Every Day, Rachael Ray Logo, 2015

Rachael Ray's magazine team celebrated their tenth anniversary with a whole new look. And we helped!


o Banquinho worked with editor in chief Lauren Purcell  and creative director Heather Haggerty to develop a new logo for the magazine to reflect its maturation  into a more streamlined version of the widely-read and loved-by-many compendium of all things hearth and home. 

The Process

The typeface Stag has been a cornerstone in the visual language of the magazine, so we were asked to look at ways to maintain that element as we explored the new identity. For the first round, we looked at a wide variety of type personalities that we eventually  narrowed to two candidates: Stag and Sentinel, an alternate slab that we had recommended for its beautiful letters and friendly presentation. After a multitude of cover tests with both the original title Every Day with Rachael Ray and the flipped version (the final choice), Sentinel got the nod as the foundation for the new logo.

But in the process, we had discovered that the hand-tooled feel of the Stag termini complemented the crisp shapes of the Sentinel letters, so Heather enlisted type genius Tal Lemming to help us finalize a mark that knitted the two personalities. This is where we landed; shown at the top of the page is Tal's final.  

Datagraphic logo, 2015

They began as Blackstone Stationers in NYC in 1927. Today, DataGraphic is recognized as a leader in creative print.


When DataGraphic moved to a new building in early 2015, president Glenn Schuster asked o Banquinho to refresh their logo. We saw this as a golden opportunity to create a mark that can be used to showcase their state-of-the-art print capabilities (and a dream project for us!). We started with the monospace letters in the original logo, and adjusted the letterspacing, kerning, and weight to give us a bold platform to work from.

Next we applied a “duplexed” construction to suggest the layering (be it ink or paper) that is the essence of the print process. This two-part construction gives the company a canvas upon which they can mix and match print processes at will: Emboss and deboss; inks and varnishes; letterpress and foil-stamp ... the options are endless!


We then developed an alternate version based on the negative inline component, exaggerated to make it the hero. This version is for use at small sizes and for three dimensional and environmental applications.


The print processes make these marks come alive; we look forward to a multitude of beautiful variations! 

Soul Pilates identity, 2015

"Pilates & Fisioterapia: Nourishing the body and the soul."


The owners of this exclusive pilates studio, located in one of the most affluent towns in Brazil, approached us to create a sophisticated identity to match their rarified aesthetic for the studio and to appeal to their clients.

The Logo

We developed a custom typeface based on the defining principles of Pilates: a strong core and flexibility. Good form in Pilates results in simple beautiful lines; similarly, the letters in the bespoke typeface leverage simple geometric shapes to create a mark that echoes the movements. Because the practice is dynamic and fluid, we developed a series of variants on the primary logo to ensure that the supporting materials are always on message, but never static. The company tagline expands on the motif.

subheadtk if needed

Paragraphtktk if needed.

Orchard Jewelry identity, 2015

"Fresh, imaginative, unconventional. Jewelry plucked from nature."


After owning and operating an estate jewelry business for 20 years, designer Janet Mavec decided to combine her extensive knowledge of jewelry history with her love of nature. The result was Orchard, a new fashion jewelry collection that celebrates the beauty of the world around us through custom-designed pieces. o Banquinho partnered with Janet to develop an identity and online presence that communicate the unique nature of her collection.

The Logo

Our first step was to update the Orchard logo to better reflect the research and detail that go into each meticulously-crafted piece. Because the web is the primary sales channel, the end result must read quickly on computer screens and mobile devices. We redrew the tree based on the silhouette of an apple tree (true to the orchard from which she draws much of her inspiration). The silhouette is bordered with a series of unique apple leaves, and the inner sapling is similarly recognizable with apple leaves and blossoms. We maintained the humanist nature of the word "Orchard" (appropriate for handcrafted jewelry), but refined the letters for a more legible and more contemporary mark.

The website

The website needs to showcase the fine detail of the jewelry, and it needs to be easy to update. With those goals in mind, we developed a framework of "jewelry cards" that can be easily repopulated when new pieces are introduced or featured. Janet has a library of sketches which we used to create a custom "fabric" print to use as  background. The end result: A site that communicates the designer's taste and touch, but works within a standard commerce template (with a little help from our web developer). Shown here are the templates for the home and product pages. 

The style guide

The final piece of the package was a comprehensive style guide to make it easy for the client to maintain the integrity of the brand. Shown here are representative pages from the document.

The Shannara Chronicles nameplate, 2015

On finding the right typographic voice for an epic tale of elves, druids, and humans.


"The Shannara Chronicles" is an upcoming American television series by MTV based on a series of novels by author Terry Brooks, and is set to premiere in January 2016. The filming of 10-episode first season wrapped in New Zealand in June 2015, and the first trailer was debuted on July 10, 2015. After the show was green lighted, MTV asked o Banquinho to create a nameplate for the show that communicates the epic nature of the story, and has just the right elven touch. 

The Process

We combed through the reference the client provided, and supplemented it with additional research on the books and the characters. Our first presentation was an exploration of styles to help us zero in on just the right gestalt.


Within each approach, we presented a range of nuance in the shape of the individual letters, and in the overall shape of the mark as seen in the example below.

The details

After the client approved the final direction, we developed a matrix of variations with minor (and not so minor) differences in the letters. The final mark has appeared in the official trailer, display materials at Comic-Con, and in the titling for the most recent books. We look forward to seeing the program's debut!