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Badaro Guidelines

A Levantine bakery and morning café, named after a Beirut quarter.

Introduction

Badaro’s home page: the six letters of BADARO as soft blue bread dough across the page, above “Bread at six. Coffee till late.” — The home page’s first screen. The letters drop onto the counter as dough and prove; the pointer presses and kneads them, and they rise back.

Badaro is a bakery and morning café named after the Beirut quarter of bakeries and early cafés. Its mark has to feel like part of that street: as natural painted across a fascia at six in the morning as pressed in blue ink on a kraft bag.

The name is three open syllables, so the mark stacks them: BA, DA, RO. Every counter is cut as the tall arched window of the quarter’s old sandstone houses, and under each A’s crossbar an arched doorway turns the letter into a house.

One ink, enamel blue, on warm flour. Blue stamps cleanly on kraft and carries across a street; the rest of the palette comes from the oven and the stone around it.

At a glance

Logo

Colours

Flour#F2EADB
Enamel#203F86
Night#1B356F

Type

Aa Instrument Sans
Aa Young Serif

Line

Bread at six. Coffee till late.

Brand kit

49 files · 2.3 MB

Download the zip

Logotype scale

72 px
60 px
48 px
38 px
30 px
24 px
18 px

Badaro’s name is its mark, so there is no separate symbol to lock up. Use the stacked block wherever there is height to hold it: cups, bags, stamps, a profile picture. Where the space is a narrow band, like a fascia or a page header, use the one-line name above, set from the block’s own letters. Never redraw, respace or restack either one.

Mark construction

Six letters sit two to a row in three rows, each 2.25x tall and 0.14x apart, where x is the stem. Every counter is the same arch, a half circle of r 0.3x on straight sides.

BADARO uses the stacked mark’s stem and arches: caps 2.21x tall, the A’s sides leaning at about 70°, the B’s bowl cut from a circle.

Signature

Enamel blue on flour is the signature: the fascia, the cup, the bag, the menu. Use it on any light, warm ground, and keep every window open.

Flour on enamel blue where the brand needs more weight: a painted shutter, a stamp on dark packaging, a profile picture. The windows then read as light coming through.

Three cuts

BlockThe three syllables stacked, every counter an arched window. The primary mark, for anything with height.

One lineThe block’s own six letters on one baseline, spaced by its line gap. For fascias, headers and narrow bands.

Small cutHeavier strokes and larger arches, drawn for 32 and 16 px: favicons and the smallest stamps.

Small sizes

Block, 64 px
Small cut, 32 px
Small cut, 16 px
One line, 16 px

Logo on your background

Ground

Use the dark artwork: 8.2:1 against this ground. Logos need at least 3:1 (WCAG 2, non-text contrast).

Please don’t

Don’t stretch or squeeze the block. The windows must stay true arches.

Don’t tilt it. The block stands upright, like the houses it comes from.

Don’t recolour it. Enamel blue or flour, nothing else.

Don’t set it on a ground that swallows it. Check it with the tool above.

Don’t add shadows, outlines or glows. It is printed ink.

Don’t fade it or make it see-through. One solid ink, always.

Core palette

Flour

Enamel

Night

Sandstone

Crust

Za’atar

Enamel is the colour of the street signs in the quarter and the logo’s only ink. Flour is its ground, Night the café after dark. Sandstone, Crust and Za’atar come from the house, the oven and the bread. CMYK values are a plain device conversion for reference; print Enamel from a matched spot swatch.

Color proportions

Flour46%

Enamel26%

Night10%

Sandstone9%

Crust5%

Za’atar4%

Flour carries most of every surface, Enamel the name and the headlines, Night the evening. Crust or Za’atar appears once at most, never both.

Readable combinations

AaEnamel on Flour8.2:1AAA
AaFlour on Enamel8.2:1AAA
AaFlour on Night9.8:1AAA
AaEnamel on Sandstone6.5:1AA
AaNight on Sandstone7.7:1AAA
AaCrust on Flour4.9:1AA
AaFlour on Crust4.9:1AA
AaFlour on Za’atar5.4:1AA
AaCrust on Sandstone3.8:1AA Large

Crust on Sandstone reaches only large-text contrast: keep it to decoration and large menu prices, never body text. Ratios are WCAG 2 contrast, measured on the sRGB values above: AAA from 7:1, AA from 4.5:1, AA Large from 3:1 (large or bold text only).

