Visual identity design for Maison Guinguet, a chocolate maker based in Duras, in the Lot-et-Garonne region of southwest France. Known for its orchards, vineyards, and culinary heritage, the region is central to the brand’s story, from its origins in prune production to its evolution into artisanal chocolate. The identity reflects this local savoir-faire and the gourmet culture of the area.

The branding was designed by Plus Mûrs. The logo and the branding are set in Romie Regular (designed by Margot Lévêque).

Founded by Meltem Yavas, a Turkish native living in Southern California, Sage & Tassel was established on the principles of impact, tradition, and passion. Sage & Tassel aims to create handcrafted resort wear and handwoven textiles that blend artisanal craftsmanship with contemporary elegance. Sage & Tassel is a celebration of timeless style, sustainability, and the beauty of traditional Turkish weaving techniques.

In this rebrand, we focus on fixing the brand identity and modernizing it. To start with, we found inspiration in the sea daffodil, a plant native to the Mediterranean region and the Black Sea. This delicate sand flower flourishes on sandy shores in beautiful white elegance. After choosing the sea daffodil as the brand emblem, we redrew the Sage & Tassel logo with this delicate feeling and elegance in mind. For the brand’s color choices, we found inspiration in nature again. Earth tones and sea shades complete a unique Mediterranean color palette that complements Sage & Tassel’s white and pure look.

The logotype is custom drawn.

Text in Goudy Oldstyle is paired with headings in Albertus.

Atelier Saint-Lazare did the rebranding for French chocolatier Debauve & Gallais. The logotype is set in Tartuffo (from Lift Type). It’s paired with Chromatic (from Colophon) and Lazarus Upright Italic (from Capitalics).

History of the brand from Saint-Lazare’s Instagram:

Founded in 1800 by the pharmacist of King Louis XVI, the traditional French chocolatier Debauve & Gallais became the official supplier to the French court in 1819, following its success as a supplier to Napoleon. The house later supplied Kings Louis XVIII, Charles X (a chocolate in the shape of a fleur-de-Lis was created for his coronation) and Louis-Philippe.

A local café and patisserie, Konditorei Herrdegen, had run out of their initial batch of certificates of origin, which they put in the boxes of one of their most prized pastries. They asked me to have more printed, but I took the opportunity to freshen up and straight up fix some of the previous design.

My goal was to have the new certificates instantly recognizable for existing customers, so I reused some of the most prominent decorative elements, while I tried to improve the frankly messed up typography. Admittedly, the result is not outstanding work at all; time and budget constraints, you know the drill. But I did get the chance to apply one of the Font of the Month Club fonts. I was in doubt, so I used Roslindale!

Maybe in the future the design can be refined a lot more, but I'm only starting to make sense of the design debt I inherited here. For now, this will do.

Print run of 10k, 80g white paper (recycling). Roslindale is used in Display and Deck sizes. The headline and logo are unchanged and use Burford, in its Extrude C and Base styles, respectively.

An elegant website for Couteaux Ceccaldi, a craftsman family business from Corsica. The fonts in use are Operetta 18, Futura, and Zapfino.

The business logo uses Künstler-Schreibschrift.

Shanghai Me:

From 1930’s Shanghai comes a contemporary take on fine Asian cuisine. Shanghai Me is the epitome of Art Deco elegance, located in Dubai’s International Finance Centre. Showcasing the glamour and depth of Shanghai’s history, they have created a refined yet relaxed ambiance designed to transport each and every visitor to experience life under the dynasties. Designed by renowned architect Michele Bonan, the beautiful bamboo and banana tree filled terrace evokes the green jungles of Asia, the luxurious lounge and exclusive private dining table pays tribute to the prohibited parties of the golden age, and the cuisine provides a taste of Asian tradition.

The website was designed by London-based studio DutchScot, pairing Cirka (Pangram Pangram) and Steradian (Emtype).

Gen Design Studio:

Dom Villas is rooted in the story of the family business—the hard work and dedication that mark the origins of family tradition. This story became an inspiration for the logo and the brand. Therefore we created the character of a Dairy Farmer. The man who works by hand, using the traditional methods, who takes care of his cattle and of the the quality of the final product.

We combined the farmer with a custom-made wordmark that would reflect the purity and originality of handmade products. The predominant use of blue is unusual for cheese in the Portuguese market, which would make Dom Villas stand out in what tends to be a gold-tinted and over-decorated category.

The custom wordmark is a monoline script with a “geometric” look and slight art deco overtones. It takes inspiration from the vintage hand lettering of the Italian 1930s, also very popular in the Portuguese visual culture. Its style corresponds to a handwriting tool – the square stroke ending recalls the broad-nib pen.

Woodbine recently announced a masterplan to transform its 684 acre site into a broader entertainment experience. [...] The organization needed to revitalize its brand identity to reflect this transformation. The core issue that needed to be resolved in the rebrand was to respect the heritage of horse racing which is the essence of Woodbine and its reason-for-being, and balance this with the need reflect a broader and more diverse entertainment offering. The identity also needed to appeal to a more diverse audience – women, families and millennials. The visual solution involved abandoning the literal use of the “horse” in the logo. Instead, the identity utilizes the abstraction of the “track” as a symbol of racing, along with “star” that is both a symbol of “entertainment” as well as alluding to the graphic heritage of horse racing “silks” – the colour jerseys jockeys wear to identify horse ownership. The resulting icon provided the flexibility to be used for a variety of future Woodbine venues, as well as creating a visual form that allows for dynamic graphic expression. — Concrete

Euclid Flex is part of Euclid typeface, available from Swiss Typefaces.

For new the identity of Swiss Grüninger Mühlen, Michael Risch focused on Cera Pro’s geometric charm and designed even the flour bags with TypeMates’ bestseller.
The third-generation family-owned company Grüninger Mühlen in Flums is one of the largest mills in Switzerland. Studio Risch reworked the entire visual identity, from logo to signage, website to leaflets.

The greatest implementation of Cera Pro in this case are the flour bags: Being quite plain designed they are part of the everyday business of the traditional miller delivering tons of flour to local bakeries.

Also used in layouts for informative leaflets and various advertising media, Cera Pro conveys the sense of Swiss clarity and distinct identity that Michael Risch wanted to achieve for Grüninger Mühlen.

The Italian textile company Kiton specializes in custom tailoring and sets great value upon perfect craftsmanship and tradition. The pride and the classic, professional work is illustrated on the website of the luxury company. MVB Solano Gothic is used here for headlines and section headings entirely in capital letters combined with Miller (often in Italic) for quotes, subheads and smaller text passages as well as Arial for continuous text.

The Goring is an historic luxury hotel in London. Jeremy Tankard’s distinguished Enigma was chosen as the typeface for the visual identity — an appropriate choice for The Goring’s style, which encompasses “an Englishness, traditional yet entirely in tune with the 21st century.”

Der Kaffeehausladen in St. Johannis, Nuremberg, is a small Vienna style coffeehouse that attaches importance to old virtues. To visualize the cozy livingroom ambiance we established lovely line drawings in a late 19th century style. We decided to produce the business cards in the typical letterpress printing process. The logo is also used for the dirt-repellent cover of the menu – in this manner we could use the limited budget in an optimal way.