Liquid Love is a 1980s trattoria inspired gastrobar in the heart of Lisbon, Portugal, with delicious craft cocktails and the best Mediterranean delicacies.

I created a brand identity that reflects the ’80s era while giving it a fresh twist with a fun illustration, a cupid who is on its way to make people fall in love with cocktails.

I got inspired by old Italian signs for the color palette and typography. The monogram displays a double L icon shaped as heart, designed to use with packaging stickers and coasters.

The “Liquid Love” logo is custom drawn. The font used for the Latin phrase “omnia vincit amor” as well as for most other text is Basier, paired with Calendas Plus Italic for “Stuzzicare”.

Overmoon is a vacation rentals startup, offering a growing collection of family-oriented rentals, owned and run by them. Each Overmoon getaway has all the comforts of home with the joy (and reliability) of your favorite hotel.

Understanding the pain points of family vacations with kids, and anyone you could call family, Mucho created the name, messaging and visual identity for Overmoon, based around the joy of a vacation made easy. The name Overmoon, created with A Hundred Monkeys, is inspired by the informal British phrase ‘over the moon’.

The symbol is a bold, simple crescent moon flipped over to become a smile, hinting at the joys of a stay with Overmoon. The supporting wordmark uses Boing by A2 Type, a sans serif face with subtle rounded corners, mirroring the roundedness of the symbol and giving the brand a soft, friendly feel.

Rounded characteristics were carried through other elements of the brand such as the website and icon design to create a cohesive visual experience. The visual language also uses a color palette inspired by the night sky.

Saber (“knowledge”) and sabor (“flavor”) are two words with the same root: in Portugal, it is said that something flavory “knows well”. For Kiro, a pioneer in the manufacture of switchel in Brazil, this connection goes beyond the dictionary: over there, everything is made with flavor and knowledge.

Since 2017, the company’s purpose has been to offer a drink that is not only a healthy and clean label, but also to create a sustainable business capable of strengthening small producers. The four flavors and the canned version (carbonated and alcoholic) are made with ingredients of agroecological origin. Nowadays, production, which started in the home of one of the partners, takes place in its own factory in São Paulo, allowing full control of the chain. All this care, combined with the intense and refreshing flavor, makes Kiro a brand with a devoted audience.

To reflect the more mature moment of the business, we redesigned the beverage labels, reinforcing the protagonism of some elements already consolidated: the logo (by Estúdio Colletivo) and the illustrations (by Fabrizio Lenci) that refer to the ingredients of each flavor.

In addition to the labels, we also designed a new visual identity, contemplating a chromatic palette, illustrations and iconography, positioning Kiro as a drink beyond sober curious and suitable for all occasions. The new typographic palette – combining New Spirit and Nimbus Sans – was designed for a brand that makes a great of use of text in its communication: words and phrases are organized in order to generate recognizable textures, strengthening the idea that Kiro knows very well.

Creative direction and design: Polar, Ltda.
Identity illustration: Stella Bonici
Label illustrations: Fabrizio Lenci
Kiro Logo: Estúdio Colletivo
3D modeling: Lucas Kawakami
3D render and motion: AGED*04
Kiro team: Raquel Leal, Roberto Meirelles and Leeward Wang

La Rústica is a pizza restaurant in Nayarit, Mexico, with locations in Punta Mita and Sayulita. Its fun, beachy identity was designed by Futura, featuring a typographic palette that is a blend of soft and pointy. Tropiline is used for the wordmark and the weathered logomark, while Roslindale Display Condensed is the primary font for headlines. The small sans serif used in all caps on the menu appears to be Atlas Grotesk.

Futura describes the identity on their website:

The graphic proposal was inspired by old travel postcards with a tropical, beachy feel. A serif typeface inspired by 18th century stylistic trends was used for the logo, and although each branch is designed with slight variations in typography, they maintain the same stylistic values. The icon, featuring an "R", simulates the aesthetic treatment of prints and engravings, with the intention of giving a handmade and handcrafted property. As well as a series of food illustrations that function as visual aids within the brand. The colour palette is inspired by the colours of an idyllic seascape, from morning to sunset.

