Leka is a sandwich shop located in Salzburg, Austria, serving up a modern take on the traditional Leberkässemmel (meatloaf sandwich).

The branding was created by Austria-based designer Lukas Diemling. The custom-drawn Leka logo was designed to evoke a mustard stain. All headlines are set in all-caps Rodger Black by Central Type, while the smaller secondary type is Pachinko by A is for: two rounded typefaces that make a delicious combination.

Blac is a seafood restaurant with a warm and lively atmosphere, where wine plays a central role in the dining experience, along with fresh, flavourful cuisine focuses on grilled dishes.

For the logo, the designer used a custom twisted version of Maroni Condensed, playing with the letters and the sea level. The accompanying typeface is Baskervville Italic.

Hawaiian Airlines is an aviation company headquartered in Honolulu, Hawaii, USA, hence its name. The logo shown here was introduced in 2001 and replaced with a new version in 2017. It’s credited to David Schuemann and Lindon Leader (of FedEx logo fame) who developed the identity at Addison, San Francisco.

While “Hawaiian” is custom drawn, “Airlines” uses all-caps Techno in purple, sandwiched between two long triangles. David Berlow designed the typeface between 1995 and 1997 for Mac OS 8.5.

Already since 1973, the logo features a woman’s face with purple hair and an orange flower against a big pink leave. It depicts Leinaʻala Drummond, who was Miss Hawaii 1964 and went on to work as a flight attendant with the airline.

The wordmark as seen on a napkin and snack pack

CaféCité in Seoul was envisioned as more than a café—it is a keeper of memories, a place where fragments of personal journeys are gathered, treasured, and shared. Rice translated this vision into a brand identity built on a flexible grid system, echoing drawers filled with postcards, souvenirs, and fleeting moments.

Illustrations take the form of travel mementos and postcard-like scenes, nodding to the café’s role as a meeting point for stories. A masthead-inspired logo anchors the brand with presence, while evoking the editorial voice of a city publication. HEX Franklin is our primary brand typeface. HEX Franklin is an homage to the classic Franklin Gothic type family and its lighter-weight siblings, News Gothic and Lightline Gothic. This gives the brand a unique character that stands out while remaining elegant and approachable.

Together, these elements create a framework that is both dynamic and evolving—mirroring the shifting rhythms of urban life. Through this system, CaféCité becomes more than a destination for coffee. It stands as a living archive, where the city and its people inscribe their own memories, continuously adding to a collective story still unfolding.

The Halo Beriti label uses Beatle.

Raffaele Riccardelli. License: All Rights Reserved.

Maroni by Arthur Calame (Calame.Bureau) is used for Fainà, the first address for Ligurian fast food in Milan. Designer Irene Salvadeo writes:

For Fainà the entire visual identity was crafted to reflect this link between places: from logo design to colors, typography, packaging, and illustrations.

The visual world of fainà is anchored by a seagull – a familiar figure along the Ligurian coast, and a nostalgic symbol for anyone who grew up with the sound of waves and wings. Now, it becomes a mascot, bringing a piece of Liguria into the Milanese cityscape.

Art direction and graphic design by Irene Salvadeo
Illustrations and animations by Ester Zirilli
Photos by Raffaele Riccardelli

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Source: www.instagram.com Raffaele Riccardelli. License: All Rights Reserved.

Helsinki-based design agency Fredag employed Calderón’s typeface Around B as a central visual element in the branding of Alex & Ines, a new restaurant and café located inside the Sokos mall in Lahti, Finland. The typeface appears prominently across signage, menus, promotional materials, neon displays, social media, and printed collateral like gift cards. Its soft, rounded geometry and friendly tone reinforce the warm, approachable atmosphere of the dining experience.

The script logo appears to be custom. On social media, Around B is supported by an unidentified monospaced typeface [see comments].

Tortillas are an omelette dish and a Basque institution. For Amatxi, studio Morbo created a brand identity to break with the dish’s exclusivity in pintxo bars. Between tradition and modernity, the identity is based on a custom-drawn wordmark, which can be shortened to a monogram A, and the slogan “tortillas sin hostias” (“tortillas without wafers”).

The visuals are created with Baste (from Lift Type) as the titling font, paired with the 45° version of Bourrasque (form Bureau Brut) to bring rhythm to the typographic compositions.

Faune by Alice Savoie and Knif Mono available at A is for are used for the identity of Giovedì, an Italian-Asian restaurant in Honolulu, Hawaii.

