Bronze Graphics, Illustration and Visual Communication Design · 2026
MioBar Editorial Design
- A' Design Award 2026 Bronze Winner in Graphics, Illustration and Visual Communication Design
- Awarded April 15, 2026
- Estimated Number of Design Views: 9,962
- Verification code 7F40487CDB · Verify this award
About MioBar Editorial Design
This project presents the renewal of MioBar into Gran Caffe Mio after thirteen years of operation. The design outcome includes a leaflet, a photo book, and a custom typeface that express the refined yet approachable atmosphere of the transformed interior. Inspired by Italian cafe culture, the project uses architectural curves as typographic motifs and integrates photography to document spatial qualities and human presence. It frames the cafe as a space for social interaction within its local context.
Press Kit
- Unique Properties
- This project marks the transformation of MioBar into Gran Caffe after 13 years. The brochures and photography were designed to convey the refined atmosphere of the renewed space, inspired by the elegance of historic Italian cafes. A custom typeface, subtly echoing the bar's architectural curves, reinforces the identity. More than a place to drink coffee, it aspires to embody the cultural essence of cafes as timeless spaces for reflection and connection.
- Dimensions & Packaging
- Leaflet: A6, 8 pages, folded brochure.
Menu: A3, single-sheet.
Photo book LULTIMOGIORNO: B5, 124 pages.
Typeface Rinata: custom original type created specifically for MioBar.
All elements feature original photography by the designer. - Tags
- Hiroshima, Gran Caffe, Italian Cafe Culture, Graphic Design, Leaflet, Photography, Book Design, Custom Typeface, Visual Communication, Branding
- Production Technology
- The project combined custom typography, editorial design, and photography. An original typeface was created, inspired by the curved architectural features of the renovated cafe interior. The leaflet was realized through color photography shot with Leica equipment, while the photo book LULTIMOGIORNO was produced using monochrome film that I photographed and self-developed. This hands-on process, from capture to refinement, ensured a unified and authentic visual identity aligned with the Gran Caffe's ambience.
- Design Challenge
- The main challenge was translating the essence of a Gran Caffe into visual communication without reducing it to decoration. Balancing historical references with contemporary sensibility required close study of architectural curves and cultural symbols. Limited resources and alignment with the client's renovation vision added complexity, but addressing these constraints resulted in a design that resonates authentically with both space and community.
- Project Duration
- The project began in March 2025 in Hiroshima, Japan, with the renovation of MioBar into Gran Caffe Mio. The design work, including leaflet, photo book, and custom typography, was completed by June 2025 in Hiroshima, and officially presented to the public at the cafe's reopening in July 2025.
- Operation Flow
- This project goes beyond a simple restaurant renovation, aiming to convey the essence of a Gran Caffe to the local community. The leaflet serves as an accessible guide, while the photo book offers a reflective experience of the renewed space. Combined with custom typography, these elements invite people in Hiroshima to engage with the cafe and the cultural heritage it represents.
- Research
- Research for this project focused on the cultural and spatial role of cafes, particularly the transition from a neighborhood bar to a Gran Caffe. The objective was to explore how architecture, typography, and visual communication shape atmosphere and memory. Methods included observing Italian cafe traditions and analyzing spatial curves, which inspired the custom typeface Rinata. Findings indicated that careful design can elevate daily experiences and reinforce cultural identity.
- Inspiration
- Editorial Design
The inspiration came from the transformation of MioBar into a "Gran Caffe," envisioned as a cultural space rather than just a coffee bar. The aim was to express the spirit of its refined yet welcoming interior through graphic design. Drawing from the curved architectural details, I created the original typeface Rinata, complemented with photography to capture both atmosphere and story. The result is a design that not only informs but also evokes the essence of cafe culture. - Image Credits
- Naoya Katagami
Colors of MioBar Editorial Design
Design Interview about MioBar Editorial Design
The main principle behind my design is to express the essence of the subject. I do not want to create a design that only decorates the surface or follows a temporary visual trend. I always try to understand what is truly important within the subject, and then give that essence a clear visual form.
For MioBar Editorial Design, the inspiration came from the passion of Mr. Miyanishi, the master of MioBar, and his vision to develop MioBar not simply as a bar or cafe, but as a Gran Caffe rooted in Hiroshima. I saw the renovation not as an ordinary renewal, but as a rebirth of the place.
