Xuba means corn in Zapoteco, a pre-Hispanic language, and that is the starting point for the visual identity of this contemporary taqueria in Barcelona led by Michelin star chef Antonio Saez, where all tacos are made with this unique ingredient with its blue variant. The system designed by ESIETE expands with a series of copywriting and emoji-type icons that are displayed in packaging, content and communication.

Alemagna is back. Irony, nostalgia, and a touch of “newstalgia.”

The strategy and design study for this brand began by retracing the history of Alemagna, from its first pastry shop in Piazza del Duomo in Milan to its iconic panettoni, motorway autogrills, charms candies, and even its snacks and ice creams.

The creative direction for the new visual identity wasn’t drawn solely from historic packaging, but from the visual language of an entire era. Ey Studio aimed to translate the tone of voice and the atmosphere of a historic period of massive growth for Italian companies into a modern design.

This was a time that empowered product and brand communication, transforming Alemagna, along with many other companies, into an iconic hallmark of authentic Italian products. A modern take on the ‘Italian Miracle’. The design, typography, and shapes introduce a fresh language to the world of leavened baked goods.

Published in 2024, Pink Chilli in a Bowl is a book co-written by Manuel and Isabelle Der Hagopian, archiving views, places and local cuisine of Singapore in the form of photographs, addresses or writings; challenging both imagination and senses of the readers. In the words of the authors:

Neither a tourist guide nor a work of historical records, Pink Chilli in a Bowl is a personal archive of forgotten places and time-honoured buildings that may someday be wiped out—some of which have already disappeared amidst the backdrop of a city that is constantly developing. These pages detail an intangible side of Singapore, encouraging readers to tap into their imaginations and reconstruct their mental map of the island nation in ways that inspire them.

For the design of the book, the authors collaborated with Singapore based branding studio Practice Theory. From the studio’s Instagram post:

Faced with the task of translating the contrasting raw material—Isabelle’s spontaneous observations and her meticulously organised list—what emerges is the palpable tension between chaos and structure that permeates form and content. This push and pull echoes that of the wandering flâneur and the cataloguing archivist.

Such dichotomy governs the flow of the book, the visual interplay amidst light, paper, and space traversing between its strong typography and structured layout. Readers may now envision themselves as flâneurs, navigating through the abundance of pages at their own pace.
This tension is mirrored in its grid-based design, juxtaposed with varying paper stocks, including translucent pages that engage with light and space through reverse printing. Subtle lines further demarcate the grid, forming tangible “stars” that interconnect throughout.

The book’s removable plastic sleeve features a “hidden” list of all the Stars and Constellations, symbolising the fleeting nature of Singapore's heritage. Upon unwrapping, the book’s credits are physically removed, allowing readers to assume authorship and reconstruct their mental map of the island-nation in their own creative vision.

A combination of Swiss Typefaces' Suisse Int’l and Suisse Int’l Mono are used for the book cover and contents, as well as the dedicated website co-designed with the web agency Good Work. Both in the book and online, Suisse Int’l appears set with tightened letterspacing.

For a decade, Hotel Tapa Tour has championed the tapa as an emblem of Spanish gastronomy, transforming hotels into epicenters of flavor, enjoyment, and innovation. ESIETE defined its identity system in the first edition, based on the iconic toothpicks that have shaped and communicated the brand ever since, strategically positioning the festival on the national culinary map.

The X of Flavor. The 10th-anniversary campaign, “Con la tapa por bandera” (“With the tapa as our flag”) blends tradition and minimalist avant-garde, raising flags as a metaphor for pride in our gastronomic and cultural heritage. A decade filled with successes proves that cutting-edge design and culinary tradition are a perfect match.

Digital brandbook cover

Brown, Bodegón argentino is a restaurant in Adrogué, Buenos Aires.

This branding project has the clear intention of elevating the local voice. Graphic elements referring to fileteado porteño, combined with the Dress font family and a considered color palette, create what feels like the perfect menu for this restaurant.

The different layer options and combinations included in this font family by Typesenses helped the designer reduce detail when the logotype becomes smaller. In full-color display applications, however, the name shines with the ornamental elements the font offers.

Supporting typefaces are House Script (for “Bodegón argentino” and “El gusto del ser Argentinos”), Mendl Serif, and Inter.

Thanks Esteban Perera for sharing this brandbook. Congrats for the stunning use of my typeface!

Brand application on the front side of the restaurant

Reductions. As the logotype becomes smaller, ornamentation and detail disappear.

Logotype in poster images. Colors and graphic resources match with the logotype style, all of them emphasizing the Argentine food experience. The address is in Inter.

