Lim Peh’s began as a hawker-inspired noodle shop in Canberra, with a homemade identity and fast-casual franchise ambitions. Chef Shaoyi, who grew up in 1990s Singapore, wanted to create something his son growing up in 2020s Canberra could connect with too. Lim Peh’s is about blending generations, cultures and memories into a shared, experience that is familiar but not nostalgic.

During briefing conversations, it always came back to one word: rebellion. Not rebellion for its own sake, but a welcoming, purposeful one. Lim Peh’s wanted to feel as familiar to a first-time visitor as it did to a lifelong hawker lover. The identity needed to flex to be comfortable in a tucked-away laneway and in Woden Westfield. It had to be multicultural, multilingual and full of attitude. Never ‘yeah, nah’. Always ‘yeah, lah.’

DT Strait Sans by Death of Typography brings the Singaporean-ish flavour to the brand across menus, staff uniforms, packaging and the logotype itself. Full of personality and plays well with other faces, even our hand-drawn custom type, Noodle Sans (not shown here). Lantinghei is used for Chinese text.

Holise in use for the first ever Other Publishing collaborative zine, titled Vessels: Hands, Summers, and Other Goodbyes.

This zine is a collection of poems, short stories, illustrations, and comics themed around holding, grieving, raging, loss, memory, touch, and how all of these are carried.

Design by Rey Carlson and Rin Kim, with illustrations by Mai-Phuong Bui and Nix Ni. Risograph printed and bound by TXTbooks.

Holise is used alongside DT World Tour, with Redaction 50 Italic for emphasis (see the fourth image). Chinese text uses TW-Sung and Ryumin.