Brand identity Restaurant supply platform

Three shapes.
One bite.

An identity for Biteful, the platform where restaurants, cafes, and bars order from every supplier in one place, built around one logomark. Six directions sketched, five retired, one built to survive a favicon and a shop sign.

Client: Biteful
Scope: Mark, wordmark, color, type, brand book

Start with the brief

The brief: a person, not a procurement tool

If Biteful were a person,
who would they be?

Restaurants were ordering from five supplier catalogs, a phone, and a spreadsheet. Biteful puts every order in one place. The category looks like enterprise procurement software. The brand had to look like the most useful person in the kitchen.

01Approachable: The person you hand the phone to when a supplier calls. Rounded shapes, lowercase letters, no jargon.
02Energetic: Lime green at 7 a.m. The brand moves at the speed of a kitchen before service, not a procurement department.
03Dedicated: Built to help teams excel, not to look clever. Every decision is tested on a 16-pixel favicon and a shop sign.

A cook in a forest green apron plating at the pass of a small restaurant kitchen — The audience: a kitchen twenty minutes before service, not a boardroom. Concept photography.

Pencil first: two tests, 16 pixels and across the street

Everything started
with a B.

Pages of it. Loops, knots, stacked pills, stripes, folds. Pencil first, fineliner second, no screen until a shape earned it. Two rules the whole way: the letter had to read at 16 pixels, and it had to read from across the street.

Most of the pages failed one of the two tests. That was the point of the pages.

Close-up of the three-shape b drawn in fineliner over pencil construction circles — Construction circles first, ink second.

An open sketchbook with pencil explorations of letter B monograms, the three-shape b circled in lime marker — The exploration spread. The circled one is the one that stayed.

Six logo directions, one kept

Six directions.
Five funerals.

Two tests before taste: does it read at 16 pixels, and does it read from across the street.

Evolved into the final

Stack Two pills, one B

The first one that felt like a product instead of a signature. Too generic to ship as drawn, but it carried the idea that stayed: build the letter from parts. The final mark is this direction, rebuilt.

The one that stayed

A lowercase b built from three shapes. It came out of the Stack direction, once the pills stopped pretending to be a capital.

See how it is built

Two wordmarks retired on the way

The smiling e. Title case, with the crossbar of the e replaced by a mint bar. Likeable, and a second idea competing with the mark.

The wide caps. Tracked out, with the middle bar of the E in mint. Handsome. Looked like a hotel.

Three shapes, ten-unit gaps, a 190 by 199 canvas

A stem, two bowls,
and the bite between them.

Three rounded shapes on a 190 by 199 canvas. The gap between them is the same ten units everywhere, so the mark reads as one letter from across the street and as three friendly shapes up close.

Why the cut
The horizontal cut through the bowl is the bite. It is also the reason the mark survives at favicon size: a solid b at 16 pixels is a blob. This one keeps its counter.
Why lowercase
The wordmark is lowercase, so the mark is. A lowercase b also keeps its counter at small sizes, where a capital’s two bowls close up.
Why three
Restaurant, supplier, platform. Three parties, one order. The brand book says it in one line; the mark says it without one.

Construction. Grid of 10, gap of 10, radii from 10 to 50.

Primary

Inverted

Mono

Reversed

Clearspace. One third of the mark’s height and width, on every side.

Three lockups, one mark. Stacked for the primary, horizontal for wide spaces, the mark alone (the limited mark) once the name is known.
Resize, never stretch.The proportions are the identity. A squashed b is somebody else’s b.
Lime on forest first. Forest on lime second. Black or white only when color is not available.
Nothing inside the third. No text, no photo, no other logo within a third of the mark on any side.

A custom lowercase logotype, three lockups

Lowercase. Tight.
Low to the ground.

The wordmark is drawn from Termina Bold, lowercase, tracked in until the letters almost touch, then redrawn so the bowls of the b and the e answer the mark. The mark and the word share one voice: rounded, geometric, sitting on the same baseline.

Horizontal mark

Primary mark

Wordmark alone

Two colors carry the brand, eight support it

Lime on forest.
Everything else is garnish.

Biteful Green on Forest Green is the whole identity at a glance. Eight supporting colors exist for categories, charts, and campaign tiles. None of them is allowed near the logo. Click any swatch to copy it.

Termina for headlines, Poppins for reading

Termina shouts.
Poppins explains.

Termina carries headlines, numbers, and the wordmark: wide, geometric, nine weights, no italics, and it does not need them. Poppins carries everything a person has to read twice: order lines, supplier notes, the fine print on an invoice.

Type to try it21 / 40

Termina · headlines

Delegate like a boss.

Poppins · body

Delegate like a boss. Order from every supplier in one place, hand the cart to the sous chef, and get the whole week’s deliveries confirmed before the first table sits down.

100Hairline
200Thin
400Regular
600Demi
700Bold
900Black

Sign, label, cards, social, website: one mark

From a shop sign
to a sixteen-pixel tab.

The same three shapes at every size the business touches: the sign by the door, the label on the crate, the card in the pocket, the avatar in the feed, and the website that raised the round.

A round forest green blade sign with the lime Biteful mark — Blade sign

Stationery

A kraft delivery box with a lime Biteful label — Delivery label

The websiteDesigned and built in three weeks. Read the case study

01Real kitchens, real handsnot a rendered bowl of salad
02Morning lightnot a studio softbox
03People mid-tasknot people posing with produce
04Lime as punctuationnot lime as wallpaper

Mockups and concept photography were produced for this study. The marks, lockups, colors, and type are the shipped brand.

Fourteen pages, one brand book

Fourteen pages,
so the team can run it without us.

Everything above, written down: the story, three lockups and their clearspace, the palette with print values, both typefaces, the image direction, and the social system. Open any page to read it.

01 / 14 · Cover