An example of a blackboard in tune with the brand spirit, featuring lettering based on Mendl Serif

Decorative assets referring fileteado porteño highlight the Argentine spirit.

Label design for a limited edition of 50 units from the collaboration between two local Lanzarote entrepreneurs: hotel/lodge Garage La Santa (Adrian Rodd) and winery Bodega Cohombrillo.

The multi-varietal wine was made mainly from Malvasía Volcánica grapes grown on two-hundred year old vines from La Geria-Lanzarote. The labels were printed on Fedrigoni Nature Touch Class 193 g/m², and the text is set in La Santa’s brand typeface Aperçu Mono.

Genomic Gastronomy’s Eyes on the Field project uses typography to mirror its themes of experimentation, ecology, and global food systems. The display type is Solvent from PintassilgoPrints—an inky, fluid, all-caps face with forms that sit somewhere between liquid and oil. Its quirky, decorative shapes give the project an expressive vibe, emphasizing the potential for transformation. Supporting text is set in Space Mono from Colophon, a monospace sans serif designed for Google Fonts that offers structure and a technical edge to the brand.

The pairing creates a lively tension: Solvent’s organic, almost unstable quality set against Space Mono’s precise, engineered rhythm. Together, they underscore the project’s blend of art, science, and environmental storytelling.

Eyes on the Field: Porto was a collaboration between Genomic Gastronomy, Nicetrails, Venn Canteen with Barney Pau, and Formiga Gloriosa and was supported by the E.U. S+T+ARTS MUSAE project. This event use the BITZ digital tool to facilitate participatory, place-based, species-quests in various landscapes.

Albra Book from Ultra Kuhl is used together with Messapia Bold and Coconat Bold Extended by Collletttivo in They That Do’s identity for Seedfolk, inspired by vintage botanicals and vegetable wood carvings. With an earthy look for the home startup, the studio set out to connect people with the colourful joys of growing their own. The website additionally uses Grilli Type’s GT Walsheim.

From Ellis Tree’s article for It’s Nice That:

Inspired by the shift in a desire to be outdoors and connecting with nature in the tough and isolating times of national lockdowns, Seedfolk was born out of a moment when many had time to slow down and reflect on the smaller things – in Gemma’s case this was growing veggies in her own back garden. The seed subscription and grow club started from Gemma’s own family’s journey with gardening and her desire to share this joy with others. “I thought this was a wonderful story and ultimately it's where the name came from – folk coming together to grow from the humble seed”, shares Vincent.

The project consists of a Brazilian sectoral initiative developed to promote national cocoa in strategic markets such as Europe and the USA, in addition to bringing together public and private efforts to expand recognition of Brazilian cocoa in order to strengthen the production chain in a sustainable way.

The visual identity, developed by Estúdio Arado, features significant elements of cocoa cultivation and reveals some nuances of our production process in Brazil. A strong, distinctive typographic logo was chosen, capable of adapting well to the English language version. The palette reflects a certain tropical vibrancy and the inherent diversity of this crop, which is often carried out in agroforestry systems.

Cacau Brasileiro (Brazilian Cocoa) is the result of a collective effort between Instituto Arapyaú, AIPC, CIC, FAEB, the Sectoral Chamber of the Cocoa Production Chain and Agroforestry Systems, and Cocoa Action Brasil | World Cocoa Foundation.

Julie Bassinot is a graphic designer specialising in editorial practices and working as a teacher. In 2024, she led creative workshops with children from the Claude Nougaro school in the commune of Damiatte in France as part of the Création en Cours programme run by the Atelier Médicis. Here is how she describes what they did together (translated from French):

For four months, a cooperative of child researchers was organised. It met to observe the natural elements that transport seeds, grow wheat, power mills and print images. We practised and experimented with our hands, gathering stories in the fields and bakeries, as we met people and let our imaginations run wild. We worked with what already exists, close to us, in cooperation with natural forces and local people. We met Claire, a farmer-baker, and Pascal, a farmer. We tried to preserve the best of what we have, to connect agriculture and writing: the cultivation of the land and that of the mind.

Wheat, bread, mill: three figures as a way of introducing children to abstract concepts such as cultures, diversity, resources, commons, etc.

Studio Asensò chose the typeface Retiro for Vivre à Valras-Plage, a free magazine about tourism, food, wine and culture. With its different variants, ligatures, and raised letters, Retiro strengthens the notion of the Mediterranean terroir specific to this region.

The text typefaces are Adobe Garamond and Gotham. Section headers use Selfie, and Reina features for some headlines. The title and number on the cover are in TT Bluescreens.