Therefore, I designed the project as a way to express the culture, memory, and future of MioBar through typography, photography, and printed editorial materials. The custom typeface Rinata, the monochrome photo book LULTIMOGIORNO, and the folded leaflet all come from the same idea: to reveal the true character of MioBar and allow people to feel the depth behind the space.
For MioBar Editorial Design, the inspiration came from the passion of Mr. Miyanishi, the master of MioBar, and his vision to develop MioBar not simply as a bar or cafe, but as a Gran Caffe rooted in Hiroshima. I saw the renovation not as an ordinary renewal, but as a rebirth of the place.
Therefore, I designed the project as a way to express the culture, memory, and future of MioBar through typography, photography, and printed editorial materials. The custom typeface Rinata, the monochrome photo book LULTIMOGIORNO, and the folded leaflet all come from the same idea: to reveal the true character of MioBar and allow people to feel the depth behind the space.
This work was created in response to MioBar’s renovation into a Gran Caffe. My main focus was to make the passion and dedication of Mr. Miyanishi, the master of MioBar, immediately perceptible through the editorial design.
I wanted the leaflet to communicate the spirit of the place at first sight, not as a simple advertisement, but as an object that carries the culture and atmosphere of MioBar. Through typography, photography, paper, and composition, I aimed to let people feel the world of an Italian bar and Gran Caffe culture.
What I wanted to achieve was a design that could help guests understand that MioBar is not merely a renewed cafe, but a place with a strong cultural vision. I hoped that people who held the printed material would sense the care, elegance, and depth behind the space, and become interested in experiencing that culture for themselves.
I wanted the leaflet to communicate the spirit of the place at first sight, not as a simple advertisement, but as an object that carries the culture and atmosphere of MioBar. Through typography, photography, paper, and composition, I aimed to let people feel the world of an Italian bar and Gran Caffe culture.
What I wanted to achieve was a design that could help guests understand that MioBar is not merely a renewed cafe, but a place with a strong cultural vision. I hoped that people who held the printed material would sense the care, elegance, and depth behind the space, and become interested in experiencing that culture for themselves.
Mr. Miyanishi, the master of MioBar, sees this renovation as the creation of a place that he will continue to cultivate throughout his life. He does not want the space to remain untouched or perfectly new forever. Instead, he hopes that the cafe will gain depth over time, including the marks, scratches, and aging that come from daily use and human presence.
My future plan for this award-winning design is to continue responding to that vision. MioBar Editorial Design was not created as a one-time promotional tool. It was created as a visual language that can grow together with the place.
The leaflet, the photo book LULTIMOGIORNO, and the typeface Rinata each record an important moment in MioBar’s transformation, but I believe they can also become a foundation for future expressions. As MioBar continues to mature as a Gran Caffe, I would like to create design work that reflects that aging, atmosphere, and ongoing cultural development.
I hope this design will continue to support MioBar not only as a record of its rebirth, but as part of its future growth.
My future plan for this award-winning design is to continue responding to that vision. MioBar Editorial Design was not created as a one-time promotional tool. It was created as a visual language that can grow together with the place.
The leaflet, the photo book LULTIMOGIORNO, and the typeface Rinata each record an important moment in MioBar’s transformation, but I believe they can also become a foundation for future expressions. As MioBar continues to mature as a Gran Caffe, I would like to create design work that reflects that aging, atmosphere, and ongoing cultural development.
I hope this design will continue to support MioBar not only as a record of its rebirth, but as part of its future growth.
The actual production took several months. However, the concept itself had been developing long before the renovation began. I had heard Mr. Miyanishi speak many times about his vision, his passion, and the culture he wanted MioBar to become. Through visiting MioBar over time, I gradually came to understand the depth of that vision.
For this reason, I do not feel that the concept was created only during the formal design period. It was cultivated slowly through conversations, repeated visits, shared ideas, and the relationship that developed between Mr. Miyanishi and myself.
If I think about it in that way, the design contains not only several months of production, but also the entire period of time since I first began visiting MioBar. The trust, dialogue, and mutual understanding built between the master of MioBar and myself became an essential part of the concept.