The visual identity was designed by Onward Creative who write:

Located in the historic heart of Honolulu’s Chinatown, Giovedì offers a unique fusion of Italian classics with Asian-inspired flavors. Created by acclaimed chef Bao Tran and partner Jennifer Akiyoshi, this multi-room dining destination features a vibrant central bar, indoor seating, and a charming patio. The name, meaning “Thursday” in Italian, pays homage to the weekly dinner parties the duo hosted in New York on their one night off—where many of the menu's signature dishes were first conceived.

The logotype was meticulously customized from the Holise typeface by Inès Davodeau. Leveraging the natural symmetry of the central V, Onward skewed the O and E to create a dynamic visual balance.

The Chinese typeface used for the stacked letters next to the dragons is yet unidentified.

Last Christmas, Studio Roses in collaboration with Isabel Rotger crafted a campaign for Casa Camper hotels in Barcelona and Berlin, celebrating the B-side of holidays. Adding a striking digital twist, Millionaire Script and Italic were reimagined with a pixelated rendering that contrasts beautifully with their warm, calligraphic heritage – resulting in a distinctive and unexpected visual language.

Copywriting by Pol Alert, photography by Mireia Farran and Marie Staggat.

Commander’s Palace is a renowed Creole restaurant in New Orleans, Louisiana. The place and its café, Le Petit Bleu, are using Selva Script alongside Gimlet Founders Grotesk and Self Modern on some of their products. The seriffed caps for the Commander’s Palace wordmark are from Fragment Serif.

From HONDO:

Since 1986, Café Plantel has been a reference in Costa Rican coffee, bringing the rich flavors of high-quality, responsibly sourced coffee to life. Our new visual identity reflects the deep roots of our brand in Costa Rican tradition, family values, and the authentic spirit of our local culture.

We selected Chroma Sans, a humanist typeface from Calderón, which resonates with the organic and personal touch we put into every detail. Its fluid and natural shapes draw attention to each character, much like the careful craftsmanship that goes into every cup of Café Plantel coffee.

The wordmark appears to be custom drawn.

Numerals are from Bayshore.

Melbourne based branding studio Both was engaged to create an identity for Napa, a new eatery located in the bustling heart of Glen Iris. Rather than relying on the obvious visual tropes associated with the venture’s namesake, Napa Valley in California, Both focused on capturing the experiential qualities of the region – its sense of space, rich soils, and expansive blue skies. The resulting design is centered around an understated and uncluttered visual language, supported by a textural palette that reflects the warmth and relaxed pace of Napa Valley.

Collaborating closely with the team to ensure a seamless integration of interior and identity concepts, Both developed a pattern inspired by the tiling within the space. This was further enhanced by the use of characteristic dual line weights in the logotype.

A pale blue highlight was introduced to visually distinguish the takeaway section from the rest of the space, enabling patrons to navigate more intuitively. The signage incorporates subtle curves that echo shapes found in the interior, fabricated from powder-coated metal to provide a smooth contrast to the various textures present throughout the eatery.

Boogie School Sans Middle 4th from Or Type was used for the logotype and as a headline font. The secondary typeface is Founders Grotesk Mono from Klim Type.

Visual identity for the Thai soup bar NAM in Basel. Created with noodles, neon spray cans from the hardware store, printed with our own laser printer, and hand-pasted.

Rollati Ristorante is a love letter to Italian-American cuisine, embracing the iconic dishes of Italy’s many regions and how they've transformed across generations in American kitchens. As the first Italian concept for California-based Vine Hospitality group, Carbonate helped bring the brand to life across a vibrant identity.

The branding builds off of a custom, flexible wordmark and an eclectic typographic mix. The playful nature of type combinations throughout the brand's touchpoints reflects the unique dining experience, rich ambience, and layered nostalgia of the concept's branding.

Dobbel is the Norwegian word for “double”. It’s also the name of a new eatery in the Norwegian capital that opened its doors last year.

Located in the city center, right behind the Spikersuppa outdoor ice scating rink, Dobbel aspires to offer Oslo’s best breakfast and lunch deal. During the day, it’s a café that takes pride in serving coffee that, while having been brewed from high-quality beans, can still be had for an affordable price. When the day comes to an end, Dobbel turns into a bar, serving taptails from some of Norway’s best cocktail makers.

