Bottle and label design for the very limited água-pé Pomo de Ouro, made by Juicy.ttf.

Traditionally, água-pé is a very light wine made by adding water to the leftover grape skins, seeds, and stems (bagaço) after regular wine has been pressed, then letting it ferment again. With Pomo de Ouro, that process was made with cider apples.

Art Direction by Francisco Torres and Miguel Mesquita, with design by Mesquita and illustration by José Luis Dias. The chosen typeface is Ramboia by Rui Abreu. Pedro Lopes took the photos.

For more detailed info, check out this Instagram post and feel free to get in touch with the producers.

Labels for a cider producer in Normandy, France. Fred’s Apples engages in traditional production methods, using a press, with apples picked locally by hand.

Packaging design for Xochi Prebiotic Agave Soda made with 100% natural ingredients, respecting the traditions surrounding aguamiel.

The concept aims to capture the essence of Mexican cultural elements and create a brand identity that pays homage to its vibrant heritage from a contemporary point of view. We drew inspiration from the streets, using a wide range of references such as local signage, festive traditional costumes, decorations, flowers, and everyday graphic expressions.

We wanted the cans to feel like a celebration of Mexican culture from a pop perspective, where colors are vibrant and typography is bold, oversized, and playful.

Keith’s Cacao is a specialized platform offering 100% pure, ceremonial-grade Guatemalan cocoa. The site provides premium cacao blocks and educational resources focused on “heart-opening” spiritual practices, creativity, and holistic wellness.

For its branding, made by Kinoto Studio, they used Dave West’s Cooper Nouveau Swash for the packaging headline, Pouler by Alexandre Créquer for titles and subtitles, and Pangram Sans (Mat Desjardins), Trade Gothic (Jackson Burke), and SAA Series for texts.

“À Table!” is a two-color screen-printed poster inspired by cookbook photography from the 1970s and 1980s. These images often depict unlikely and visually unappealing dishes, presented with complete seriousness. What makes them compelling is that they were never meant to be ironic. The poster brings together a selection of real recipes found in these cookbooks.

Printed in black and orange using screen printing at Atelier Bambinoin Lyon, France. Paolo (the guy I made the posters with) printed two T-shirts with it. The typefaces in use are Bookman Bold Italic Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono and Zipper. Bon appétit !

Design of the visual identity for Galette Party, a Lyon-based event dedicated to tasting traditional galettes des rois (king cake or Epiphany cake), bringing together a curated selection of the city’s best artisan pastry chefs.

The project includes the creation of the official event poster, social media visuals, and the “Galette Tour” pass, designed as a stampable card to be marked throughout the tasting journey.

The artwork aims to reflect the event’s gourmet, festive, and artisanal spirit while providing a strong and cohesive visual identity across all communication materials, created by the studio C’est par là.

The colorful new branding for the Austrian ice cream manufacturer Purkarthofer Eis, designed by Rawty, features Cucina Nera and Neretta along with Brondi Condensed for the headlines.

Baked stands for ‘less but better’. This attitude is reflected in the design. At the Isemarkt in Hamburg-Eppendorf, Baked sells handmade cookies which are produced with a focus on a few but high-quality ingredients.

Designer used Maroni Condensed in a bold way and big size for the logo, combined with Helvetica Now for other text. Her goal was to develop a confident look that conveys effortless elegance. Kraft paper meets stainless steel elements – natural warmth meets high-quality precision.

Murcia-based studio Rubio & del Amo designed the visual identity and packaging for Harinas La Encarnación, a Spanish flour producer known for its artisanal quality product. Using Miller Display from Carter & Cone, the design captures a level of elegance rarely seen in such a humble category. The design also includes Helvetica in use on the back for some content and nutritional details.

Large, confident typography dominates each bag, paired with a pointillist illustration of a soaring bird—a symbol of tradition and care from the area it is produced. The restrained palette of earthy tones and matte finishes conveys both craft and sophistication.

It’s a perfect marriage of form and function: striking enough to stand tall in a bakery, but completely grounded in typographic precision. Easily among the most beautifully designed flour packages ever produced.

See the entire project on Rubio & del Amo’s site.
Hat tip to Brand New.

“Cuisines Cultes”, or “Cult Cuisine“ in English, is the fifth issue of the book-like magazine by French publisher Les Belles Lettres. It is dedicated to the rituals associated with food, from the prehistoric age to the future. It is filled with articles, recipes, photographies, short stories, and so on.