For this reason, I do not feel that the concept was created only during the formal design period. It was cultivated slowly through conversations, repeated visits, shared ideas, and the relationship that developed between Mr. Miyanishi and myself.
If I think about it in that way, the design contains not only several months of production, but also the entire period of time since I first began visiting MioBar. The trust, dialogue, and mutual understanding built between the master of MioBar and myself became an essential part of the concept.
This design began as a commissioned work, but it was never simply a commissioned project for me. I had already felt a strong sympathy with the vision and passion of Mr. Miyanishi, the master of MioBar, long before the design work began. Because of that, the project was also deeply connected to my own inspiration.
I wanted to respond sincerely to his desire to transform MioBar into a Gran Caffe with real cultural meaning. At the same time, I also wanted to express what I personally felt when I visited the original MioBar before the renovation, when I observed the renovation process, and when I finally experienced the completed interior.
In that sense, this project exists between commission and personal pursuit. It was created for MioBar, but it was also shaped by my own observations, emotions, and respect for the place. I incorporated many impressions from the former bar, the construction site, the new interior, and the conversations with Mr. Miyanishi into the final design.
I wanted to respond sincerely to his desire to transform MioBar into a Gran Caffe with real cultural meaning. At the same time, I also wanted to express what I personally felt when I visited the original MioBar before the renovation, when I observed the renovation process, and when I finally experienced the completed interior.
In that sense, this project exists between commission and personal pursuit. It was created for MioBar, but it was also shaped by my own observations, emotions, and respect for the place. I incorporated many impressions from the former bar, the construction site, the new interior, and the conversations with Mr. Miyanishi into the final design.
This design was created specifically for MioBar and is used as part of its editorial and visual communication. The folded leaflet, the photo book LULTIMOGIORNO, and the typeface Rinata were all developed for the identity and cultural expression of MioBar.
At this time, I do not plan to sell or lease the production rights to another company. The design is closely connected to the space, history, and philosophy of MioBar, so I believe it should remain tied to the place for which it was created.
I intend to continue producing and developing related design work myself, in response to the future growth of MioBar as a Gran Caffe. As the cafe matures over time, I hope the visual language can also continue to evolve together with the place.
At this time, I do not plan to sell or lease the production rights to another company. The design is closely connected to the space, history, and philosophy of MioBar, so I believe it should remain tied to the place for which it was created.
I intend to continue producing and developing related design work myself, in response to the future growth of MioBar as a Gran Caffe. As the cafe matures over time, I hope the visual language can also continue to evolve together with the place.
MioBar was not simply a shop or commercial space. It was a place with culture, memory, and human relationships. Because of that, I felt that a single advertisement or logo would not be enough to express its meaning.
I chose this type of work because the project needed several different forms of expression. The photo book LULTIMOGIORNO preserves the memory of MioBar before the renovation. The folded leaflet communicates the philosophy and atmosphere of the renewed MioBar as Gran Caffe. The custom typeface Rinata connects these two elements through a visual language born from the space itself.
After the renovation, many guests would visit MioBar and encounter the new interior for the first time. I wanted them not only to see a beautiful cafe, but also to feel the culture, passion, and history behind it. This is why I designed the project as an editorial work composed of photography, typography, and printed matter, rather than as a simple promotional tool.
I chose this type of work because the project needed several different forms of expression. The photo book LULTIMOGIORNO preserves the memory of MioBar before the renovation. The folded leaflet communicates the philosophy and atmosphere of the renewed MioBar as Gran Caffe. The custom typeface Rinata connects these two elements through a visual language born from the space itself.
After the renovation, many guests would visit MioBar and encounter the new interior for the first time. I wanted them not only to see a beautiful cafe, but also to feel the culture, passion, and history behind it. This is why I designed the project as an editorial work composed of photography, typography, and printed matter, rather than as a simple promotional tool.
I did not directly imitate any specific designer or existing design. The influences behind MioBar Editorial Design came more from culture, materiality, and place than from a particular visual reference.
I was influenced by the culture of historic Gran Caffe spaces in Venice and Europe, by the atmosphere of old printed materials, by the physical beauty of film photography, and above all, by the space of MioBar itself. The curves of the renovated interior, the mood of the former bar, and the vision of Mr. Miyanishi, the master of MioBar, were the most important sources of inspiration.
