Oddly Good Brand Identity Design & Web design

LOGLINE A snack brand for vegetables the supermarket rejects. Every pack is a Flemish oil painting you could swear you could touch.

THE BRIEF I started with a premise I couldn’t shake: a huge share of perfectly good vegetables never leaves the field because of the shape it grew in. A forked carrot tastes exactly like a straight one. It just looks like itself.

The tension was that food-waste brands almost all look the same. Kraft paper, chalk lettering, cartoon vegetables, a green leaf somewhere. They lecture. I wanted the opposite: a brand that treats the wonkiest vegetable as a subject worth a portrait, and says so with a straight face.

I took on everything. Naming direction, identity, packaging, out-of-home, retail, merch, social and web.

THE APPROACH I opened ten brand ideas and Oddly good was the one I kept returning to. Then I pushed it through ten visual directions: peel-back stickers, museum specimens, op-art warps, paper theatre. They all worked as ideas. Only one made the flaw feel valuable instead of cute: Flemish still life.

The reference set decided it. A hand crossing the picture plane into a black frame. A fly sitting on a loaf in a 16th-century oyster painting. A museum catalogue number in the corner. A bent spring onion shown with the dignity of a portrait. Old masters used tiny living details to prove a painting was real, and that is exactly what imperfect produce does.

My first logo was a bouncy brush script. I dropped it. It read friendly and handmade, which is the farmers’ market look I was trying to leave, and it would have looked like a sticker laid over an oil painting. I moved to Cactus Classical Serif at -3% tracking, kept lowercase “good” for warmth, and moved the wonk out of the letters and into the details: the fly, the dewdrop, the curl of peel.

One idea runs through everything: the pack is the painting, and the painting has a frame you can reach past.

Logo Cactus Classical Serif, single weight, -3% tracking, mixed case. Pewter Cream #E8DFC8 on dark grounds, Varnish Black #1B1410 on cream. It sits like a plaque and never moves.

Color and type Grounds stay dark: Varnish Black, Oxblood #3A0B0B, Velvet Teal #1F4A44. Candle Ochre #C9922E and Tarnished Brass #8A6A2F are reserved for frames and gilt. Pewter Cream is the only text color on dark. No bright white, no flat saturated color. Labels use a tracked small-caps serif, and no sans-serif appears on the front of any pack.

Packaging Four studies, each with its own ground: Forked Carrot on Oxblood, Lopsided Beet on Varnish Black, Bent Spring Onion on Velvet Teal, Knobbly Parsnip on Pewter Cream. Each has a gilt frame, a painted fly, a dewdrop and a catalogue number that doubles as the batch code.

Out-of-home A rooftop billboard where a curl of carrot peel breaks out of the frame and hangs over the real edge. A metro triptych where three posters read as one gallery wall.

Retail and merch A pop-up stand framed like a painting, with a brass label that says “Please do touch.” A black sweatshirt carrying a tiny embroidered frame, a stitched fly and the logo on the cuff.

Social and web An Instagram grid that reads as a gallery wall. A site (live here) that opens on “Too crooked for retail. Framed for the table.”

THE RESULT The system holds from a 40g pouch to a rooftop board without changing its logic: dark ground, gilt frame, one living detail, one catalogue number. The humor stays in the details, and the craft stays sincere.

I wasn’t going for a parody of museum language. The brand never mentions waste once on the front of a pack, and it still lands the point. The vegetable is the hero, and the supermarket’s loss is the gallery’s gain.

PROJECT INFO Révolté, revolte.design Project: Oddly good Year: 2026 Scope: Brand Identity, Logo, Packaging, Out-of-Home, Retail, Apparel, Social, Web Industry: Food and Snacks

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