A burek is a traditional baked pastry with a thin, flaky crust filled potato, cheese, or meat, often served with a yogurt drink called ayran. Holy Burek was founded to “reintroduce the beloved Balkan burek to a new generation.” With the help of a lively, witty branding system from Zagreb-based Studio Hrvatin, it’s established an international presence, with locations in Croatia, France, the US, and the UAE. Art direction and illustration by Iva Hrvatin.

Nickelodeon’s iconic SpongeBob SquarePants celebrated its 25th anniversary with the launch of a new campaign and anniversary artwork “SpongeBob SquarePants 25th”.

The design is by Thanh Nguyen, Senior Designer at Nickelodeon, with art direction from Dana Kinlaw, using Asphalt by Frere-Jones Type. The celebration also included Wendy’s and Paramount partnering to launch Wendy’s Krabby Patty Kollab, as well as the release of a SpongeBob SquarePants special edition magazine by Den of Geek.

“Welcome to Times Squarepants”

Animation by Nicole and Jeremy Sawyer

Cover of the SpongeBob SquarePants 25th Anniversary Special Edition (art direction by Jessica Koynock). The Den of Geek logo is in DJR’s Bungee; the sans used for small type is Device’s Urbane Rounded.

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.

Lim Peh’s began as a hawker-inspired noodle shop in Canberra, with a homemade identity and fast-casual franchise ambitions. Chef Shaoyi, who grew up in 1990s Singapore, wanted to create something his son growing up in 2020s Canberra could connect with too. Lim Peh’s is about blending generations, cultures and memories into a shared, experience that is familiar but not nostalgic.

During briefing conversations, it always came back to one word: rebellion. Not rebellion for its own sake, but a welcoming, purposeful one. Lim Peh’s wanted to feel as familiar to a first-time visitor as it did to a lifelong hawker lover. The identity needed to flex to be comfortable in a tucked-away laneway and in Woden Westfield. It had to be multicultural, multilingual and full of attitude. Never ‘yeah, nah’. Always ‘yeah, lah.’

DT Strait Sans by Death of Typography brings the Singaporean-ish flavour to the brand across menus, staff uniforms, packaging and the logotype itself. Full of personality and plays well with other faces, even our hand-drawn custom type, Noodle Sans (not shown here). Lantinghei is used for Chinese text.

Pepperoni Social Club and Peppinillo Social Club are two mockup collections resulting from the collaboration between Bendito Mockup and errorerror.studio – the latter responsible for the photography and graphic identity.

The entire graphic campaign exclusively uses EE Parking by errorerror.studio, a digital reinterpretation of the stencil-style letters and numbers traditionally found in garages and parking lots.

To reinforce its raw, urban feel, the typeface was applied without typographic hierarchy, echoing the way such messages are usually painted across walls and signs garages and parking spaces.

Raffaele Riccardelli. License: All Rights Reserved.

Maroni by Arthur Calame (Calame.Bureau) is used for Fainà, the first address for Ligurian fast food in Milan. Designer Irene Salvadeo writes:

For Fainà the entire visual identity was crafted to reflect this link between places: from logo design to colors, typography, packaging, and illustrations.

The visual world of fainà is anchored by a seagull – a familiar figure along the Ligurian coast, and a nostalgic symbol for anyone who grew up with the sound of waves and wings. Now, it becomes a mascot, bringing a piece of Liguria into the Milanese cityscape.

Art direction and graphic design by Irene Salvadeo
Illustrations and animations by Ester Zirilli
Photos by Raffaele Riccardelli

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Raffaele Riccardelli. License: All Rights Reserved.

Source: www.instagram.com Raffaele Riccardelli. License: All Rights Reserved.

Ludo’s Van is a new food truck traveling the roads of central Italy, run by a woman who spent decades in the financial sector before making a radical life change. Its visual identity, designed by Demetrio Mancini, merges vibrancy with austerity, pairing a colorful geometric logo with a stark black-and-white type system based on Sole Sans Condensed by CAST Foundry.

Ludo's van texture

Ludo’s Van website

Ludo’s Van menu

Ludo’s Van apron

Ludo’s Van sign

TT Rounds Neue Compressed is the typeface used for the visual identity of the Razz Burger company. The all-lowercase logo is custom drawn.

Razz Burger is distinguished by a unique concept. They offer its visitors who value individuality and creativity to cook their burgers themselves, using fresh and high quality food.