Rather than following an existing style, I wanted the design to emerge from the identity of the place. In that sense, MioBar itself was the strongest influence on the work.
I was influenced by the culture of historic Gran Caffe spaces in Venice and Europe, by the atmosphere of old printed materials, by the physical beauty of film photography, and above all, by the space of MioBar itself. The curves of the renovated interior, the mood of the former bar, and the vision of Mr. Miyanishi, the master of MioBar, were the most important sources of inspiration.
Rather than following an existing style, I wanted the design to emerge from the identity of the place. In that sense, MioBar itself was the strongest influence on the work.
The target audience for this design is primarily the guests of MioBar. This includes both long-time regular customers who knew the former MioBar and new guests who encounter the renewed Gran Caffe for the first time.
For regular guests, the photo book LULTIMOGIORNO preserves the memory of the Italian bar they had loved for many years. It allows them to remember the atmosphere, people, and final day of the former MioBar.
For new guests, the folded leaflet introduces the philosophy, atmosphere, and cultural vision behind the renewed MioBar. It helps them understand that MioBar is not simply a beautiful cafe, but a place with deep care, history, and ambition.
In a broader sense, the target audience also includes people who are interested in coffee culture, Italian bar culture, printed matter, photography, and design. I wanted the project to speak to anyone who can appreciate a small place trying to cultivate real culture within a local community.
For regular guests, the photo book LULTIMOGIORNO preserves the memory of the Italian bar they had loved for many years. It allows them to remember the atmosphere, people, and final day of the former MioBar.
For new guests, the folded leaflet introduces the philosophy, atmosphere, and cultural vision behind the renewed MioBar. It helps them understand that MioBar is not simply a beautiful cafe, but a place with deep care, history, and ambition.
In a broader sense, the target audience also includes people who are interested in coffee culture, Italian bar culture, printed matter, photography, and design. I wanted the project to speak to anyone who can appreciate a small place trying to cultivate real culture within a local community.
What sets this design apart is that it is not simply a branding project for a cafe, nor is it only a promotional leaflet or a photo book. MioBar Editorial Design connects memory, space, typography, photography, and cultural vision into one editorial identity.
Many similar projects focus on presenting a renovated space in an attractive way. In this project, however, I wanted to express both what MioBar had been and what it was becoming. The photo book LULTIMOGIORNO preserves the memory of the former MioBar and its final business day, while the folded leaflet introduces the renewed MioBar as Gran Caffe.
Another distinctive point is the typeface Rinata. It was not chosen from an existing font library. It was created from the architectural curves of the renovated interior, especially the double-radius curve of the counter. This means that the visual language of the design was born directly from the physical space itself.
The project also differs from ordinary advertising because the printed materials were designed to exist within MioBar’s refined communication with guests. They are not loud promotional tools. They are quiet objects that carry the culture, passion, and atmosphere of the place.
For me, this combination of analog photography, custom typography, printed matter, and local cultural ambition is what makes the design unique.
Many similar projects focus on presenting a renovated space in an attractive way. In this project, however, I wanted to express both what MioBar had been and what it was becoming. The photo book LULTIMOGIORNO preserves the memory of the former MioBar and its final business day, while the folded leaflet introduces the renewed MioBar as Gran Caffe.
Another distinctive point is the typeface Rinata. It was not chosen from an existing font library. It was created from the architectural curves of the renovated interior, especially the double-radius curve of the counter. This means that the visual language of the design was born directly from the physical space itself.
The project also differs from ordinary advertising because the printed materials were designed to exist within MioBar’s refined communication with guests. They are not loud promotional tools. They are quiet objects that carry the culture, passion, and atmosphere of the place.
For me, this combination of analog photography, custom typography, printed matter, and local cultural ambition is what makes the design unique.
The name MioBar Editorial Design comes directly from the place itself. This project was created to express MioBar, a space being renovated with deep culture, passion, and vision. Because the work was not about creating a decorative title, but about expressing the essence of the place, I felt that the name MioBar should remain at the center.
