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Brand identity for Rayhana — a specialty coffee roaster styled like an editorial studio. Hand-illustrated leaf-mark integrated into the wordmark, six-line manifesto, packaging architecture, and a calm, restrained typographic voice that lets the product speak.
Below is the actual delivered file — every spread, in document order. Scroll the page to read through.
Before the wordmark and the palette and the batch numbers on the back of every bag — there was a feeling I wanted the brand to earn. Quiet. Particular. The sense of a studio that happens to roast.
These pages are the instructions for keeping that feeling consistent, wherever Rayhana lands — a bag on a café shelf, a poster on a wall, a single line of copy on a screen.
We work with nine farms across three origins. We roast to order in four-kilo batches. We date every bag to the week, not the month. We carry the quiet ethic of a small studio into a trade that too often trades on noise.
Set in Fraunces Light at −0.06em tracking. The letterform R carries a leaf-shaped counter, drawn into the bowl — visible at display sizes, invisible at small. The Arabic lockup sits below, never beside.
Use the primary lockup wherever the brand has room to breathe — 32mm clear on all sides, minimum.
The wordmark occupies ten horizontal units, from the leading edge of the R to the trailing edge of the a. The x-height is exactly five units — giving the mark its low, settled posture.
The leaf counter in the R is aligned to the third unit on both axes. Do not redraw.
Minimum clear space is equal to the cap-height of the wordmark on all four sides. This is non-negotiable in print and digital.
Minimum usable size is 24mm in print, 120px on screen — below that, the leaf counter breaks up and the mark loses its quiet.
Clay earns its place on single-origin launches, on the back of every bag, and nowhere else. It is warm without being autumnal, saturated without being loud — a red-brown with the weight of kiln-fired clay.
The palette is not an equal split. Bone leads every surface; ink carries all type; clay and sage are reserved for moments that earn them.
Treat these ratios as a cadence, not a measurement — if a surface feels even-handed between bone and an accent, cut the accent.
A contemporary revival of the 20th-century Phil Martin model. We use the Light weight at display sizes, with tight negative tracking. Italics are reserved for pull-quotes and editorial callouts.
Inter Tight carries the reading weight of the brand — specs, captions, body copy, navigation. Its geometric rhythm is the quiet counterpart to Fraunces's editorial voice.
All numerals are set tabular, and small caps are tracked at +0.14em.
Noto Naskh Arabic is our Arabic complement to Fraunces. We use the Regular weight at display sizes, tracked tight, and the Medium for running text.
The Arabic lockup sits below the Latin, not beside — the two scripts breathe on their own.
85 × 55mm, G. F Smith Naturalis Ivory 300gsm. Foil-stamped in matte dark ink on the front, printed CMYK on the back. No rounded corners.
A4 sheet, 100gsm uncoated Naturalis. A single-line address in the top-right mono, a restrained signature block at the foot. Nothing else.
The envelope is reversed — ink ground, bone wordmark — and used for sample shipments and editorial.
Dear Maha,
A note to say the Yemen Haraaz, lot four, is ready for the week's roast. Six kilos allocated; sample attached. We'll ship Tuesday.
With warmth, and a nod to spring.
A 250g bag, a drip box, a cold brew bottle. Each piece carries the origin in Fraunces and the batch in mono. The basil leaf appears once, very small, under the origin.
Nine farms, three origins, four-kilo batches. Dated to the week. Shipped Tuesdays from Mina Zayed, Abu Dhabi.
Shop the week's roast →A quiet storefront at Warehouse 14-B, Mina Zayed. Routed ink on a bone acrylic panel. No tagline. No opening-hours copy. The address does the rest.
For wholesale, trade, or a cup at the bench — we are at Warehouse 14-B, Mina Zayed. Doors open Thursday to Saturday, 09:00–17:00.
Tell us about your launch, your market, and your deadline. We'll come back with a plan, not a PowerPoint.
