Mon Oncle is an intimate restaurant with an open kitchen situated in Tullinløkka, Oslo. For Espen Holmboe Bang’s latest opening in Oslo, Omhu Projects have balanced a formal atmosphere with a soothing milieu, incorporating colour with a modern and slightly feminine expression to create a contrast with the classical references within the menu. The visual identity was designed by Bielke&Yang and features Affairs by SM Foundry.

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.

A new sign for Le Bouchon Alsacien, the restaurant run by Jacky and Fred, new owners of the former Cazenove in Lyon’s 6th district.

The exterior now features a glass gilding panel combining engraving and gold leaf gilding (manufactured by Giusto Manetti Battiloro). The deep blue background highlights a swirl of shimmering letters, creating a classic and luminous result that pays tribute to Lyon’s and Alsace’s heritage.

Inside, a lime fresco bears the owners’ tribute phrase, “the cellar of my father, the dishes of my mother” alongside other hand-painted elements that extend the artisanal touch throughout the space.

The typefaces in use are Albuquerque by Ornamental & Title Type, LHF Thick and Thin Sans by Thomas Kennedy of Letterhead Fonts, Gandur New by Blackletra, and Drafter by Double Dagger.

Design and execution by C’est par là.

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).

Chez Smith is a cozy and stylish wine bar and restaurant in Zurich’s Binz district, born from friendship and a shared passion for gastronomy. Set in a former industrial building, it blends French-inspired cuisine with an extensive wine list of over a thousand bottles. More than just a dining spot, Chez Smith is a neighborhood hub where stories begin, creativity flows, and guests are warmly welcomed.

Prévelle is a Parisian restaurant born from memory, where chef Romain Meder crafts a free-spirited and instinctive cuisine. Its name is inspired by La Combe au Prévelle, a place nestled in the chef’s native village of Neurey-lès-la-Demie. Prévelle evokes quiet paths once explored and the gentle rhythm of walks through nature.

The logo uses Ninna Italic (designed by Margot Lévêque), combined with light caps from Ready (by Andrei Robu) for the chef’s name. The talented sign painter Victor Bert added the final touch by painting the logo on the door.

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.

Le Jardin is a French bakery located in Helsinki. According to the designers, the brand name, meaning “the garden”, –

serves as inspiration for its visual identity, where the concept centers around lush, garden-like arrangements featuring bread and pastries. This approach evokes freshness and delicacy, mirroring the experience of enjoying their pastries straight from the oven. Every detail reflects Le Jardin’s commitment to quality, offering customers a unique and inviting bakery experience rooted in both French tradition and a modern Nordic sensibility.

Designed by Classmate Studio and Studio Bodin, the project beautifully pairs the serif Romie Medium (designed by Margot Lévêque) with the sans serif Social (designed by Dinamo).

L’Art du Quotidien is a hybrid living space, fully integrated into its neighborhood in Paris, centered around a seasonal bistro and a marketplace. The offerings are exclusively products from small local producers committed to traditional and organic farming methods.

We created a tailor-made visual identity that aligns with L’Art du Quotidien: highlight the product, transparency, craftsmanship, small producers, conviviality, and quality, all while respecting an ecological and responsible approach. The goal for them was to become an institution in a vibrant Parisian neighborhood, showcasing exceptional expertise with an excellent quality-to-price ratio.

With a space thoughtfully designed in every detail, the visual identity aimed to be modern without being trendy. The concept of becoming an institution was conveyed through classic and timeless elements such as the stamp. The use of illustrations reinforced the idea of closeness, simplicity, and transparency with the customer.

Sign painting by Ateliers Victor Bert, illustration by Sébastien Gay, photography by French Bre(a)d Studio.

Since it was founded in 2019, La Maison has come to be considered an institution when it comes to modern, French baked goods in Berlin. In 2023, Yil & Mann rebranded La Maison, moving away from a more traditional typographic approach to a look more suitable for the modern classic La Maison had become.

The new logo was designed featuring Relais by Alexander Rütten and Olivia Wood from Ligature Type.

“Using Relais leads to more generous proportions than the previous word mark, enabling the logo to be used more flexibly in different applications without losing its characteristics and visual strength. Relais belongs to the specific classicist Antiqua family called Didone, which was mainly developed in France and became known worldwide. The emphasis on vertical lines and the high contrast gives it a as strong, calm and elegant look”, say the designers.

