Case study

Ceres

Why we built Ceres, and how one mark travels from the sign above the door to a guest’s phone.

Product
Ceres
Why we built it
A menu that belongs to the venue
Output
Mark, system, application
Year
2026
Illuminated Ceres sign on a facade at dusk

01 — The brief

A menu stretched across three places

In most venues the menu lives in three places at once: at the print shop, on a subscription platform, and in a pile of files on the managers’ phones. None of the three belongs to the restaurant. Change one price and you have to change it three times — and foreign guests still don’t know what they are ordering. So we built Ceres.

02 — The idea

Named for the goddess of the harvest

We started with the name. Ceres is the Roman goddess of grain, growth and the shared table — a fitting patron for software that would live in kitchens. The mark folds a fork into a plate that sweeps upward into one continuous “C”: the gesture of eating, drawn in a single stroke. The wordmark is chiselled and archaic so the brand never sounds like a tech product, and warm gold finishes the rest: grain, candlelight, hospitality.

03 — The mark

One stroke: fork, plate, and the letter it becomes

The mark had to hold everywhere we would put it, and in a single colour. Gold on dark, dark on light, knocked out of gold. It carries from the flag at the door to the stamp on paper to the icon in a guest’s browser.

Three flags carrying the Ceres mark — white, gold and black

Harvest Gold / Ember Ink / Limestone

04 — Palette

Grain, stone, and the hour the sign glows

Gold is the only accent and we save it for the few places where it means something: the prices, the mark, the lit sign. The ink is warm, almost black. The ground is limestone light, like the facade the sign hangs on. The three colours meet for the first time on a business card.

Harvest Gold

#C8A44A

Ember Ink

#131313

Limestone

#EBE8E1

Carbon

#1F1F1F

Ceres business cards on wood, with a QR code on the reverse

Type

Chiselled headlines, plain text

Headlines carry the character of cut lettering. Running text stays neutral and legible on a phone, in a kitchen, in low light.

Аа / Aa

Unbounded · 200—900 / Schibsted Grotesk · 400—600

05 — Applications

From a roll of stickers to a menu in the hand

Every piece was drawn to be actually produced, not to look good in a deck. The stickers come off a roll so a whole room of tables can be done in one pass. The printed menu is stitched so single pages can be swapped. The code on the table is large enough for a phone to catch it in low light.

A roll of QR stickers carrying the Ceres mark
Grid of QR stickers carrying the Ceres mark
An open printed Ceres menu with a QR code on the cover

06 — The product

The identity, turned into a tool

An identity would not have done the job as a PDF of rules. So it became an application: the manager writes the menu on the computer at the venue, decides how it looks, translates it and publishes it at their own address. The guest scans the code on the table and sees the menu in their own language, with live availability and the option to order.

A laptop running the Ceres app on a table in a venue
A phone on the table showing a dish in the Ceres menu

The result

A brand that works and a menu that updates

One brand and one tool that cover all three of the places we started from. The menu changes in seconds, the paper comes out of the same file, and there is no longer a third-party platform standing between a restaurant and its guests.

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