes to a visual identity that transitions naturally between refinement and comfort – precisely reflecting the brand’s proposal to be “present in your home” through its special curation for the household, from everyday moments to special occasions.

Do Not Feed Alligators is more than just a café—it’s a creative hub nestled at 337 Bleecker Street in New York City. Its unique identity is entirely set in TWK Lausanne 400, a typeface designed by Nizar Kazan and published by WELTKERN®. This choice isn’t coincidental; the café’s founder, David Shama, a Swiss photographer originally from Lausanne, has a deep attachement for the typeface, calling it his go-to for virtually everything.

In a delightful twist of serendipity, Nizar Kazan (founder and one half of our foundry) stumbled upon the café while strolling through New York. Intrigued by the familiar type on the café’s signage, he stepped inside for a coffee. What followed was an unexpected exchange in French between two Lausanne natives, as David enthusiastically shared his love for TWK Lausanne. The meeting turned into a moment of connection, where their shared origins and creative journeys intertwined. Nizar snapped several photos during his visit, which are now part of the visual documentation of the space.

The café extends its love for TWK Lausanne across every touchpoint, from merchandise like coffee bean bags to branding throughout the space. The interior also features a charming library corner filled with curated books on photography, architecture, and design—reflecting David Shama’s passions.

One standout detail? The café’s signature leckerli crocodiles – a playful nod to the Swiss heritage shared by the DNFA Coffee founder and the font designer. These crocodile-shaped treats, crafted in collaboration with a specialty Swiss bakery based in the U.S., blend tradition with originality, much like the café itself.

For Nizar Kazan, this encounter was a reminder of the joy of seeing his work integrated into real-world spaces. For David Shama, it was an opportunity to celebrate the essence of Lausanne in the heart of New York City!

Starting as a hidden gem in Bloomsbury, Halfcup has grown from a single café into a beloved city retreat, with locations in Kings Cross and St. Bart’s Square. Known for its friendly vibe, artisanal coffee, and vibrant brunch menu, Halfcup is a true slice of calm amid London’s energy.

From design studio Other:

Their refreshed identity is intentionally understated, creating a calm canvas that lets the vibrant dishes take centre stage.

The updated logotype is set in @frostype.xyz’s FT Polar—a typeface chosen for its refined geometric character and elegant simplicity.

At the heart of the design are minimalistic, floral-inspired graphics, used sparingly to complement rather than overpower. These organic shapes convey a sense of freshness and vitality, subtly mirroring the colourful, vibrant nature of HALFCUP’s dishes.

Heydays have designed a campaign for the Norwegian home appliance company Wilfa, launching a new line of coffee makers. The ad uses the Light and Book weight of Store Norske Geita, from Skriftkompani.

From design studio Werklig:

The Pirkkalan-range stands for cooperation with local producers and a hand-picked range of high-quality products. Owner of K-Citymarket Pirkkala, Petri Putila, constructed the product line to distinguish it from the hypermarket’s other products and to always bring new delightful things for customers to try and taste. Preparing the products and having a coffee roastery and an ice cream factory on the premises, was a must. Werklig created a private label brand and packaging to stand out from the wide range of other brands on offer. To inject some artisan food culture into the aisles of a hypermarket.

The logotype is set in Sud. Text on the packages uses Garton Italic.

Emily Reinhardt is a ceramic artist and designer whose work focuses on beautiful, functional ceramic objects for the home. In her studio in the Crossroads Arts district of Kansas City, Missouri, Emily designs and builds by hand a variety of one-of-a-kind objects, including plates, vases, wall hangings, tumblers, mugs, goblets, and trays. Her modern, unfussy aesthetic features perfectly imperfect shapes and stunning surface design techniques, such as striking glazes, touches of gold luster, bold patterns, texture, and raised effects.

Emily founded The Object Enthusiast in 2011 and continues to grow a loyal community of customers and students, teaching classes online through Skillshare as well as in-person at her studio.

The identity is designed by Missouri based designer Alex Skorija. Bastardo Grotesk is used for the logo, the manufacturer’s stamp, business cards and more. On the website, it’s paired with Neue Haas Unica.

Since 1648, the Royal Library in Copenhagen has collected and shared the collective written knowledge of Denmark. In 2017, it merged with the State and University Library (Statsbiblioteket) in Aarhus under the name the Royal Danish Library (Det Kongelige Bibliotek).

The selection of typefaces used for the Royal Danish Library comes from the Berlingske family – a superfamily that comes in many styles. Berlingske Sans and Serif are available from Playtype.