The design brings together several elements: the folded leaflet, the photo book LULTIMOGIORNO, and the custom typeface Rinata. Each of these has its own meaning, but they all exist to express MioBar.
LULTIMOGIORNO means “the last day” in Italian, and it refers to the final business day of the former MioBar before the renovation. Rinata means “reborn” in Italian, and it symbolizes the rebirth of MioBar as Gran Caffe. Together, these names represent the full story of the project: the memory of the former MioBar and the beginning of its new life.
The design brings together several elements: the folded leaflet, the photo book LULTIMOGIORNO, and the custom typeface Rinata. Each of these has its own meaning, but they all exist to express MioBar.
LULTIMOGIORNO means “the last day” in Italian, and it refers to the final business day of the former MioBar before the renovation. Rinata means “reborn” in Italian, and it symbolizes the rebirth of MioBar as Gran Caffe. Together, these names represent the full story of the project: the memory of the former MioBar and the beginning of its new life.
For the photo book LULTIMOGIORNO, I photographed with a Leica camera using monochrome film. After shooting, I personally developed the black-and-white film, then scanned and edited the photographs digitally. This analog process was very important to the emotional quality of the book.
The editorial layout and composition of the photo book were created using Adobe InDesign, Adobe Illustrator, and Adobe Photoshop. These tools allowed me to carefully control the sequence, rhythm, typography, and image treatment throughout the book.
For the folded leaflet, I photographed the renewed MioBar interior with a digital Leica camera. The leaflet was also designed and composed using Adobe InDesign, Illustrator, and Photoshop, combining photography, typography, and editorial structure.
The custom typeface Rinata was created in Adobe Illustrator. Its letterforms were drawn from the architectural curves of the MioBar interior, especially the double-radius curve of the counter. In this project, analog photography, digital photography, hand-developed film, and digital design tools all worked together to express the identity of MioBar.
The editorial layout and composition of the photo book were created using Adobe InDesign, Adobe Illustrator, and Adobe Photoshop. These tools allowed me to carefully control the sequence, rhythm, typography, and image treatment throughout the book.
For the folded leaflet, I photographed the renewed MioBar interior with a digital Leica camera. The leaflet was also designed and composed using Adobe InDesign, Illustrator, and Photoshop, combining photography, typography, and editorial structure.
The custom typeface Rinata was created in Adobe Illustrator. Its letterforms were drawn from the architectural curves of the MioBar interior, especially the double-radius curve of the counter. In this project, analog photography, digital photography, hand-developed film, and digital design tools all worked together to express the identity of MioBar.
The most unique aspect of this design is that the visual language was born directly from the physical space of MioBar itself. The custom typeface Rinata was not selected from an existing font library. It was created from the architectural curves of the renovated interior, especially the double-radius curve of the counter, which is one of the most symbolic elements of the new Gran Caffe.
This typeface became the bridge between the different parts of the project. The photo book LULTIMOGIORNO preserves the memory of the former MioBar before renovation, while the folded leaflet introduces the renewed MioBar as Gran Caffe. Rinata connects these two different moments, the farewell and the rebirth, through one consistent visual identity.
I believe this combination is what makes the project unique: a typeface derived from architecture, a monochrome film photo book that records memory, and a full-color leaflet that communicates renewal. Together, they create an editorial design that is not only about information, but about time, place, and cultural transformation.
This typeface became the bridge between the different parts of the project. The photo book LULTIMOGIORNO preserves the memory of the former MioBar before renovation, while the folded leaflet introduces the renewed MioBar as Gran Caffe. Rinata connects these two different moments, the farewell and the rebirth, through one consistent visual identity.
I believe this combination is what makes the project unique: a typeface derived from architecture, a monochrome film photo book that records memory, and a full-color leaflet that communicates renewal. Together, they create an editorial design that is not only about information, but about time, place, and cultural transformation.
The design, photography, production, and visual development were all created by myself. I handled the photography, film development, image editing, typography, layout, and editorial design personally.
However, the inspiration for the work came from many people and from the place itself. Mr. Miyanishi, the master of MioBar, was the most important collaborator in terms of vision and philosophy. His passion for Gran Caffe culture and his deep commitment to the future of MioBar shaped the direction of the project.