While the interior design was conceived by Gabrielle Valø and Sylva Ya, local agency TRY takes credit for the visual identity. They worked with illustrations by Catherine Potvin that can be rotated by 180 degrees, referencing the venue’s double functions: eat and drink, café and bar. There are two colors, yellow and black, and two typefaces, Signal Compressed by Production Type and Surt by Blaze Type.

The former is used for the logo, from the hanging sign above the entrance to the coffee bags, and as display font. Its reversed contrast plays up the near-perfect symmetry of the word “DOBBEL” which, with the exception of the letter L, can be cut along a horizontal line into equal halves. The latter, a sans that’s advertised as being “inspired by Norse mythology and Scandinavian Architecture”, serves for text.

The food delivery category is home to either the interesting but unhealthy or the fitness-focused but bland. The approach of Singapore based online restaurant Grain aims to add an experimental and wholesome approach, as a breath of fresh air in the staid category: “a world where we don’t have to choose”. The brand belief is “food has no limits”, where the best part of each day is answering the question, “What will we eat next?”

Dish names went from functional descriptors to a unique Grain naming structure – one part familiar, one part surprise. The primary typeface is Funkis A, with two secondary typefaces – Kapra Neue and Windsor Extra Bold Condensed – the latter used to emphasise the surprising element. Typically boring and functional nutritional information was also shared through the curious, yet fun Grain tone, bringing experimentation and fun back to healthy food.

The Park Café is chef Richard Corrigan’s Dublin venue. It brings local grown products and food made with love to Dublin’s center.

From Good as Gold's website:

Virginia Park Lodge, Richard’s haven in Cavan, and specifically the Gooseberry Gardens, formed the inspiration for the brand visuals. We created a playful, engaging brand aesthetic that could easily be applied to all elements of the roll-out. The brand purpose (as outlined below) ‘serving you the park on a platter’ inspired a suite of elements that could be used in a variety of combinations.

Developing a suite of illustrations and using a bold, retro-futuristic typeface helped create the vibrancy and movement that brings the brand to life. The illustrations and colour palette were inspired by mid-century styles and led to a simple approach to animation that we integrated throughout the website UI.

The main font used from the logo to the menu is Luke Prowse’s NaN Fiasco. Its inner logic of voluntary inconsistencies brings in this context a vernacular and warm style to the identity, as wanted by the design studio. Using the heavier and more expressive styles for headlines, Good as Gold kept the lighter and tamer styles for the body copy work.

Happy Eater was a regional chain of roadside restaurants in England and Wales aimed at families. It was prominent during the 1970s and 1980s as a competitor to Little Chef and became defunct in 1997.

It is now rather hard to find examples of the wordmark in use. These examples are the best ones I’ve found on Motorway Services Online; there a few more if you like looking at bad scans and vintage 1980 car parks.

The words “Happy Eater” are drawn red on yellow in Charleston which accompanies a (happy looking?) stylised mouth agape. Although the restaurant chain predates the 1980 release of the videogame Pac-Man, surely the logo was inspired by Pac-Man and must come after it (logopedia disagrees, but places this version of the logo between 1985 and 1993) [see comments].

Promo sticker with “I’m a” added in a different font

Promo badges. Left-hand badge has dodgy apostrophe placement; right-hand badge has “I’m a” in a different font, possibly Albertus.

Apex Corner, London, 1980s

Napkin

Sign near Birmingham

Taken in June 1981 in Purley: “Three things all in the past: AN 259, the Happy Eater chain, and the occasional extension of the 405 route to Handcross numbered 455.”

Taken in 1981 at the then new Friary Bus Station in Guildford

Hidden within Fotografiska New York, Verōnika is luxury restaurant and bar.

A place for late-night conversations, moments over a shared meal, and serendipitous encounters.

The design is by King & Partners, who used Love with ITC Blair Bold for the logotype. It’s paired with SangBleu Sunrise for text and Aperçu for the menu.

Romie (by Margot Lévêque) is used throughout the branding for Gian Paolo e Marco, designed by Studio Tillack Knöll:

Gian Paolo e Marco – a bar that was set in stone – opened in September 2021 and set a new standard for modern bar interior in Stuttgart. The logo, a reminiscence of old Italian craftsmanship, resembles the brands story with influences of long summers and mid-century mediterranean heritage – the virtuoso use of specially drawn ligatures to reinforce the reference to ancient Italian craftsmanship.