MiMAKi is a premium food brand that reimagines umeboshi, the traditional Japanese preserved plum, through a contemporary lens. The brand carefully sources plums from a region in Japan celebrated for their exceptional quality, selecting each with care and processing them with meticulous attention. Once regarded primarily as a traditional food for older generations, umeboshi is now thoughtfully reinterpreted by MiMAKi to captivate younger audiences and health-conscious consumers around the world.

What emerged from market research was a clear trend: many umeboshi products rely heavily on traditional “Japanese” visuals, such as brush calligraphy, ink paintings, and classical decorative motifs. While these visuals honor tradition, they can also be perceived by younger or international consumers as old-fashioned or culturally distant. At MiMAKi, the brand deliberately avoids these conventional visual cues, instead embracing abstract and graphic expressions to give the packaging a sense of freshness and approachability.

The visual identity, including the logo, mark, and labels, are designed in harmony with the packaging. Starting from the round shape that symbolizes the umeboshi, abstract elements were created for each of the three flavors, all with variations in color and form. The labels, applied directly to the jars, serve as the product’s “face,” making the product approachable and accessible. By balancing visual distinction with functionality, this design creates a new approach to traditional food packaging.

Since its launch, the brand has steadily gained support from younger audiences through social media, and in recent years, it has also captured the attention of health-conscious consumers abroad. Its visual charm, regarded as cute and modern, has been widely praised, helping MiMAKi build momentum that now extends to major international cities, such as Los Angeles and New York.

MiMAKi is a project that demonstrates the power of design to carry traditional foods forward to the next generation, while bridging time and culture. By combining cultural heritage with innovation and a global perspective, this initiative aims to serve as a model for local design reaching from Asia to the world.

The main logo is a customized version of Akkurat, with the Japanese copy in S Mincho Soft.

Beuys+Palermo is the title of an exhibition organized by Toyota Municipal Museum of Art, the Museum of Modern Art in Saitama, and the National Museum of Art in Osaka.

Ambiant Sans is used together with an unidentified Japanese typeface for both the exhibition posters and collateral as well as for the display type in the catalog. From book seller Do You Read Me?!:

This catalogue accompanies an exhibition by the same name held in 2021 in three venues across Japan. Joseph Beuys and Blinky Palermo were from different generations, but both experienced WWII and the postwar reconstruction, as teacher and pupil. The works of these two superficially contrasting German artists were alike in that both Beuys and Palermo endeavoured to restore art to the status of a raw, live endeavour. Composed primarily of works from the 1960s and ‘70s and detailed texts, the book explores the features of each of these two artists, while simultaneously searching for the latent power of their praxis in their involvement as they overlapped with each other.

Publisher My Book Service Inc. mentions that the catalog was designed by Kariya Yuzo and Kakuta Nao of Neucitora. The catalog additionally uses other typefaces for Latin and Japanese text [see comments].