I was also strongly influenced by the craftsmen who worked on the renovation, by the staff of MioBar, by the guests who had supported the place over many years, and by the atmosphere of the newly completed interior. Although the actual design work was done alone, the project was created through my response to all of these people, their energy, and the space they helped create.
However, the inspiration for the work came from many people and from the place itself. Mr. Miyanishi, the master of MioBar, was the most important collaborator in terms of vision and philosophy. His passion for Gran Caffe culture and his deep commitment to the future of MioBar shaped the direction of the project.
I was also strongly influenced by the craftsmen who worked on the renovation, by the staff of MioBar, by the guests who had supported the place over many years, and by the atmosphere of the newly completed interior. Although the actual design work was done alone, the project was created through my response to all of these people, their energy, and the space they helped create.
In this design, technology played an important but supporting role. I did not want technology to become the main subject of the project. The purpose was to express the memory, atmosphere, and cultural spirit of MioBar, and technology was used only to help make that expression more precise and complete.
For the photo book LULTIMOGIORNO, the process began with analog photography using monochrome film. The film was personally developed, then scanned and edited digitally. In this case, technology helped bridge the physical quality of film with the requirements of contemporary editorial production.
For the leaflet, I used digital photography with a Leica camera to capture the renewed interior of MioBar as Gran Caffe. Adobe InDesign, Illustrator, and Photoshop were used to compose the layouts, adjust the images, and create the final printed materials. The custom typeface Rinata was also drawn digitally in Illustrator, based on the architectural curves of the interior.
For me, the role of technology was not to replace human sensitivity or material experience. It was to support them. Analog photography, digital tools, typography, and print production all worked together to express something deeply human: the transformation of a place, the memory of its past, and the beginning of its new cultural life.
For the photo book LULTIMOGIORNO, the process began with analog photography using monochrome film. The film was personally developed, then scanned and edited digitally. In this case, technology helped bridge the physical quality of film with the requirements of contemporary editorial production.
For the leaflet, I used digital photography with a Leica camera to capture the renewed interior of MioBar as Gran Caffe. Adobe InDesign, Illustrator, and Photoshop were used to compose the layouts, adjust the images, and create the final printed materials. The custom typeface Rinata was also drawn digitally in Illustrator, based on the architectural curves of the interior.
For me, the role of technology was not to replace human sensitivity or material experience. It was to support them. Analog photography, digital tools, typography, and print production all worked together to express something deeply human: the transformation of a place, the memory of its past, and the beginning of its new cultural life.
This design was not primarily influenced by numerical data or marketing analysis. Instead, the research was qualitative, observational, and cultural.
I spent time understanding the space of MioBar, listening to many conversations with Mr. Miyanishi, the master of MioBar, and observing the atmosphere created by the regular guests. I also visited the renovation site many times and watched how the interior gradually changed, especially the curves, counter, ceiling, shelves, and passages that later influenced the typeface Rinata.
In addition, I researched and reflected on the culture of Italian bars and Gran Caffe traditions. However, the most important research was not done through statistics, but through direct experience: being in the space, listening to the owner’s vision, observing the people who loved the place, and understanding what kind of culture MioBar was trying to cultivate in Hiroshima.
For this project, research meant deeply observing the essence of the place.
I spent time understanding the space of MioBar, listening to many conversations with Mr. Miyanishi, the master of MioBar, and observing the atmosphere created by the regular guests. I also visited the renovation site many times and watched how the interior gradually changed, especially the curves, counter, ceiling, shelves, and passages that later influenced the typeface Rinata.
In addition, I researched and reflected on the culture of Italian bars and Gran Caffe traditions. However, the most important research was not done through statistics, but through direct experience: being in the space, listening to the owner’s vision, observing the people who loved the place, and understanding what kind of culture MioBar was trying to cultivate in Hiroshima.
For this project, research meant deeply observing the essence of the place.
The greatest challenge was to express the culture of MioBar and the passion of Mr. Miyanishi, the master of MioBar, without reducing them to decoration or ordinary advertising. The project needed to communicate something deeper than a beautiful renovated space. It had to express the essence of the place.
Another challenge was to integrate three different elements, the folded leaflet, the photo book LULTIMOGIORNO, and the custom typeface Rinata, into one coherent world. Each element had a different role, but they could not feel separate. They needed to belong to the same identity and share the same cultural atmosphere.
