Located in Marseille’s vibrant and hybrid Notre-Dame-du-Mont neighborhood, LABC has just unveiled its new visual identity. Occupying the premises of a former local vinyl store, the venue has been a staple of the neighborhood’s food scene since 2023. To reflect the constant mutation of this urban hub, designers Benjamin Puddu and Steven Mazzola crafted a rebranding that bridges local heritage and hard-hitting design.

At the heart of this new visual era is LABC, a custom display typeface by Benjamin Puddu and Steven Mazzola. Used for the main logo and the brand’s various graphic assets, it breaks away from the usual corporate aesthetics of the food industry. The typeface features a heavy, fluid, and high-contrast look that directly echoes the thick strokes of street art markers and the organic layering of a sandwich.

To balance the intensity of this custom typography, the designers selected Homie from Blaze Type foundry. Used for secondary text blocks, subtitles, and informational content, Homie brings a geometric contrast to the identity that is both structured and warm. Its generous, clean curves perfectly counterbalance the raw, liquid elasticity of the main logotype.

The typography unfolds dynamically across a vibrant palette of three bold, sun-drenched colors: a mix of orange, yellow, and green. The letters adapt to different formats, stretching, twisting, and interacting with local emblems or food mascots illustrated in a naive drawing style.

This visual reinvention fully comes to life through a lifestyle and product photo campaign captured by Igo Studio. This photoshoot anchors Benjamin Puddu’s graphic design in the raw, sunlit, and textured reality of Marseille's streets.

OTSU opened in Barcelona the way the best places do, without a big announcement and already belonging in the neighbourhood. This café is a reflection of its founder's instincts: food built on contrast, a space that doesn't rush you, and the kind of care that only reads as effortless when it isn't.

The identity takes its cues from the places that inspired the space, particularly Asia and the kind of beauty that lives in restraint and precision. It's built from the physical language of the café itself. Verticals that recall curtains, tall ceilings, and the upward pull of living things, paired with the shape of a perfect circle that holds it all in.

The logo doesn't repeat itself unnecessarily and appears only where it counts. Red leads the palette with conviction—warm, rich, and loaded with cultural weight. In Asian cultures it's the colour of luck, celebration, and something worth paying attention to.

The result is a brand that feels the way this café does. Nothing is accidental and nothing is excessive, leaving a quiet mark exactly where it matters.

Louisa Coffee is a major Taiwanese coffeehouse chain founded in Taipei in 2006. In 2018, it decided to rebrand. With design agency DDG Brand Consultancy a more modern logo and identity was launched, including Mallory by Frere-Jones Type.

The font used for the Chinese name 路易莎 is yet unidentified.

Marie Priour. License: All Rights Reserved.

La Renverse is a café-bookstore in Saint-Suliac (Bretagne), located on the ground floor of the community space Le Grand Banc.

The space consists of three rooms: one for displaying books for sale, another serving as a café where visitors can eat or have a coffee, and a third for children.

For the brand identity, designer Marie Priour paired Maroni Regular for the logo and headings with Compagnon (with its cursive Bold) for smaller text and informational content.

Riso-printed illustrations and hand-painted signs bring to life the various printed materials that make up the brand identity.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Frizbee by Typeverything is used across the branding of Bahrain-based brunch and breakfast spot Popina. Their visual identity was designed in 2024 by Zeal Studio, combining approachable typography with a playful, fresh and contemporary look and feel. The restaurant closed doors in autumn 2025. Frizbee is complemented by Cabinet Grotesk and a yet unidentified typeface used for Arabic.

The new visual identity for razzo, a restaurant/bar/café based in St. Gallen, was developed by design agency Absolut Agentur:

With razzo, a place emerges where space and time begin to blur – a play of the senses between seduction and familiarity. Urban, raw, elegant. A restaurant that is more than cuisine: stage, encounter, experience.

The name razzo – Italian for rocket – carries the idea of momentum, energy, and ignition. It evokes a feeling of movement, of lifting off from the ordinary and entering a different atmosphere. This spirit shapes the identity of the place: vibrant, yet elegant, bold, yet intimate.

It becomes a setting where gastronomy, design, and social experience merge into one moment. The restaurant is not only about what happens on the plate, but about the rhythm of the evening, the encounters between people, and the atmosphere that surrounds it.

In this way, razzo transforms a simple night out into something memorable ; a space where energy gathers, experiences unfold, and the everyday briefly escapes gravity.

Oaze is a foodhall in Palhoça, Brazil. The naming and visual identity of the business was handled by design studio Ajna:

Oaze was born as a new food hall concept: a sophisticated, diverse, and open-air food court located in the heart of a large entertainment hub. The challenge was to create a brand with a strong presence and memorable visuals, capable of communicating variety without losing unity.

Inspired by the concept of an “oasis,” we created a visual and verbal identity that reinforces Oaze Foodhall as a place of pleasure. Through the naming, we evoked the idea of ​​a refuge amidst urban chaos, conveying the proposal to offer a rich and diverse gastronomic experience, with different restaurants and establishments in one place. The vibrant color palette brings life, while the bold logo carries personality for a sophisticated and welcoming environment.