The new corporate identity for Deutsche Kinemathek – Germany’s national museum for film and TV – features Frequenz by Kilotype.

The diverse competencies of FÜNFZEHN, a collective consisting of architects, editors, interior, motion and graphic designers, allowed them to approach the redesign from a holistic standpoint. An animated logo alongside a playful color scheme is one element of an intricate communication strategy that according to FÜNFZEHN has the aim to “improve visibility and recognizability and the potential to address a broader audience”.

One aspect of the new communication are posters and billboards for special exhibitions, festivals, and as part of an image campaign to draw attention to the new Kinemathek. Tight but not touching letterspacing is a dominant characteristic of the typography.

Another component is an update to the Sony Center, where Deutsche Kinemathek is located. Passersby are welcomed by three huge flags with the Kinemathek logo. Upon entering they might notice how the custom flyer stands match the layout of the flyers, or how the lounges made out of upcycled theater chairs have the same colors they have seen on the posters. In addition, there are moving images such as animated posters and exhibition trailers featuring an animated version of Frequenz.

From this new design of Deutsche Kinemathek, and yet somewhat distinct from it, emerged the design for other projects that DK is affiliated with. The Film Restored Festival, an annual film restoration festival, uses the same typography with evocative images. Berlinale Retrospektive, the annual retrospective section of the Berlinale, also features many of the elements from DK’s new look, as can be seen on posters and on the cover of the No Angels book.

FÜNFZEHN made a short film in which they talk (in German with English subtitles) about the project in greater detail.

Magu is a Brazilian restaurant that celebrates vegetarian cuisine as a spectacle of mixed flavors, not simply the absence of meat. From in-depth knowledge of ingredients, culinary culture, and gastronomic techniques, an intimate relationship between the chef, the food, and the client flourishes.

Therefore, the visual language is composed of quite abstract and intriguing custom watercolor illustrations of common ingredient close-ups: zooming in to rediscover the universe inside each one.

The illustrations are accompanied by a sober color palette and a characterful combination of typefaces, with RP Digital Foundry’s Agipo leading the way alongside Latin Modern Typewriter (aka Latin Modern Mono) from GUST and Overpass by Delve Fonts.

Creneau International:

The word “CAFÉ” in a custom drawn sans serif* with an extra-wide F is matched with an equally customized Tenez for “FLOR”. All uppercase and with its base serifs removed, the high contrast and quirkiness still shines through, especially with the quirky R matching the organicity of the illustrations. Filson is used for messages on the menus and tray liners.

The botanical illustrations and large use in the retail environment makes me want to go to Schiphol airport as soon as this pandemic allows :)

*) Deco Days JNL or Stereonic are somewhat similar.

Anton Paar is a global market leader in the field of measurement technology. Nearly every brewery plant in the world is equipped with their measurement devices – brewing and precision are one and the same thing for Anton Paar, so to speak. Thus, it does not come as a surprise that the Sudhaus is the fulfillment of one of Anton Paar’s long-held dreams – a restaurant with good, regional cuisine and precisely brewed beer from the restaurant’s own show brewery.

The new design creates a suspenseful bridge between restaurant and measurement technology while communicating the precision, quality and pleasant atmosphere of a contemporary restaurant. A brewing kettle in the line grid and the entrance door serve as a metaphor for an open, special place that is all about enjoying beer, food and hospitality. Following the materiality of the brewing kettle, the color copper consistently appears in the façade, the architecture and all printed touch points. The different resolutions point to the topic of measurement and create a differentiating, memorable appearance.

Traulha is used for the restaurant logo, headlines and most typography, assisted by Px Grotesk.

Conception of the identity of La Manufacture Gourmande by Studio Ravages with the typeface Plaak, created by Damien Gautier. A future venue dedicated to gastronomy of the Grand Sud-Ouest sponsored by Chef Philippe Etchbest, the project is in the process of prefiguration, and construction of the building (5,088 m²) will be started in 2018. Opening in 2021.

Perpetua not entirely appropriate here