The birth of the restaurant is tied to David Chang’s Momofuku Noodle Bar in East Village, where the Fuku spicy sando debuted, going on to quickly become a cult favourite and earning its own restaurant, Fuku. Nearly a decade after it launched, the restaurant chain was ready for a design shake-up, and it reached out to branding and design agency Red Antler to show them the ropes.

When it came to the facelift, the wordmark was already dripping with brand recognition, so it only needed slight tweaks and not a complete overhaul. “We didn’t want to create a completely new mark – that didn’t feel right spiritually. When it comes to rebrands, you have to evaluate what to carry through because you’re never starting from a blank canvas,” Creative Director Devry Drosky tells us. The team chose to keep the lowercase condensed sans, and dial up the details. They got rid of the italics, and made light-handed adjustments to the characters to bring in a modern edge. “Scalability and recognition were important considerations in landing the final result,” adds Drosky. “How does the wordmark translate through signage? How does it reduce down in smaller branded moments? And does it maintain its impact? The previous mark was lacking in that impactful presence, especially at varying scales.”

The Fuku brand is all about a sense of no-nonsense honesty and this is felt in the logo – a literal chicken sandwiched between the buns. The design doesn’t leave you scratching your head, but tells you what you need to know quite simply, but effectively. “There’s a frankness and simplicity we wanted to celebrate. This attitude extends to our tone of voice, with lines like ‘take it or take it’ embracing the no-nonsense ethos of New York City,” says Drosky.

Everywhere else, the team chose to incorporate an explosion of type, pulling inspiration directly from the streets of the city, particularly downtown where David Chang first planted his roots. “We looked to the gritty charm of hand-painted awnings, event flyers, and layered urban graphics for our typographic choices and broader graphic language. Street photography also played a huge role, inspiring high-flash, textural art direction with candid captures,” Drosky explains. While the wordmark is set in Akzidenz-Grotesk BQ Condensed to echo the typography “you see on awnings all over downtown Manhattan,” the rest of brand uses OT Neue Montreal Squeezed, PP Neue Montreal, and PP Right Serif to create a dynamic, versatile type system. “The appeal of Neue Montreal is in its ability to serve both the functional and display typeface roles through its varying widths, weights and cuts. It’s culturally relevant yet timeless,” says Drosky. “PP Right Serif acts as a refined counterpoint, adding a sense of craft and sophistication that mirrors Fuku’s devotion to making delicious food. The interplay between these two typefaces creates a compelling tension, blending bold personality with polished craftsmanship.”

All the typefaces come together on the bun wrapper where stickers jostle for space. They’re pasted haphazardly on top of each other, as if put together by someone quite quickly, championing Fuku’s essence of handmade deliciousness. “We were inspired by the flyers, graffiti, and stickers that wallpaper NYC sidewalks. There’s a chaoticness to the sticker applications that harness the unpredictability of NYC,” says Drosky. “It’s also a subtle homage to kitchen culture; we thought a lot about the overarching world of David Chang, and how this could sit uniquely in that ecosystem while simultaneously existing alongside his other ventures.”

in Ultra-Processed People, Chris van Tulleken goes deep in the realm of ultra-processed food (UPF) and marshals the latest evidence to show how governments, scientists, and doctors have allowed transnational food companies to create a pandemic of diet-related disease.

In the Brazilian version of the book, the cover takes reference on the colorful packaging that most UPF use to desguise their (lack of) nutrients, showing characters who seems like products on shelves themselves. The author’s name is highlighted on a magnifying glass label, a clear reference to a law recently passed in Brazil, where companies must show the high content of harmful ingredients (sugar, fat, sodium, etc.).

Larrie’s is a fish & chip takeaway positioned across the road from Merewether Beach in Newcastle, Australia. It aimed to embody the perfect mix of milk bar nostalgia and coastal colloquial to create a venue that will become a true community hub.

Although the identity draws on nostalgic and local elements, it does not rely on them. From the checkered floors, or the mismatched type of your local milk bar to the colour palette from heritage-listed Merewether Baths, we reinterpreted these key characteristics to create an identity that is fresh and appealing.

Mel Comunicació designed the visual identity for La Claqueta, a food truck serving delicious sliders in Valencia. The design is built around the “claqueta” (Spanish for clapperboard ?), which is used for synchronizing sound and picture on film sets and has become a widely recognized symbol for cinema.

At the centre of this playful identity is the typeface Kiosk by Nguyen Gobber, which features a unique C that visually resembles a clapperboard. This choice not only reinforces the cinematic theme but also cleverly ties the name “La Claqueta” to its cultural significance.