The identity pairs typefaces in contrasting weights and widths. Roc Grotesk from Kostic is used in condensed, regular and extended widths, and in lighter and heavier weights. Its Heavy style served as a basis for the logo. The sans serif is juxtaposed with a few weights of Right Didone from Pangram Pangram. The less showy Gilroy from Radomir Tinkov is used for small type.

From Ajna Design’s website (translated):

Bakeaway Coffee emerged from the desire to combine the coziness of artisanal confectionery with a modern, affectionate, and professional brand experience. The challenge was to create an identity that expressed affection, care, and technique.

We created the name “Bakeaway,” which unites the act of baking (bake) with the lightness of taking away (away), evoking the concept of comfort food. The bakery had already existed for over 20 years, but the time had come for its repositioning. The visual identity translates this sensitivity with a visual atmosphere that connects affective memory and quality.

Bakeaway embodies the archetype of the Lover, promoting a gastronomic experience that transcends the simple act of eating. Every detail of the brand was designed to awaken desire and connection, from the engaging verbal identity to the sweet color palette and the welcoming shapes that make up its visual identity.

The identity is set in Right Serif by Alex Slobzheninov and Editorial New by Mat Desjardins, both distributed by Pangram Pangram.

Workshop Coffee is one of the UK’s leading specialty coffee roasters, known for its clean, sweet flavour profile and quiet pursuit of quality. George Cosby Studio was brought on to help redefine its brand positioning, visual identity, and packaging system.

For the new identity they chose the typeface Moulin by Commercial Type.

Brand identity and environmental graphics for Bottega, the mom-and-pop Italian café based in Crown Heights, Brooklyn. Pentagram partner Andrea Trabucco-Campos and team developed a new visual identity and signs with an inviting, dynamic, yet elegant attitude. Even in static form, the identity conveys an active space, constantly moving and changing, much like the diverse Crown Heights community that Bottega is now a part of.

The design uses Harber by Benoît Bodhuin, paired with Montiac by Fabiola Mejía.

Only Coffee Project is an Australian specialty coffee establishment in Sydney and Melbourne with a specific focus, an ever-evolving vision and an open brewing-laboratory setup. The business brews, serves and retails coffee exclusively, showcasing some of the best offerings from producers and roasters around the world. We were commissioned to develop a new visual identity to signal the coffee bar’s mathematical approach to brewing and to help it stand apart from Sydney’s crowded coffee landscape.

The visual concept emerges directly from the name – Only Coffee Project – which expresses an attitude of ongoing progression and a single, obsessive focus on coffee. We crafted the identity using custom-drawn letterforms and incorporated a distinctive letter Y that doubles as a universal visual device suggesting energy flow and direction. The brand colour blue is inspired by the phrase “blue-sky thinking” – an invitation to imagine and explore uncharted territory, provoking and stimulating innovation within the world of coffee.

The bespoke logotype moves between states of stillness and energised flow, mirroring a calculated approach to brewing that electrifies the senses and produces mesmerising experiences. The identity has helped establish Only Coffee Project as a convergence point for coffee lovers and positions the business as a generative space – part laboratory, part community hub — that continuously connects people through a single product: coffee.

Gallardía’s visual identity was developed in collaboration with interior designer Elisa Uriarte, aligning the branding with the architecture of the historic house that hosts the café in Montevideo, Uruguay. The project responds to a distinct cultural context: while Uruguay has an emerging specialty coffee scene, mate—a traditional infusion widely consumed in the Southern Cone—remains the dominant everyday beverage. Creating a brand with a strong presence within this landscape required selecting a typeface with greater weight and character, moving away from the neutrality of a standard sans serif to establish a more defined visual voice. The logomark references the café’s interior lighting concept, taking inspiration from the light strokes incorporated into the spatial design. For the launch campaign, phrases were developed to reflect Uruguay’s cultural backdrop, including “drinking coffee in a country that drinks mate.”

interior designer Elisa Uriarte

interior designer Elisa Uriarte

WS Craft’s upright and italic styles are mixed by graphic designer Bernardo Berga in Jazz Kissa, a book about the culture of jazz listening bars in Japan, published by creative agency and publishing house ERG Media:

Immerse yourself in the soul of Japanese listening culture with Jazz Kissa, an expansive photographic exploration of Japan’s iconic jazz cafés, known as Jazz Kissa. The book is the result of over fifteen years of dedicated work by photographer and cultural historian Katsumasa Kusunose, who has meticulously documented these intimate spaces and the people who keep their spirit alive.

Printed on specially sourced Japanese paper inspired by the texture of Altec A7 speakers and wrapped in a traditional OBI strip, Jazz Kissa is both a cultural document and a beautiful object in its own right.

The typefaces used on the obi strip are Eiko and Source Han Sans for the Japanese title, “ジャズ喫茶”.

