PeachTree Plates

The project is self-initiated, but I built it under the constraints of a real operation. The identity had to organize product information, work across packaging of different formats and stay recognizable in delivery, in the store and on screen. An expressive symbol was not enough. It needed a system that could follow the whole experience.

The name comes from the relationship between Atlanta, Georgia and the peach. I looked for a local reference that would be easy to recognize without reading like a tourist souvenir. PeachTree ties the brand to the city. Plates keeps it connected to everyday food, away from the language of a supplement or a diet program.

The symbol appeared once I started reducing the peach to a single movement. Instead of illustrating the fruit with volume and detail, I drew a continuous line that forms the outline and ends at the leaf. That simplicity let the brand work in one color, at small sizes and on different materials.

The curve left by that gesture became more important than I expected. It started guiding crops, frames and transitions. It shows up on the packaging, carries the page and gains scale in the storefront window. That was the moment the project stopped depending on the logo and began behaving like an identity.

Orange stayed as the main color for its immediate link to the peach and its way of opening the appetite. Green, yellow and blue come in as support. They organize the line, create contrast and keep every product from sharing the same visual temperature.

I did not use a rigid rule of one color per dish. Differentiation happens through the combination of color, photography, name and hierarchy. That keeps the system flexible and makes room for new items without building a parallel identity for each one.

Boxes, bowls, cups, bags and delivery materials change proportion but keep the same principles. The wordmark holds presence, the symbol appears as a signature or a crop, and the information sits in a clear area. Seen together, the packages look like part of the same table without turning into copies of one another.

Photography had to continue that logic. I directed the images so the food had texture, color and closeness. The backgrounds use the brand palette but do not compete with the dishes. I avoided the sanitized look common in the category. Food had to look like food, not a demonstration of nutritional benefits.

The store and the storefront are concept visualizations made to test the system at physical scale. The entrance arch and the curved elements inside derive from the symbol. The idea was to let someone notice the brand in the space before even reading its name.