Check a pairing

Text

Ground

AaFlour on Enamel

8.2:1AAA

Type system

Bread at six. Coffee till late.
Headlines, text, buttons and the website, as on the home page: medium 500 for headlines, regular 400 for text at 16 px and up. Plain and friendly, it lets the block be the only voice with character. By Rodrigo Fuenzalida and Jordan Egstad, SIL Open Font License 1.1, on Google Fonts; about 30 KB a weight as WOFF2 (Latin).
Man’oushe, za’atar and oil
The menu board, the names of the breads and short display lines: a heavy, warm serif that sits well beside the block without copying it. One weight only. By Bastien Sozeau, SIL Open Font License 1.1, on Google Fonts; about 40 KB as WOFF2 (Latin).

Click any specimen line to try your own words.

Type scale

Base16 px

Ratio

Major third 1.25

DisplayInstrument Sans · 500 · 48.8px · 3.052rem
Bread at six.
Heading 1Instrument Sans · 500 · 39.1px · 2.441rem
Bread at six. Coffee till late.
Heading 2Instrument Sans · 500 · 25px · 1.563rem
Man’oushe and ka’ak from the stone oven, cardamom coffee all evening.
Heading 3Instrument Sans · 500 · 20px · 1.25rem
Open at six · Badaro, Beirut
BodyInstrument Sans · 500 · 16px · 1rem
The oven is lit before six, so the first man’oushe is out when the street wakes up. In the evening the same room serves cardamom coffee until late.
CaptionInstrument Sans · 500 · 12.8px · 0.8rem
From the oven at six, every morning

Tone of voice

Badaro speaks like the baker on the corner who knows your order: warm, quick and plain, with the time of day always in it.

It names the bread, the oven and the hour. It never sells a lifestyle, and never borrows grandmothers, heritage or a postcard Beirut it hasn’t earned.

A neighbour, not a theme

Badaro is part of a street. The voice says what is in the oven and when the door opens, and leaves the rest to the bread.

Say the hour

Time is the brand’s rhythm: when the oven is lit, when the coffee starts, when the door closes.

Say	Avoid
First man’oushe out at six.	Experience artisanal baking at its finest.
Coffee till late.	Open all day for all your needs.

Name the bread

Say what it is, the way the counter says it. No adjectives where a name will do.

Say	Avoid
Za’atar man’oushe, sesame ka’ak.	Authentic heritage delights from Teta’s kitchen.

Warm and short

One line, then stop. A wink is fine on the hero; prices, allergens and hours stay plain.

Say	Avoid
Press the letters, the dough is soft.	OMG you NEED to try our bread!!!

Shopfront fascia

A sandstone Beirut shopfront with three tall arched windows under a long enamel-blue fascia sign-painted with BADARO in flour cream

The one-line name where the space is a long band: sign-painted in flour on an enamel-blue fascia above the house’s own arched windows.

A folded kraft bread bag rubber-stamped with the blue BADARO block on a marble counter beside a sesame ka’ak — The block as a rubber stamp in enamel ink on kraft: uneven the way a real stamp is, every window still open.

A hand holding a flour-cream takeaway cup printed with the blue BADARO block in front of a sandstone wall — The block upright on a flour-coloured cup, for the coffee that runs until late.

Wrapping paper

A za’atar man’oushe half wrapped in greaseproof paper printed with rows of the blue one-line BADARO

The one-line name repeated across greaseproof paper, broken by the folds the baker makes to hand it over.

The block embroidered in blue thread on the pocket of a flour-cream linen apron, a floury forearm at the edge — Embroidered in enamel-blue thread on the baker’s apron, about the size of a palm.

A square enamel-blue sign with the flour-cream BADARO block, screwed to sandstone beside an arched doorway — Flour on enamel, fired into a steel sign by the door: the colour the logo was named for.

Pattern: six o’clock

Rows of enamel-blue arched windows on flour in a half-drop grid, one window in warm crust brown

The block’s own counter, the arched window, repeated like the windows of the quarter’s houses. One is Crust: the oven lit at six. As a device, a single arch frames a photograph or stamps a corner.