Economy v1 is an American startup (Public Benefit Corporation) building the infrastructure for a redemocratized internet, at the crossroads of Bitcoin, agentic AI, and peer-to-peer.
Node, its first product, is a compact and affordable personal server that lets everyone control their identity, data, and money: a Lightning/Bitcoin node, P2P apps, and private AI agents in a single device.
Economy V1, through Node, champions the idea of a free and decentralized internet, free from the surveillance and intermediaries of major platforms. Its ideology is rooted in digital and financial sovereignty, relying on Bitcoin as the foundational currency and on P2P networks to give users back ownership of their data, their identity, and their AI agents. Node is scheduled to launch in 2027.

Brand Brothers was approached to define a graphic identity and an overall visual direction for Node. We chose to propose a typographic logo developed into a modular system, offering Node an abstract language loaded with powerful imagery, at the crossroads between disruptive innovation and a return to fundamentals. A calm yet vibrant identity, grounded and confident enough to establish itself in the landscape over the long term, while leaving room for the main protagonist: the product itself. The system offers ample scope for expressing the messages conveyed by Economy V1, which are imbued with a genuine political vision. The foundations laid by our studio will thus support the final phases of development in the coming months.

Dauphin Energies is a company specializing in energy transition, offering integrated solutions combining photovoltaics and energy storage (BESS). It operates across the entire value chain, from technical design and equipment manufacturing to turnkey construction (EPC) of solar projects. The company also supports investors through co-investment in green energy infrastructure. In addition, it sells high-performance components and offers maintenance services (O&M) to optimize installations. Based in France, it works with developers, local authorities, and manufacturers to transform their energy models in a sustainable way.

In mid-2025, Dauphin Energies approached us to completely rethink their graphic identity. Based on a strong environmental promise and large-scale ambition, we collectively took the direction of branding charged with obvious energy. Carefully avoiding the tired visual codes of environmental communication, we based our work on a reassuring logo, with a monogram forming its backbone. The initials D+E interlock to form a powerful ray of light, around which the graphic territory is structured. The branding develops the idea of living energy through a series of textures that appear across various communication media, laying the foundations for a contemporary and commitment-driven brand. The identity is set to grow and spread among its audience during 2026.

Your New Om. Located at 13 rue des Tournelles in Paris, Not Yoga studio offers a dynamic one-hour class for all levels, focusing on postures. Its concept is purely physical and devoid of spirituality (no mantras or chakras). The practice takes place in a room heated to 33°C by infrared, aiming for a detoxifying effect, in an intimate atmosphere without distractions (soft lighting, no mirrors).
Brand Brothers was commissioned to define the venue’s entire visual identity. The geometric, stable, and confident logo is based on balances that give the two terms that make up the name a special intertwining. This structure is expressed in a symmetrical monogram, imbued with power and roundness, a modern emblem in perpetual motion. The graphic system tells the story of yoga in a different way, avoiding the usual clichés: a distorted, free pattern that undulates with the flow. This raw and contemporary approach gives Not Yoga a modular and hypnotic visual grammar, applied to print, objects, and the digital environment.

Glénat is one of the most important French publishing houses. Founded in Grenoble in 1969 by Jacques Glénat, a comic book enthusiast, the company has more than 14,000 books in its catalog (600 new releases annually) and represents 2,000 authors, across 4 major universes: comics, manga, children’s literature, and art books. Titeuf, One Piece, Dragon Ball, Disney, and Akira are among the flagship titles that have made Glénat successful, which also knows how to expand its horizons toward hiking guides, travel narratives, monographs, and children’s books.

An iconic and immovable logo, but a diffuse visual territory: such was the state of Glénat’s branding when we were approached to consider this major mission. Built around the Futura Condensed Extra Bold typeface, the logotype remains a recognized landmark in the French publishing landscape and was not intended to be modified. From this foundation, we were asked to design a flexible and identifiable visual language, capable of representing both the Glénat spirit and the breadth of its catalog. A year-long project, aimed at patiently building a flexible, logical, and strong system.
The original logo is immediately equipped with a cartouche, reinforcing its presence; this cartouche thus serves as a canvas for building the system. A new typographic and color articulation has also been developed to better identify the 4 universes and offer them a range of dedicated hues.