Ron Bar Café is a relaxed venue in Prague's Vinohrady district. It is known for its impressive rum selection and rotating beer specials. In addition to occasional exhibitions, lectures and concerts, this unconventional café/bar offers more than 130 rums worldwide. Moreover, you can enjoy delicious hot dogs, cocktails and perfectly conditioned beers in a relaxed atmosphere.

MUAS is a boutique ceramic atelier (and also a cafe), with products present worldwide, known for beautiful, yet bold and out-of-the-ordinary creations.

Japanese minimalism provided the foundation, aligning with the owners’ cultural inspiration while establishing luxury associations. Generous white space and editorial layouts created breathing room around products, transforming presentation from catalog merchandising to gallery curation. The simplified palette used warm greys inspired by clay tones, providing subtle backgrounds that enhanced rather than overshadowed the rich product glazes. Typography reinforced premium positioning through deliberate scale – small, spread-out text in English and Japanese added sophisticated detail without competing with photography. The organic, rounded logo softened stark minimalism while referencing clay forms. Despite simplification, the MUAS letterforms retained distinctiveness, demonstrating the thoughtful reduction characteristic of luxury design. This visual strategy positioned MUAS as a ceramics gallery rather than retail shop, fundamentally shifting customer expectations and justifying premium pricing. The identity successfully communicated that MUAS products exist at the intersection of craft, design, and art – transforming purchases from functional decisions to cultural investments.

Throughout printed matter, Neue Haas Grotesk is paired with snippets of Japanese text set in M PLUS 1p; on the bilingual website, text is rendered in Inter.

CaféCité in Seoul was envisioned as more than a café—it is a keeper of memories, a place where fragments of personal journeys are gathered, treasured, and shared. Rice translated this vision into a brand identity built on a flexible grid system, echoing drawers filled with postcards, souvenirs, and fleeting moments.

Illustrations take the form of travel mementos and postcard-like scenes, nodding to the café’s role as a meeting point for stories. A masthead-inspired logo anchors the brand with presence, while evoking the editorial voice of a city publication. HEX Franklin is our primary brand typeface. HEX Franklin is an homage to the classic Franklin Gothic type family and its lighter-weight siblings, News Gothic and Lightline Gothic. This gives the brand a unique character that stands out while remaining elegant and approachable.

Together, these elements create a framework that is both dynamic and evolving—mirroring the shifting rhythms of urban life. Through this system, CaféCité becomes more than a destination for coffee. It stands as a living archive, where the city and its people inscribe their own memories, continuously adding to a collective story still unfolding.

The Halo Beriti label uses Beatle.

Radix & Anima is a small café located in an old gatehouse on a former industrial site in Cologne, Germany. Their focus is on specialty coffee and vegan snacks. The café serves as a social meeting place for the neighborhood and also hosts cuppings, small concerts, and a running club.

To promote their iced coffees during the summer, Radix & Anima designed two eye-catching stickers in black and yellow. The larger sticker uses Attendorn and reads “Radix & Anima / Coffee Lovers”. The smaller sticker features an “RA” monogram logo and uses Before Paris. Both typefaces are from Azuliq Type. Customers can take the stickers for free, and they are placed on the to-go cups of summer drinks. The café values sustainability, but to-go cups are available upon request.

Visual identity for Supernormal Central, a café with selected coffees, natural wines and an honest product kitchen in Münster, Germany. The art direction by Nicole Royla makes use of Baustraße – by Fantasia Type – as a typeface that defines the visual identity and appears on menus, labels, flyers and signage.

Pulp & Grind is a cafe at Sydney Domestic airport serving healthy food and drinks. They approached Harley Johnston Design to update their brand as part of a store refresh with Chee Lam Design. The old store looked like a generic cafe, lacking any point of difference. Upon going through a brand workshop it was clear that the care and thought around healthy organic food and ingredients was not being conveyed as part of the brand. Led by Pulp & Grind we came up with the brand idea around ‘Healthy food made for the morning’. Acai bowls are a big part of the offering at Pulp & Grind and as they are popular in the eastern suburbs beaches this aesthetic influenced the creative direction. The logo shows a sun rising over the water and is pared with a logotype that matches the feel. The dark purple colour is drawn from Acai and is paired with banana, oat and berry colours.

Food and drink photography was created with a sandy background and styled with the healthy natural ingredients that go in to each item.

Orleans was used for the logo wordmark (with a customised ampersand). Marr Sans Condensed was used for headlines, Scto Grotesk A for body copy, and Pitch Sans for supporting captions.

Helsinki-based design agency Fredag employed Calderón’s typeface Around B as a central visual element in the branding of Alex & Ines, a new restaurant and café located inside the Sokos mall in Lahti, Finland. The typeface appears prominently across signage, menus, promotional materials, neon displays, social media, and printed collateral like gift cards. Its soft, rounded geometry and friendly tone reinforce the warm, approachable atmosphere of the dining experience.

The script logo appears to be custom. On social media, Around B is supported by an unidentified monospaced typeface [see comments].