Street Food
A chef-run stall in a Swedish food hall, one bet — fry the patty on a real grill, charge a kronor more. We built the brand from blank page: the wordmark, the mark notes, the photography, and the social system the kitchen crew runs during service.
A chef-run stall in a Swedish saluhall, one bet — fry the patty on a real grill, charge a kronor more.
Street Food To Go opened inside Mölndals Saluhall in 2017 — a tiny chef-run stall betting that a Swedish food hall would pay a kronor more for a burger if you fried the patty on a real grill, pickled your own red onions, and put truffle mayo on a brioche. Högrev (chuck), or Oumph for the vegetarians — same care either way.
The brand needed to do two jobs at once. From across the food hall it had to read as unmistakably a burger joint without slipping into diner-chain pastiche. Up close, on a counter menu or an Instagram square, it had to feel handmade — the way the food was made: hand-shaped patties, hand-written menus, hand-cut fries.
Six deliverables, one system underneath.
Logo design
Stacked Western slab wordmark with crossed fork-and-knife badge, four marigold stars and EST · 2017 dateline — old-saloon energy, sized to read on a brioche-paper wrapper or an Instagram avatar.
Posters
Hero artwork for openings, festivals and food-hall promos — the four stars scaled up, the hand-drawn frame kept loud.
Menu design
Two systems off one art direction: an A5 printed take-away menu and a 1080p TV menu for the counter screen above the grill.
Food photography
A two-day shoot on a black linen surface with cacti, mortar-and-pestle and service bells — burgers, fries, the grill, the kitchen. Editorial-grade, used everywhere since.
Marketing & promo
Opening campaign, lunch-meny push, saluhall signage — print, in-hall boards, and paid social aimed at the Gothenburg lunch crowd.
Social Media
A template kit the kitchen can actually run during service: the four stars locked top-center, the hand-drawn frame, weekly burger-of-the-week posts.
The mark looks like it was stencilled on the back of a saloon door.
STREET FOOD stacked in a distressed Western slab; To Go in a humbler casual italic underneath, because it's the food hall, not a steakhouse. A crossed fork-and-knife badge sits between two thin rules, EST · 2017 on the left, MÖLNDAL on the right. Four marigold stars on top because the food deserves them.
Three working colors, two paper ones.
Marigold gold for the stars and the prices when we want them to sing; tomato red for the prices when we want them to shout; ink black for the rules and the slab. Bone cream for paper. The whole system reads on a paper wrapper at lunch and on a backlit TV at dinner without changing a value.
A hand-drawn frame that does most of the talking.
One rectangle, drawn twice, slightly off — the two strokes never quite align. The gap between them is the pattern. It works at 8px on a paper bag wrapper and at 8cm on a food-hall poster without changing a line. The frame is the system; everything lives inside it or beside the stars.
Black linen, service bells, and six patties on the grill.
Two days in the saluhall with the kitchen crew, a black linen surface, cacti, mortar-and-pestle and service bells — every burger in the menu, fries, the grill, and the team mid-service. The look that came out became the visual house style and has been re-used across every channel since.
One art direction, three formats.
The printed A5 sits on the counter and goes into take-away bags — full burger lineup, side orders, dip menu, the lunch deal pinned in a hand-drawn box. The TV menu is the same system at 16:9, split across two screens above the grill so the queue can read while it queues.
The grill, the chef, the bell.
The brand on the things people actually touch in a working saluhall — the grill, the chef, the queue, the burger as it lands.
Burgers, hand-shaped.
A chef-run stall that needed to look like a brand, not a food-hall stand. The mark, the frame, the photography, and the social system — same system still running seven years later.
Services that made it happen
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