Cafézia offers a unique version of coffee that has been infused with tasteless herbs, giving it additional qualities of less stomach upset and less “jitters”.

Such a coffee has a very specific positioning in this category, and requires some degree of education to help consumers understand its benefits.

We put Cafezia’s value proposition squarely into both the branding and packaging with artwork that directly illustrates what you can expect to find within each bag. We paired this with friendly approachable typefaces that showcase the community ethos of the brand.

MadeByShape undertook a comprehensive branding project for Natterjack to craft a vibrant and distinctive identity that resonates with the target audience. The collaboration focused on developing a fresh logo, typography, a dynamic colour palette, and an engaging website design that captures the spirit of Natterjack’s innovative approach to its market. This creative overhaul not only enhanced Natterjack’s visual and digital presence but also strategically positioned the brand for growth and greater market engagement.

From Maria Vioque Nguyen & Fran Méndez’s Instagram posts:

At Hondo Studio we have crafted the visual identity for Cultural Third, the umbrella brand that houses and funds creative passions from emerging talent across the globe – spanning art, fashion, music, and more.

The concept originated from the third culture kid experiences of founders David and Arnold – global nomads who have absorbed artistic influences from their travels without belonging to a single location. This inspired them to build a platform celebrating worldwide creativity.

The designers add:

Drawing inspiration from the semiotics of Amharic writing (directly tied to one founder’s roots) and asemic writing, we designed a variable, adaptable logo that morphs seamlessly to suit Cultural Third’s multifaceted ventures. The fluid letterforms evoke the malleability of cultural identity in our globalised world.

The “C3rd” logo is custom drawn. All accompanying text is set in Bastardo Grotesk by Giulia Boggio and Rector by Hrvoje Živčić (Production Type).

Saut Hermès is an annual show jumping competition held at the Grand Palais in Paris, France, sponsored by the fashion company Hermès. For the 2022 edition, the visual identity has been entrusted to Pierre Jeanneau and 34 studio took care of all the variations. Pierre Jeanneau used Molitor by Matthieu Cortat (205TF) and Sang Bleu Kingdom by Ian Party (Swiss Typefaces).

Testùn Bar is a Neo-Italo Osteria serving experimental Italian dishes in Mt Lawley, Western Australia.

For the brand identity of Testùn, the design studio Gesture Systems referenced 1990s Italia football and the irreverence of ’90s Italy to deliver an eclectic identity to match to energy of the staff and venue experience.

Gesture Systems used a modified version of Monopol Kompakt by Nguyen Gobber, Monaako by Altiplano, and Louize Display by 205TF.

Semibold, the design practice of Scott Bolton, crafted a charming visual identity for ¡ROMA!.

Named after the beating heart of Mexico City’s food scene, Roma specialises in Mexican-inspired street food, with some ‘less authentic’ takes on classics – like their famous beef birria spring rolls.

Roma’s logotype and visual language were positioned around the inverted exclamation marks used specifically in the Spanish language — personifying the wordmark as a street vendor shouting their offering. This system extends to posters, social media, and a small brand motif (that features at the centre of their greaseproof paper) — which can be seen as either a folded taco on wheels or a happy face depending on which way you look at it.

Farmacia by Nguyen Gobber is used for Roma’s wordmark and Carrie by Vocal Type for all further typography.

Hijas del Campo is a non-profit organization based in Contra Costa County, California. It was founded by four daughters of immigrant farmworkers. Their main goal is to help migrant and seasonal farmworkers and their families improve their working conditions, health, and safety.

Today is the sweetest day.

Paperwhite-Studio designed the visual identity of Sweet Lady Jane, setting the logo in Right Sans and using Sprig for the rest of the brand's typography.

Boasting several beautifully designed dessert shops sprinkled throughout Los Angeles, Sweet Lady Jane offers confections that can be enjoyed on the spot or whisked away as the centerpiece of a celebration. For over 35 years, it has remained the premiere dessert destination for every special occasion across LA.