The offset printed and gold stamped publication features Self Modern in Regular, Book and Italic for the titles and texts, along with Almanach for the captions, and Karrik on the backcover.

The Chinese text “民以食為天” appears to be set in Hiragino Kaku Gothic.

The typeface used for Greek text is yet unidentified.

Hachette has launched Food Lovers Travel, a collection of travel guides dedicated to the best culinary spots worldwide. Fagostudio designed the covers for the first six books: Rome, Seoul, Paris, London, Montreal, and Amsterdam.

The layouts were designed by Hachette. They use My Creative Land’s Roca​​​​​ for the title of this collection, with FinalSix by Type-Ø-Tones for the subtitle and Very Cool Studio’s Gooper for the yellow stickers. The illustrations feature type, too – see the captions for details.

The concept is based on illustrated facades representing these major cities, highlighting their culinary identities, architectural details, local specialties, and lifestyles. Food Lovers Travel aims to turn every trip into a culinary adventure by featuring the best places to eat, whether restaurants, markets, or speciality shops. Eating well is an essential part of the journey.

Eat Amsterdam ft. ABC Gravity (“Wafels”), modified Courier (“Amsterdam”), and more Roca (“Oud Kaas”).

Eat Londres ft. Coney Island (big sign) and Komika Title (small sign)

Eat Montreal ft. ABC Diatype (“Bagels”) and more ABC Gravity (“Traditional Montreal”)

Eat Paris ft. Gooper Italic (“Le Petit Parisien”) and DIN Condensed (“Rue de Cornichon”)

Eat Rome ft. Zing Script Rust (“Trattoria”) and Vampiro (menu board)

Eat Séoul with Hangul lettering

Mirá is an artisanal bakery that blends tradition and innovation, drawing on Japanese and Brazilian knowledge to reinvent breadmaking. Inspired by the scientific method and the ancestral art of bread, Mirá is a space where memory, research, and haute cuisine converge – turning the experience of bread into an act of culture and experimentation.

Bakken vol gevoel (“Baking full of feeling”) is a new book by Laura Verhulst, also known as Madam Baker. From publisher Borgerhoff & Lamberigts (translated):

Verhulst […] describes how baking offers solace in good and bad times: from joyful moments to periods of sorrow and loss. She finds comfort in the rhythm of kneading dough and watching baked goods rise in the oven. But equally, she hits the bake when there is something to celebrate. Together with therapist Rebekah Rogiest, she explores four emotions – joy, sadness, anger, and fear – each of which serves as inspiration for a chapter. With more than 50 unique recipes, this book invites you to allow your feelings while baking. By taking time for yourself in the kitchen, you not only create something delicious, but you also make space for personal growth and peace.

From Andrej & Andrej:

A new artisan bakery at the bus stop on the main crossroads in the centre of Bratislava – the Subo concept was created comprehensively from the name, visual identity, production and communication method.

A place where once stood a forgettable fast-food chain spot, now smells of fresh focaccias, summer-at-grandma’s evoking pastry and litres of locally roasted specialty coffee. Subo is not just a bakery though, it’s a comprehensive concept that combines a love of good food, a relentless pursuit of an exceptional customer experience, quality architecture and playful communication. That's why several dozen people have worked to make it a reality, us amongst them!

The visual identity is based on the concept of the Subo mascot. The mascot was created from dough, whose basic characteristic is very easy moldability. Therefore, its form is not fixed but changes over time and according to the content it wants to convey. The Bandit font is based on the shapes of wooden plates, which makes it perfectly suited for expressive applications and stamps that we use in our visual identity.

En Pleine Nature is a Michelin-starred gourmet restaurant just outside Toulouse. The ecologically committed gastronomic enterprise uses local produce that is also sold in the affiliated bakery, wine cellar, and deli.

