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.

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.

Henry Lemoine is the oldest French publishing house, and the reference in musical scores; it was in 1772 that Antoine-Marcel Lemoine, composer, violinist and music teacher, founded the company at 556, rue de l’Echelle-Honoré in Paris. Still run by the Lemoine family, the company continues to celebrate 250 years of history, which will be celebrated in November 2022 at the Atelier des Lumières in Paris, where the new visual identity created by Brand Brothers was unveiled.

We developed a new typeface for Henry Lemoine and all of its publishing houses. A stable and contemporary lettering, completed by a HL monogram that unites all the names. This monogram uses the structure of the double eighth note and provides Henry Lemoine with a timeless, rhythmic and sophisticated sign. Associated with two accompanying typefaces, Orelo (Pizza Typefaces) and Diatype (Dinamo), the new visual system allows for the complete renewal of the score catalog, allowing for a clear hierarchy and variety that responds to the completeness of the publication offer. On the occasion of the 250th anniversary event, a book tracing the history of the company, based on the graphic charter, was designed by Studio Vicente Granger, and presented alongside the new visual territory.

Le Metronum is the venue for contemporary music in Toulouse. With a concert hall with more than 600 seats, rehearsal and recording studios, it is an essential meeting point for artistic experimentation and hosting the most cutting-edge musical artists, with more than 100 concerts per year.

In 2022, the task of redesigning the identity of this emblematic scene was launched, and a team composed of Hey Studio (Barcelona) for the logo and Brand Brothers for the graphic system was chosen. On the basis of a renewed lettering realized by the Spanish studio, we imagined a raw and generative visual grammar around the discontinuous line located under the logotype. A way to express the variety of styles and artistic programming of the place. By associating an extensive panel of bright colors, as well as the BallPill (Benoit Bodhuin) and Malamocco (Formagari) typefaces, our visual proposal tends to endow Le Metronum with a powerful but rich and open graphic environment.
The new identity of the place was inaugurated in September 2022.

Artquire is a Paris-based bureau specialized in art leasing. Founded by Alexandre Chastel, a contemporary art collector, the company offers its corporate and professional clients the opportunity to build their collections through a leasing mechanism.
Brand Brothers developed a new graphic identity for Artquire to support the company’s growth. Our proposal is based on an in-house typogram, where the R’s become the focal point of the logo. Raw and assertive, they give the name a sharp and charismatic temperament. The abstraction of the R allows us to extract a strong sign, which accompanies the different visual supports, in parallel with the proposed works. We declined the whole on a series of printed objects, as well as a new website, online in autumn 2022.

Pyla, formerly Sweelo, is a startup created around a simple observation: an employee needs several dozen application resources, software and equipment to be fully operational in his company. When they arrive and when they leave, the installations and manipulations generate financial, time and energy losses, not to mention the impacts in terms of data security. Pyla designed a solution that centralizes and automates the management of all these resources.

Brand Brothers developed Pyla’s identity for its name change, based on a typogram whose character design resonates with the name. Thus, the P and L form a unity around a straight line, while the Y and A, based on an oval, act as a mirror. These 4 characters serve as the basis for an abstract system composed of 12 shapes and a ball, which tell the story of the stacking of applications, the flow of data and the user experience. A clear desire to remain in the metaphor, to give Pyla a lively and playful attitude within the world of data. The graphic environment, simple and colorful, is based on the Messina Sans and Nantes typefaces (Luzi Type, Bern, CH).

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.

Union des Libraires Musicales is the French national association of producers and publishers of production music. It is the organization that brings together music professionals for audiovisual projects: documentaries, short and long movies, advertising, institutional films etc… Its mission is to dust off and popularise the use of production music, while advocating for the respect of authors’ rights; it is an association with an educational aim, but also one of defence of interests. Among other things, it promotes the great ease of use of production music, the growing quality of productions and the variety of styles available.

We have developed a new graphic identity for the association as well as a scalable visual system, based on the strength of words as much as visual language. The new logo is composed of a home-made typographic design, built on the basis of fixed width letters, supplemented by three black stripes, a minimalist graphic contraction of the audio tracks in CAD (computer-assisted music) software. These stripes become the starting point of the graphic system, which, combined with the Buzz Black (ECAL Typefaces) and Wasa (Pizza Typefaces) typefaces and a palette of bold colours, makes it possible to develop entire series of messages that spread over different areas of expression. The verbal tonality is sometimes militant, sometimes playful, by betting on the diversity of musical styles, via semantic or sound oppositions: Speedcore/Slow Fox, French Touch/Italo Disco, Black Metal/Bluegrass…
A new website was designed and developed at the studio, marking the changeover to the new graphic identity at the beginning of 2021.