With the goal of elevating the brand identity to match the excellence of its sensational sweets, Paperwhite Studio engaged in a top-to-bottom visual refresh of the logo, packaging, signage, and more. Their rebrand resonates with a new generation of cake lovers, and has laid a strong foundation for continued expansion across the city.

Sweet and sentimental, the new branding savors the classic cakery we know and love with a fresh face.

Pippāl is a gathering place that celebrates the richness and diversity of Indian culture and cuisine, and melds traditional flavors with a modern touch. Influenced by the contrast and depth of cultures across India, the brand identity is built on connection and balance, reflected in both the wordmark – based on New Forest – and icon.

The typeface Sometimes Times offers an inviting timelessness and charm. Interstate relates to the slightly condensed, high counter height of Sometimes' letterforms, yet contrasts as a hard-working sans-serif. Campaign adds a layer of interest to augment the other two typefaces, with a charismatic expanded Grotesque font that rounds out the typographic system.

Designed by Multiverse Studio, Hera nei Campi revives rice cultivation in Southern Italy with innovative technology and a new rice variety, Magnum. The project features uniquely designed packaging and labels that reflect the local Piana del Sele region, enhancing user interaction and storytelling through detailed illustrations and typography that narrate the legend of Hera and the origins of rice.

The typeface in use is Romie by Margot Lévêque.

Cantina Mandia is a restaurant in the Colegiales neighborhood of Buenos Aires. To design the identity, Ufficio Studio used the typeface Molitor by Matthieu Cortat, Banana Grotesk by Mitch Paone, and Modern Prestige by Hendry Juanda.

On their website, we can read:

This branding was inspired by the frames of cinema in the 1960s era. The logo, based on a contemporary Art Deco typography, incorporates diagonal elements evoking the lively Italian spirit of Tarantella, with its vibrant voices, post-dinner conversations, and lively music. For the styling, we included photos of Sofia Loren related to food and leisure, and took the relaxed color palette from one of her images that combines an orange-golden hue to a great set of green tones. To introduce a feminine touch, we incorporated frames that remind us to the trimmings of folders and fabric napkins embroidered by grandmothers and added a script typography reminiscent of romantic movie titles. This blend of unique elements conveys the spirit of the era in a modern way.

Photos by Maria Eugenia Solla

Source: madoaparis.com Mado à Paris. License: All Rights Reserved.

When you close your eyes and think of Paris, three things will come to your mind immediately: the Eiffel Tower, madeleines, and upright cursive handwriting. We will show all three of them in this post.

Flour, powdered sugar, eggs, butter, and lemon zest are the basic ingredients for a madeleine. In France’s everyday life the madeleine is popular to accompany the morning coffee, but even more so for short breaks in the afternoon, for example the goûter children earn upon leaving school mid-afternoon.

A beacon of French pastry, many stories hover around these sponge cakes, from their scallop shape linking them to the pilgrimage to Santiago de Compostela, via a Polish king exiled in Lorraine who might have called these cakes madeleine in honor of his servant, to Marcel Proust’s seminal In Search of Lost Time where the dipping of a madeleine into tea ignites involuntary remembrance of childhood days.

Source: madoaparis.com Mado à Paris. License: All Rights Reserved.

Spread from the brand manual

The reference to the first name of its presumable inventor is paralleled in the name of the business portrayed here: Mado à Paris draws its title from the nickname of the owner’s beloved aunt Madeleine who passed her love for madeleines on to her niece. Promising to serve “the best madeleine of Paris”, the boutique-restaurant is placed in the very center of the city, just across the Tuileries Garden and – no joke – in direct vicinity of the Madeleine Quarter.

The art director responsible for the visual identity of Mado à Paris is Bastien Bouvier. He chose yellow as the principal color, evoking both eggs and lemon. The recurring illustration of a scallop-shaped madeleine is the second element of the design. What most coins the visual identity, though, is the lettering “Mado à Paris” in an upright cursive script. It is set from the typeface Enfantine. Designed by Jean-Baptiste Levée, it’s available from Production Type. Enfantine is complemented by the geometric sans-serif Maax, designed by Damien Gautier and published at 205TF.