Chef Sylvain Joffre keeps his promise: his fresh, subtle and fragrant cuisine is born “in the wild”. This authentic cook-gardener-gatherer makes the most of the vegetables and herbs in his kitchen garden, as well as scrupulously selected regional produce. His sincere style precludes any fancy tricks: beautiful produce is worked in all its truth, magnified with juices and coulis, emblazoned with plants and flowers from the garden… all with the constant concern of keeping prices down. As for the decor, it’s a sober interior, or a pleasant terrace shaded by parasols. Highly committed to respecting nature, the chef also offers an adjoining boutique with viennoiseries, brioches and breads made with organic flour. He describes his culinary vision with the following words:

The cuisine is inspired by nature (the chef's vegetable garden, foraging…) and by the work of local producers, highlighted in the surprise menu. To set an example and raise awareness of environmental issues among customers and staff alike, we are reducing the use of imported products as much as possible, and gradually introducing actions in favor of sustainable development.

Grecha is a contemporary food brand redefining the perception of buckwheat—transforming it from a traditional staple into a modern, nutritious, and design-forward product. The brand identity reflects this balance between heritage and innovation, using a typographic system that feels both nostalgic and bold.

Gill Kayo sets the foundation for the logo, with its rounded, friendly letterforms echoing the soft, organic shapes of cooked buckwheat. This warmth and familiarity create an inviting, homey feel—reminiscent of childhood comfort foods. Complementing it, New Burns adds a refined yet approachable contrast with its soft serifs, reinforcing a sense of quality and tradition while maintaining a modern edge. The typographic palette is completed by Golos Text.

The overall design, including horizontal packaging layouts and vintage-inspired color palettes, ties together the brand’s mission: to make buckwheat exciting, accessible, and an everyday essential.

This kitchen poster was made by Berlin-based illustrator Louisa Schwartz a.k.a. Ectomorphe. It was inspired by a German cookbook from 1981, as shown in this YouTube short, complete with a traced version of the title in Eightball. The monospaced font used for the line below is Monaco [see comments].

The poster is available for purchase from ectomorphe.com.

Atlantic Cruise by Kustomtype sails into the spotlight on the luxurious souvenir tins by Italian chocolate brand Sorini.

Each tin is a masterpiece, showcasing iconic cities in all their glory—with Atlantic Cruise’s elegant curves and timeless charm perfectly framing the journey.

A sweet fusion of design and indulgence, this collaboration proves that great typography can make even the simplest packaging a global treasure.

The copperplate script used for “Souvenir” is Filmotype Zenith, with condensed proportions and extra slant. Small text at the bottom is set in two weights of Futura.

Illustration and graphic design by Erica Zipoli, with art direction by Federico Galvani at Happycentro.

From &Walsh:

While some ice cream brands want you to try their Neapolitan, Coolhaus encourages you to savor the taste of fries dipped in your milkshake. When Coolhaus approached us to collaborate on their rebrand, we were invited to imagine an identity for a brand founded on the belief that ice cream offers endless possibilities. We chose to center the brand direction on “Edible Creativity,” highlighting the unique personalities behind every flavor and SKU through evocative naming, vibrant colors, and a robust custom illustration system. We developed a cohesive brand hierarchy that seamlessly adapted across 60 SKUs and three distinct categories: Dairy, Dairy-Free, and Animal-Free Dairy.

This included six different packaging formats, from pints and individual sammies to cones and multi-item boxes. Each SKU featured its own set of custom illustrations and color schemes, contributing to a comprehensive library of over 100 unique illustrations. With creativity at the heart of Coolhaus’s brand DNA, we create a fun illustration system that would allow their internal teams to design new flavors with ease.

The fonts in use are Agrandir by Alex Slobzheninov and Pangram Sans Rounded by Mat Desjardins and Valerio Monopoli, both distributed by Pangram Pangram Foundry. The logo could be either custom lettering, or based on a font.

Räder is the typeface of cookie brand Chunky Chunks. From design studio Petrikór:

The briefing was quite simple: “we want to create a brand of insanely stuffed and flavorful cookies, the rest is up to you.” — I remember at the start of the project, during a team conversation when Doi (one of our designers) blurts out the following question:
“cool, so can we build this brand as if it were our own?!”
Yes, that’s exactly what we did! We delved into all stages of the project, positioning, naming, design, architecture, web, and photography direction.

About the name, that’s right, we were stupidly literal. Whenever someone tries the cookie for the first time, it’s common to hear something like: “wow, it's really stuffed.” and we respond: “yes, it’s chunky!”

Petrikór started from there to try and create a design that could be easily replicable and scalable at the same time, but that would have the look and soul of a unique place. Petrikór steered clear of the “promotional” appearance of franchises and focused on a design that fits into the lifestyle and everyday life of the people who visit Chunky.