Cover for no. 06, 2016

Spread from no. 06, 2016

Spread from no. 06, 2016

Potager de la Crapaudine is a sustainable farm in Les Éboulements, Charlevoix, growing a variety of fresh vegetables, berries, mushrooms, and flowers. It also produces fermented foods, jams, and other artisan products.

The packaging uses Orange Squash from Pixesia Studio.

Mécénat.Studioo was commissioned to develop a complete new visual platform for the Mamzells brand—one that’s younger, even more colorful, and highlights the many uses of the product. A graphic platform directly inspired by the diverse ways potatoes are enjoyed, creating a bold and impactful identity.

The little pink bag of potatoes, now even pinker! With a tone-on-tone design that doesn’t go unnoticed and a new, even more vibrant accent color, Mamzells fully embraces its mission to spark a fresh wave in the potato category.

Since 2023, restaurant EI-12437-B has been serving “a modern take on German classics” in a historical, refurbished building called the “Eierhäuschen” (Egg House). It was built in the early 1890s and was a popular destination for leisure and gastronomy, especially during the GDR era, before its ultimate closure in 1990. In addition to the restaurant, the renovated country-style structure features an event and exhibition space, as well as a beer garden. The restaurant’s identity and website were designed by Hei Agenda, typeset in Scto Grotesk A by Schick Toikka and HAL Timezone by HAL Typefaces.

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

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.

Studio Boulon created the art direction for the first issue of the Observatoire des Tiers-Lieux (“Observatory of Third Places”), named La revue de l’Observatoire by France Tiers-Lieux (an organization that supports the development, professionalization and sustainability of third places in France).

This project is based on a pair of typefaces: Ginka (from lift-type) and IBM Plex (from IBM), with illustrations by Laurie Agusti Derimay.

Julie Soudanne, the type designer behind Ginka, shares her perspective on the project:

The first issue of the Observatory of Third Places immerses you behind the scenes of third places mobilized for the ecological transition, through portraits of initiatives, interviews, and analyses focused on three main themes: sustainable Experimentation, Food, and Local Production.

Rodda’s is a creamery in Cornwall, England, specializing in traditional regional dairy products. It’s best known for their Cornish clotted cream.

In 1890 their great-great-grandmother, Eliza Jane Rodda started making Cornish clotted cream in her farmhouse kitchen here in the heart of Cornwall. Now they are in the fifth generation of the family business, and they still craft their Cornish Clotted Cream in the very same way, making Eliza Jane proud.

The logo in Pretorian has been in use at least since 2001. This typeface originated around the time Eliza Jane started the business. The secondary brand typeface is Century Schoolbook. The website additionally feature Local Market and Local Market Script. While the slogan “Keepers of the cream since 1890” is set in Mrs Eaves, the font used for “227g” on the label shown above is yet unidentified.

Advent, Advent: Zürich’s Best – Xmas Fest is a series of gastronomical pop-up events by Phamily First (Julien Dô Lê Pham, Paris) with the help of Pascal Grob, Zürich Tourism, and Zmirov Communication (Paris): Zürich’s best chefs, restaurants and wines for a three day pop-up program in Paris celebrating the spirit of Xmas.

The main typeface, Citizen Grotesk (Altiplano.xyz), is a sans serif inspired by the Swiss tradition (International Style)—unique and full of character: this is far from a neutral grotesk. But then again, how could one even speak of neutrality in today’s world?

Citizen Grotesk is paired with Millionaire Script to highlight the gastronomic event (“Chef-fes, Vins”), while the bistronomic event features a second script typeface, Monaako, lending this second concept (Action Burger) with a more relaxed and casual tone.

Food on Svalbard is a 48-page publication that dives into the unique subject of food on Norway’s Arctic archipelago. With essays from Reidun Braathen and Even W. Hanssen, Nikhil Vettukattil, Samantha P. H. Dwinnell, and Maggie Coblentz, it explores everything from the culinary potential of Svalbard’s wild mushrooms to the foraging habits of reindeer, offering a fascinating range of perspectives on food in the Arctic.

The essays are in both Norwegian and English. The book is typeset in RG Gaueko and Triptych Roman and Italick. The book was printed by Bristol’s Taylor Brothers in two spot colours (1765U and 412U) on PaperWise Natural from Fenner Paper which is created from 100% post-agricultural crop waste, and singer-sewn with pink thread. This is the third book in the series – see Artica Writings 2021 and Return to Nature? – all of which have been printed in two spot colours with binding methods that leave exposed threads.

See more images on the publisher’s website.