The visual system, meanwhile, is an abstraction of two graphic elements that constitute the Glénat logo: the oval of the ‘G’ and the triangle of the accent. Thus, by using only these two shapes to create a vast collection of illustrations, the company equips itself with a true proprietary graphic language that is evolving and above all joyful. This vocabulary, following a collection logic, breaks down into two distinct but complementary territories. The ’emotion icons’ transcribe all the states we experience when immersed in captivating reading. The ‘ambiance icons,’ abstract or figurative, define the atmosphere of a book. These illustrations can be combined infinitely to create particularly expressive graphic patterns and extremely varied narrative paths.

While the expression of identity on the books themselves remains unchanged, being in most cases the authors’ territory of expression, Glénat’s entire identity system, from printed catalogs to the website, including major public events, gradually sees the new graphic territory come to life.

PCK Intellectual Property, based in Canada, brings together a seasoned and award-winning team of intellectual property experts who have guided thousands of companies through this legal labyrinth. Their expertise covers the whole spectrum: patents, trademarks, litigation and strategic advice. With their in-depth knowledge of patents, trademarks and copyrights, they ensure solid protection under U.S. and Canadian legislation. With offices in Toronto and Winnipeg, their international reach is a major asset. They transform intellectual property protection into a real lever for growth, beyond mere protection.

PCK chose Brand Brothers at the beginning of 2024 to transform its entire graphic identity, in order to reinforce the firm’s “boutique” positioning and highlight its high level of technical expertise – at the heart of a sector where graphic territories are particularly consensual, if not outdated. We therefore suggested that PCK take a different route in all areas of its visual presence. The logotype is a precise and sophisticated monogram, with a large width and a particularly distinctive ligature between the “C” and the “K”, the end of which points in two directions. This typographic construction, intended to live only in black, is contemporary, sensitive and stable. Based on the geometric foundations of the logotype, an abstract, balanced and structured symbol comes to life, evoking both protection and perpetual innovation. These key notions in PCK’s narrative are reflected in the entire visual territory: from iconography to typographic balances, via the color palette and the various print and digital media (posters, editorial elements, website…) worked on with the Toronto-based teams. Launched in March 2025, the new branding marks a new era for this major player in intellectual property, now endowed with a visual identity in line with its narrative and its own way of approaching the various facets of this business.

Rayon is a collaborative tool that democratizes architectural drawing. Speed, precision, scalability: a new-generation solution that opens up new potential for all architects and interior designers, thanks to advanced drawing tools, particularly exhaustive object libraries, and multi-user functionality that revolutionizes CAD software. To mark the launch of version 2.0, Brand Brothers helped the Rayon team redefine its entire graphic identity.

The typogram, built around a logic of perforated blocks, was designed in such a way that the pivotal characters, notably the R and Y, were immediately identifiable. A sequential logic between rectilinear and oblique characters on one side (R, Y, N) and round characters on the other (A, O), optically balances the logotype. On this basis, we developed a veritable library of extensive shapes, abstractly evoking the drawing of plans, while respecting the parameters of the logo’s characters. As a result, a rich, extremely flexible, evolving language is being developed for a multitude of digital and print media, culminating in the new web interfaces. A detailed brand book details all the possibilities of the new graphic territory, accompanying Rayon in its ambitions.

Helectic, formerly TSEE, is a leading distributor of high-end electrical equipment in Paris, specializing in switches, lighting and heating. A family-run business based in Boulogne-Billancourt (92), Helectic opened a new showroom in 2024, rethinking the company’s name, positioning and graphic identity. Founded in 2001, Helectic offers over 100 brands and more than 3,000 references, mainly in the high-end hotel and restaurant sectors, but also in prestige real estate.
We were approached to rework the brand’s positioning and give it a clearer narrative axis, which led to the creation of a new name, Helectic; this modern, rhythmic neologism is based on the English words “hectic” and “electric”. The graphic identity we came up with revolves around an in-house typogram, made up of unexpected links between typefaces, with certain angles twisted to resemble rubber cables. A symbol based on the letter H completes the scheme, recalling the path of cables.
A minimalist, evolving graphic system offers numerous possibilities for expression, adapting to different media and occasions. The connection between the logo, always assertive and visible, and the various visual variations, is obvious, and weaves a strong bond across all variations. The first graphic applications have been visible since this summer, and the new showroom in Boulonnais proudly displays the logo we created, while we await further developments.