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Box design featuring the logo in Enfantine and the claim and URL in caps from Maax

Enfantine is an intriguing typeface. On one hand, it combines script-like lowercase characters with “normal” capital letters which allows for all-caps typesetting. Secondly, it is cursive but upright – which might seem unusual to many but is perfectly common for French people: in their handwriting tradition the Ronde calligraphic style played an eminent role deep into the 20th century, largely influencing school scripts. You can see a typographic reflection of this style in Typo Upright, which is a variation of the tellingly named French Script. And to conclude with, the whole concept plus the monolinearity of the stroke clearly roots Enfantine in the 21st century.

All of the above makes Enfantine an excellent choice for this project: it alludes to the afternoon goûter, it conveys French tradition, but it also embodies innovation just as much as Mado à Paris in the field of madeleine bakery.

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Source: www.facebook.com Mado à Paris. License: All Rights Reserved.

Jar and label design for Trocadéro intense tea

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Jar design for Printemps de Paris tea

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Enfantine can also be found in raised letters on the chocolate bars.

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Assorted products including a jar of confiture de framboises (raspberry jam)

Source: madoaparis.com Mado à Paris. License: All Rights Reserved.

The logo above the entrance and on the floor of the restaurant-boutique at 252 Rue de Rivoli

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

And there it is: the other big star of Paris!

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Mado à Paris logo on a pastry label and the shirt of a mobile vendor

Source: www.facebook.com Mado à Paris. License: All Rights Reserved.

Mado à Paris tricycle with the illuminated Eiffel Tower in the background

Inspiro is a project focusing on healthy eating practices and vegan culture. The Inspiro team is now getting ready for opening their own restaurant, delivering talks and workshops as well as cooking dinners in the kitchens of the already existing food spots in Moscow and Tokyo.

The project has recently updated their identity, with Canela and Graphik by Commercial Type. The two typefaces take turns in the brand messages and in the logotype itself.

Visual identity and website for FLOR, a youth movement that promotes nature and biodiversity. The objective? To build a platform for Danmarks Naturfredningsforening (Danish Society for Nature Conservation) that supports local initiatives and youth communities fighting the biodiversity crisis in the middle of which we find ourselves.

From planting trees and scattering seeds, to spearheading national campaigns, FLOR connects youth with the environment, ultimately paving the way towards a flourishing and biodiverse future.

The visual identity of La Filmoteca was designed by Democràcia, using Exposure by Federico Parra Barrios and Neue Montreal by Mathieu Desjardins.

Here is more information from the Democràcia website:

Flexible Identity for the Valencian Film Archive of the Valencian Institute of Culture (Valencian Government).
Reviving pop, punk, and counterculture. Advocating for socializing and sharing cinema.
In the style of a Fanzine and as a form of revival, the Filmoteca's identity has been created with the assistance of the Exposure® typography by Federico Parra Barrios and edited by 205TF.
Based on the play of light, the brand is presented with a variable identity.
Inspired by self-publishing, for editorial use and publications, the brand employs a simple structure. The treatment of images complements the content, adding identity to the refined aesthetic. The use of leftover printer papers in random colors adds originality and spontaneity.

Located in Valencia, the Filmoteca is both a library and a cinema. It screens art house, classic, experimental and original films. This cinema bases its program on already released films. These are usually included in seasons that correspond to an actor, a director, a theme, a cinematic tendency or a different school. These can be either foreign or Spanish productions. It's worth noting that it is one of the few cinemas that screen short films. It is, at the same time, one of the most active cinemas during the annual Muestra de Cine del Mediterranni (Mediterranean Film Festival).

Visual identity for French Bre(a)d, a branding studio dedicated to crafting bespoke and unique visual identities, with a focus on food-related brands. The application of their new look includes business cards, custom website design and social media templates.

Futura Passata from AlfaType is the brand typeface, supported by Kalice by Margot Lévêque. Smaller texts use Moderat from TIGHTYPE.

Street fairs in Brazil are a huge deal. Typically held on (but not limited to) Sundays, they are a part of millions of people’s routines. Feira Mais is a brand inspired by this cultural phenomenon. Its purpose is to encapsulate the spirit of Brazilian fairs on their kiosks. No less important is its product, a special version of pastel, a snack that is also a Brazilian icon.