In addition to Kiosk, the identity uses Fallbreeze Script by Maulana Creative to create a dynamic yet cohesive visual language and Hueber by Tim Arnold across different elements of the food truck’s communication, such as their menus and further copy.

Type designer Jordan Bell alerted me to an excellent use of by Health Camp, a Waco, Texas, landmark restaurant serving burgers, shakes, and malts.

Bungee is used extensively throughout the identity, from menus, cups, and napkin holders to the shirts and hats worn by employees (also available to enthusiastic patrons). Bungee is a typeface largely inspired by neon signs, and it’s fulfilling to see it come full circle in a neon sign hanging above the counter.

I was happy to see all of the places where Health Camp used Bungee, but I’m even happier to see the place where they didn’t. The exterior of the building is completely Bungee-free, and retains its classic illuminated signage and beverage advertisements.

This creates a fantastic blend of old and new—a clean, fresh identity that feels at home inside a place with 75+ years of history.

The restaurant exterior, showing

TT Drugs is part of Hungry Devils’ identity.

Hungry Devils is food truck specializing in Greek and American cuisine. It is a restaurant “on wheels” that treats guests in Reno, Nevada.

For a fresh and flavor-oriented burger stand called Buny, the Swiss branding agency Allink crafted a mouthwatering brand identity. The branding uses a striking palette of white, black, and red to create a Hollywood-like burger experience. Additionally, the typography enhances this with two distinct typefaces. One captures the full and hearty moment of the first bite into a burger, while the other reflects a contemporary American yet simple aesthetic.

A vibrant and playful visual identity was created for Mäusken Imbisswagen, a new mobile food stand in the charming lake town of Friedrichshafen, Germany.

Mr. Papa, a fast food restaurant located in Lima, Peru, is the place where you find the perfect balance between delicious potatoes and culinary innovation. With a typically Peruvian flavor, Mr. Papa stands out for its sustainable approach, offering maximum flavor with minimal environmental impact.

To reflect this joyful and sustainable essence, we created a fun and vibrant visual identity, using colorful illustrations and a careful combination of typefaces that bring rhythm and dynamism to the compositions. For the logo, we chose the Okkult typeface family from Good Type Foundry. Despite its roots in the seventies with influences from horror films, it has monumental characteristics that bring expressiveness and a bold touch to the brand, creating a striking contrast with the playful illustrations.

For titles and headlines, we opted for ABC Marfa Mono Black from Dinamo. This monospaced font creates interesting text blocks in larger sizes, adding a vernacular air that perfectly combines with the other graphic elements. Marfa Black Mono enriches the visual identity with modernity and originality.

Stan's Grill is all about encapsulating the essence of “vibrant, modern, yet authentic.” The goal was to ensure that their logo design and branding collateral reflected their commitment to serving up an unmatched street food experience in a casual setting.

We designed it opting for bold letterforms using Andre del Prete’s Vertigo to convey the strong flavours that comes with street food. To infuse a sense of liveliness, we paired this with a solid and playful grotesk: Chivo by Héctor Gatti.

Kurversbrug from Retype Foundry and Tobias Frere-Jones’s Nobel (Frere-Jones) (a revival of Nobel, released in 1929 by Typefoundry Amsterdam) are the brand typefaces of Wellfound Foods. From design studio Polygraph:

After studying in Amsterdam, Wellfound founder Sarah “Frim” Frimpong decided to bring the culture of fresh on-the-go sandwiches back to her home in the States. Frim wanted the Wellfound fare to stand out in cafe food cases and clearly show their high-quality ingredients. We designed a bold, colorful brand and system of labels for Wellfound’s varied containers and food styles, featuring a block map of Amsterdam’s iconic Oude Centrum. The core element of the new brand is the beautiful display type Kurversbrug, designed by Ramiro Espinoza. The bold, modern sans is a revival of the letters that appear on the historic bridges of Amsterdam.

Taco Mesa is a taqueria in Paris run by chef Beatriz Gonzalez. The brand identity was designed by Studio Furious. We’ve used GT Flexa by Grilli Type for the logotype and text on the menus, packaging, stationery and signage. The M symbol is a custom design, it’s directly inspired by the taco holder shape with a touch of typical ’70s pattern. In addition, a shapes directory echoing the architectural choices of the restaurant animates the visual identity. Architecture and interiors were designed by Uchronia.