In addition to the café, there is also the Boutique de La Maison, a store in the immediate vicinity of the bakery .To create a specific logo for this boutique, Relais was paired with an adapted version of the organic, illustrative PicNic by Mariel Nils. The quirky, handcrafted character of the lettering creates a charming contrast to Relais elegant and clear style.

Schick Toikka’s typeface Dia is used throughout all media as a text typeface, offering good legibility with a subtly warm and practical appeal.

The two logos are used on the shop windows, website, business cards, letterhead, poster, packaging und social media.

Window of the shop on Urbanstraße, Berlin

Branded packaging

Employee in a La Maison T-shirt

Invitation to the opening party

The La Maison menu

La Maison Website

Rita: Bistrot Festif is a French restaurant where eclectic décor meets lively ambiance. With its charming fusion of contemporary and classic, Rita creates an inviting space for both casual diners and festive gatherings.

Bureau Barbara’s design work captures the essence of this dynamic venue with a playful yet sophisticated touch. The typefaces used, including Romie Italic (designed by Margot Lévêque), add a stylish flair, with the swashes enhancing the bistro’s lively character, alongside the sans serif Poppins (designed by Jonny Pinhorn). The Rita logo is based on Kaileigh (by Muhamad Yusron Billah).

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.

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

Les Trésors de Gilberte is a familial recipes book based on Gilberte H. Acampora’s kitchen notebooks. Book design by Léa de Pannemacker, setting in Kalice (by Margot Lévêque), Maison Neue (by Milieu Grotesque), and Snell Roundhand (by Matthew Carter).

Dedicated to her family, her children and grandchildren and strongly inspired by the grandparents' retro-romantico-mediterranean aesthetic house, this object is a small part of memories with which new memories will be created through time and generations.

Volume one was made in 2021, volume two followed a year later.

Festin, organised by Microgram, is a four days festival about food, located in different adresses in the city of Montpellier. The program presents a variety of events: talks about literature, food and feminism, tastings, art exhibitions, workshops and, to conclude the festival, a buffet and some music.

Aude Bertrand designed the graphic identity of the festival using illustrations by herself, and by Lucile Gautier.

Risograph printed poster

Storefront of the library En traits libres, Montpellier

Flyer

Facebook and Instagram posts

At the library En traits libres, Montpellier

The line “crêpes & baguettes” is added in Franklin Gothic Condensed.

Apropo started in 2001 in the Dolphin Mall, Sweetwater, Florida (USA), as a French cuisine-informed mall food court restaurant. They have two locations in South Florida, one in Quito, Ecuador. The logo uses Inverserif.

In this example, the secondary typeface is Calibri.

Label design for a French white wine by Vignerons du Mont Ventoux, made for Wine52.

Since late summer 2021 the creative consultancy and design studio Cin Cin has been developing an extensive identity for the French café/pâtisserie L’Amour du Pain in Vienna. At the heart of the brand’s design is the typeface Nikolai by Franziska Weitgruber.

Most designs for French cafés outside of France look uniform: too creamy and cute. It’s all about avoiding clichés when it comes to creating a new brand. Cin Cin therefore tried to establish a contemporary look without losing sight of tradition. A fresh typeface was needed, one that is both timeless and strong in character, as it would, in some cases, be the only visible element of the identity.

The brand’s lettering – sometimes in combination with artistic food photography by Erli Grünzweil and Susanna Hofer – can be found on many applications: as storefront signs, on the customized modular packaging, on voucher cards (embossed with gold foil) as well as on a small capsule collection consisting of Le Sweater and Le Sac – a specially tailored tote bag for baguettes. Nikolai is paired with Trio Grotesk by Florian Schick.

Art direction and editorial design for the brand new book of French chef Stéphane Reynaud, whose restaurant Oui Mon Général ! got freshly awarded “Best Parisian bistro” for the third time.

Showcasing more than 200 classic bistro recipes, shots by Marie-Pierre Morel and a lot of focus pages: either elevating not-so-attractive iconic bistro ingredients or revealing some best-kept bistro cuisine tricks.

The book measures 205×260mm and features 480 pages. It was published by Éditions du Chêne.

Art direction, bespoke type and editorial design for the brand new book by Maison Vérot. Showcasing 89 recipes, shots by David Japy and lot of technical workshops illustrated by Éliane Cheung, this book was developed for amateur charcuterie lovers who want do it from home. The book measures 205×260mm, features 256 pages, and published by Éditions du Chêne. It represents the first use of the BTC Cast01 typeface.