But what forms this spirit by which Feira Mais is inspired? It’s all about the joy, the colors, visual patterns, abundant food, cheerful communication. As expected, then, a huge part of the project was dedicated to diving into the fairs' culture seeking, at the same time, creating something new and paying homage to what inspired the brand.

Put that all together, and we have a brand that is asking itself the question of what it means to be Brazilian. Obviously, there is no objective (or singular) answer to this, but our solution was picturing “Brazilianness” as a joyful, humorous spirit, and proud of its traditions.

Although inspired by traditions, Feira Mais has its own innovation. The brand’s promise is that their pastel is made for being a everyday snack. While the classic pastel is considered a deep-fried indulgence for weekends, Feira Mais created a balanced variant of it.

Balance is a concept we also applied to the brand’s visuals. The color and type palettes are not literal translations of street fairs’ universe. They rather play with this reference, but in a sober tone. The stencil type refers to a vernacular composition usually found on street fairs, while other fonts take care other communication layers with elegance.

Rodrigo Saiani comments on the typography:

The concept of hi-lo is fundamental to understand the type choice for this project. Short for high-low, it is a term that can fit into several categories: we can say that it is a style, a behavior or even a way of thinking. Its most common use is in the fashion world, where hi-lo means a mix of high fashion pieces with more casual pieces. Like wearing a tennis suit, you know? But hi-lo is much more than the clothes you wear. Hi-lo is also combining fair with design, it’s putting branding on pastel. That's why this concept makes perfect sense for this brand. Because you have to be a little frivolous to risk these combinations, right?

Dapifer, designed by Joshua Darden, delivers on many levels: it has a certain informality in tradional shapes, has a Stencil style that fits the Brazilian street fair references so well that it seems to be made for it.

Creative direction: Rodrigo Saiani and Gabriela Fiks
Strategy: Gabriela Fiks, Rodrigo Saiani and Valter Costa
Graphic design: Aline Caruso, Ana Laura Ferraz, Carlos Mignot, Gabriel Mesoma, Gabriela Fiks, Rodrigo Saiani and Valter Costa
Photography: Firma Criadores
Architecture: Gruna Arquitetura

Born from the belief that nourishing, high quality, planet-friendly products should be available to everyone, Wholesome is the online eco-health pantry and membership that makes a difference at every step. They tasked Universal Favourite with an end-to-end brand overhaul that would reflect the innovation of their DTC offering, looking, feeling and sounding as good as the brands and products they stock.

The logo is set in Gooper, a typeface that embodies the communal spirit of its heritage (the ever-ubiquitous, retro Cooper) while bringing its own goopy, playful flair. Slight customisations were made to the w allowing it to tuck neatly under the h ascender and also to shine as a standalone icon. With its soft edges and winding curves, the mark is distinctively warm and inviting.

The typography intertwines practicality and expression. Gooper SemiCondensed is disarmingly personable with just enough charm for headers and large-scale use. Maison Neue takes out the role of best supporting typeface, providing a clean but friendly sans serif that’s ideal for smaller pops of copy. And then there’s Kale Sans Mono – the informative, matter-of-fact, typewriter-esque workhorse. Together they make for a type system that’s as rich in quality and variety as the brand they represent.

Ilios is a French swimwear brand inspired by the spirit of Greece. With the visual identity, we aimed to convey a sense of finesse and elegance. The curves and rounded shapes of the wordmark – based on Erotique Alternate – are reminiscent of a woman’s body and its natural contours. From a distance, this logo almost resembles a drawing, a symbol that stands on its own. Typography uses a combination of Neue Montreal and Romie.

ArPa is the new Brazilian contemporary art fair - multiple, participatory and plural. The fair generates business opportunities by bringing together gallery owners, artists, curators, collectors and art enthusiasts, promoting what is most exciting in the national and international art scene. The identity created by Margem uses
 TWK Lausanne (designed by Nizar Kazan) and Reckless (by Displaay).