In 2010, Marie-Thérèse Allier created an endowment fund in her own name, separate from the venue she runs, La Ménagerie de Verre. Her aim was to create a residency outside Paris, in order to support artists in their research and contemporary creation, and more specifically projects in the performing arts.
Following his death in 2022, it is now the members of the Board of Directors, made up of professionals from the performing arts world, who ensure the continuity and development of the endowment fund.
Its mission is to perpetuate his work, giving priority to structures that initiate residencies, based on contemporary issues and needs encountered by artists today.

We were chosen to create the graphic identity of the endowment fund following a competition organized in 2023. The new visual territory is intended to be raw and versatile. A simultaneous quest for radicalism and visual generosity, a signal designed to endure over time while embodying a space for free, mobile circulation. An identity with a monogram in multiple forms, a metaphor for total openness and a form of avant-garde. A sensitive reminder of the foundation of contemporary dance and the movement of bodies, while leaving the imagination open to the plurality of creation, its freedom of tone and its obligatory irreverence.

Since its creation in 2004 by François Chabanian – art dealer, gallerist and collector – Bel-Air Fine Art has become one of Europe’s leading contemporary art gallery groups, with over 25 locations. After Geneva, new prestigious locations were opened in Switzerland, in Crans-Montana, Verbier, Gstaad, Lausanne and Saint-Moritz. The group continued to expand in Europe, in Paris (Place des Vosges, Rivoli and now Montmartre and Le Royal Monceau), London, Saint-Tropez, Cannes, Aix-en-Provence, Courchevel, Megève, Venice (San Marco and Dorsoduro), Forte dei Marmi, Knokke-le-Zoute (Belgium) and more recently Monte-Carlo, Honfleur, Bruges and Annecy. François and Grégory Chabanian are at the helm of the company, championing major movements such as Post-Pop Art, Optical Art, Street Art and contemporary photography. Today, Bel-Air-Fine art is followed by 60,000 art lovers, including 15,000 collectors worldwide.

We were approached in 2023 to rethink the group’s visual identity. Working in close collaboration with the Bel-Air Fine Art teams, we designed a sensitive and sophisticated evolution, conceived to position the structure as a major art prescriber, while cohabiting flexibly with the art catalog. Our proposal confirms Bel-Air Fine Art’s move upmarket, and organizes the group’s numerous events (exhibitions, events, cocktails, gallery openings), while at the same time inserting strong visual markers into the landscape, linking all the galleries around distinctive graphic signs.
The new typographic logo, designed entirely for the occasion, revolves around an elegant, stable upper-case typeface. The 4 words of the name are once again linked, but a visual break is injected by playing on the “A”, which becomes the pivot of the brand. The monogram, a missing link in the previous visual identity, is a precious interlace of Bel-Air Fine Art’s initials, “BAFA”.
The visual territory revolves around simple ingredients, framed by a use that is both rigorous and free. Around a dominant black and white, punctuated by a few neon Pantones, we chose to use only one weight (600) of the Lausanne (Weltkern) typeface.

Posters, invitations, textiles, emailings, stationery and new gallery facades: we’re rolling out the new identity on a large scale. The new website and an anniversary book will be unveiled in 2024.

A design studio redefining the visual identity of one of Paris’ most energetic creative agencies? That’s the challenge set by Mozoo, a social content factory founded in 2010 and employing over 60 people. As an expert digital agency, Mozoo helps innovative companies adapt to an increasingly complex and fast-paced technological environment, creatively and effectively. Their motto: “Creating at the speed of change”, by imagining brand stories anchored in their time, around the disciplines of brand content, social media, video production or Web3.

Brand Brothers worked with the agency on this major narrative and graphic overhaul, based on an agile, lively identity proposition. Wishing to position itself as a purely creative structure, we first strengthened and simplified the typographic logo around 100% custom lettering, robust, massive and contemporary, to establish the name in the panorama of Parsian agencies. Introduced in 4 neon shades, black, white and two accompanying typefaces (Parafina, Feliciano Type and Diatype, Dinamo), the new visual system is made up of generative waves whose shape is infinitely adaptable. As a dynamic graphic illustration of Mozoo’s signature, these waves cohabit with the agency’s productions and messages. We developed comprehensive graphic standards that synthesize the entire new visual language, which is used in multiple vectors, both print and digital.

Team photo credit: Welcome To The Jungle