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.

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.

A 200 m² former artist’s studio converted into a loft dedicated to receptions and events, in the heart of Montmartre, Dune is a venue designed to stimulate creativity and well-being in a calm, intimate environment. Opening at the end of 2022, Dune hosts several events a week, focusing on yoga, sport, culture, meditation, well-being and product launches.
The venue’s founder commissioned Brand Brothers to design the visual identity. Our graphic intervention is light but iconic, based on a typogram designed for the brand, structured and organic. The characters stretch out at their center, illustrating the movement and twisting of bodies – a reference to the founder’s passion for yoga. The identity is used on a range of print and digital media, including a website designed by studio AB Projets and developed in-house.

Yield Guild Games (YGG) is a decentralized autonomous organization (DAO) that invests in NFTs used in virtual worlds and blockchain-based games. Through video gaming, its goal is to create the world’s largest virtual economy.
A pioneer since 2018 of “Play to earn”, Yield Guild Games is also the world’s first and largest web3 game guild, in which players can thrive by finding their community, discovering new games, competing and evolving in their practice by collecting multiple rewards.

YGG approached us in 2022 with the aim of completely rethinking their graphic identity. Our visual proposal is intended to be rich and 100% modular, leaving in fine the possibility for all members of the community to appropriate all the elements of the branding to enrich it autonomously. Thus, the new typographic logo, 100% custom, is a composition based on 18 geometric elements, which, by assembling, allow to form a complete alphabet, transforming into a headline font, YGG Display Mono. This construction grid and these elements are translated into a family of ‘runes’, graphic creatures that come to life and spread throughout the YGG universe. The community can create its own runes, and enrich the visual territory endlessly. The graphic guidelines are embellished with various visual compositions, static or in motion, and a neon color palette.
Our proposal was partially accepted; YGG’s teams adapted our graphic principle to a visual identity created in-house.

Closd, a startup created by former lawyers in 2017, has set itself the mission of digitizing legal transactions from A to Z, as the founders have repeatedly experienced constraints in transactional processes during their past careers. Thus, around 4 main functions (project management, data room, electronic signature and secure archiving), Closd offers a fluid, intuitive and totally transformed experience for their 300 customers, representing more than 80,000 users (law firms, legal departments, investment banks, accountants, investment funds…).

Following the acquisition of Closd by LexisNexis, Brand Brothers was commissioned to completely rethink the company’s graphic identity. Based on an in-house lettering, a graphic play occurs around the S, symbolizing the data flow, which offers a visual representation of the brand name, while bringing rhythm and movement to the typographic block.
The visual system extends the idea of flow and transmission of information, using tubes with gradient colors that follow free and dynamic forms. The whole is propagated on print and digital applications: campaigns, new website, with an adaptation of the new visual territory on the platform used daily by thousands of customers.

Losanje is a brand created with the goal of defining the most virtuous production model possible for the planet, while exceeding the current limits of upcycled clothing production. A brand that reflects what upcycling should become: accessible in terms of style, timeless while remaining trendy, and that offers the same customer experience as buying a new garment. Responsible clothing, using only second-hand clothes and textiles (sheets, curtains, etc.) as raw materials. Created in Nevers, the Losanje workshop is located in a former car garage, which was also the former printing site for many Nevers-based brands.

Brand Brothers was approached by the founder of Losanje to offer the brand a complete redesign of its graphic identity. We opted for a raw but appealing approach, based on a typeface entirely designed for the occasion, alternating between upper case for consonants and lower case for vowels. The monogram takes the opposite of the classical intentions, forming an eye on the base of the typogram. A collection of signs on a similar basis is thus to be born, which will be made in embroidery. The new identity was deployed on various materials during the winter of 2022, and was inaugurated on the spring collection.

Petty Well is one of the most important French brands of healthy food for dogs and cats. Created by Sacha and Alexis, the brand offers natural kibbles and treats, produced in France and adapted to each animal, in the form of a subscription. After a few years of launch and a real success, a community of more than 4000 customers has formed around Petty Well, and our studio was asked to redefine the visual identity.

The new logo is an original typographic design, chubby and tasty but with a strong and regular structure. It represents the backbone of the graphic environment; it is bright and colorful, yet raw and graphic, maintaining a constant presence of black and monochromatic backgrounds. We developed a collection of animals based on the logotype, which live and come to life on the different materials of the brand; print, packaging and web. The launch of the new identity took place in the spring of 2021 and will include several successive stages until the full rollout is completed.

The Diagonale Brewery was born from the imagination of Thierry and Benoit, long-time friends whose respective careers have taken them all over the world. Back in the East of France, the idea of creating an independent micro-brewery in Broussy-le-Grand (Marne) was born in 2019, with the objective of sharing the singular life trajectories of the two founders in craft beers. At the end of 2020, Brand Brothers was commissioned to design the complete visual identity of the project.

Our graphic proposal revolves around an extensive typographic and symbolic language. The logotype, composed of letters with very pronounced inverted contrasts, was designed especially for the occasion and serves as the basis for a collection of glyphs that considerably enrich the narrative and the imagination around Diagonale beers. Designed in the style of the original Dingbats, these symbols allow for a variety of compositions, forming a simple and powerful graphic backbone. Associated with Gramatika (Typefaces of the Temporary State), this visual language is developed on the first two cans of the brand, an e-commerce site designed at the studio and a series of posters. The collaboration between Diagonale and Brand Brothers will continue with the release of new beers, permanent or ephemeral.

Tweag defines itself as a Software Innovation Lab, that enables well-funded deep tech startups to quickly scale their engineering performance and execute on high-risk, high-reward projects with confidence. Created in 2013 in Paris, the company is based on a team of several dozen engineers, spread over four continents, among the world’s top experts in machine learning, modeling, natural language processing, blockchain, smart contract, programming tools and languages and distributed computing. Recognized within several communities (Haskell, Bazel, Nix) and very involved in the Open Source ecosystem, Tweag approached Brand Brothers to completely redesign its graphic identity and website, based on a new positioning realized by Punchy (Portland, Oregon).

The new Tweag visual identity is designed as a modular and combinatorial graphic system. Based on a bespoke character design, the Tweag logo is a raw and bold typogram that plays on curves as well as straight lines, filled areas and blanks. A simple but statutory visual marker, like a contemporary reinvention of tech imagery.

The visual system, derived entirely from the logo, is an infinite set of decomposable and recomposable elements that create a rich and easily identifiable visual grammar. It echoes the Tweag method and their way of conceiving software; the Tweag graphic language can be assembled, disassembled, and connected in every imaginable way.

Launched in May 2020, the new branding and website were received with some enthusiasm by the community.
A Tweag engineer: “The logo’s kind of epic (nerdy but also a little intimidating; I secretly want a T-shirt with it). Exciting stuff!”