It was also important to allow two contrasting emotional times to coexist within the same project. The photo book carries the melancholy and farewell of MioBar before renovation, while the leaflet expresses the rebirth of MioBar as Gran Caffe. Balancing these two tones, memory and future, sadness and renewal, was one of the most delicate parts of the design process.
In the end, I resolved these challenges by treating the project not as a set of promotional materials, but as an editorial expression of time, place, and transformation.
Another challenge was to integrate three different elements, the folded leaflet, the photo book LULTIMOGIORNO, and the custom typeface Rinata, into one coherent world. Each element had a different role, but they could not feel separate. They needed to belong to the same identity and share the same cultural atmosphere.
It was also important to allow two contrasting emotional times to coexist within the same project. The photo book carries the melancholy and farewell of MioBar before renovation, while the leaflet expresses the rebirth of MioBar as Gran Caffe. Balancing these two tones, memory and future, sadness and renewal, was one of the most delicate parts of the design process.
In the end, I resolved these challenges by treating the project not as a set of promotional materials, but as an editorial expression of time, place, and transformation.
MioBar is a design for a small venue in Hiroshima, but the project contains themes that can be understood internationally: Italian Gran Caffe culture, local community, photography, typography, and printed matter.
Although the work was created for a place in Hiroshima, Japan, I believed that a design with genuine essence should be evaluated within a global context. The scale of the venue was small, but the cultural ambition behind it was not small.
I decided to submit the design to an international competition because I wanted to see whether this kind of local, deeply rooted design could communicate beyond its immediate environment. I also wanted the cultural value of MioBar, and the design approach behind it, to be seen by a wider international audience.
Although the work was created for a place in Hiroshima, Japan, I believed that a design with genuine essence should be evaluated within a global context. The scale of the venue was small, but the cultural ambition behind it was not small.
I decided to submit the design to an international competition because I wanted to see whether this kind of local, deeply rooted design could communicate beyond its immediate environment. I also wanted the cultural value of MioBar, and the design approach behind it, to be seen by a wider international audience.
Through this project, I learned that design is not only about expressing my own visual ideas. By engaging with the culture of Italian Gran Caffe and with the passion of Mr. Miyanishi, the master of MioBar, I realized that design can become a way to reflect history, culture, and human dedication.
This experience taught me how important it is to listen deeply to the place and to the people behind it. MioBar was not simply a subject to be designed. It already had its own time, memory, atmosphere, and cultural aspiration. My role was to translate those invisible qualities into typography, photography, layout, and printed matter.
I feel that I improved as a designer by learning how to create something deeper than surface beauty. This project helped me understand that strong design can carry not only information or style, but also the history, spirit, and future of a place.
This experience taught me how important it is to listen deeply to the place and to the people behind it. MioBar was not simply a subject to be designed. It already had its own time, memory, atmosphere, and cultural aspiration. My role was to translate those invisible qualities into typography, photography, layout, and printed matter.
I feel that I improved as a designer by learning how to create something deeper than surface beauty. This project helped me understand that strong design can carry not only information or style, but also the history, spirit, and future of a place.
One thing I would like to add is that this project is not finished only because the printed materials were completed. MioBar itself will continue to change over time as a Gran Caffe. The interior will age, the counter will gain marks, regular guests will create new memories, and the culture of the place will continue to deepen.
I see this design as the beginning of a long relationship with the place, rather than a one-time visual solution. The photo book LULTIMOGIORNO preserves one important ending, while the leaflet and Rinata open the beginning of a new chapter.
Through this project, I wanted to show that even a small local venue in Hiroshima can contain a cultural depth that speaks beyond its region. I believe design has the power to make such invisible cultural value visible, and to help people recognize the beauty of a place that is built through passion, time, and human connection.
I see this design as the beginning of a long relationship with the place, rather than a one-time visual solution. The photo book LULTIMOGIORNO preserves one important ending, while the leaflet and Rinata open the beginning of a new chapter.
Through this project, I wanted to show that even a small local venue in Hiroshima can contain a cultural depth that speaks beyond its region. I believe design has the power to make such invisible cultural value visible, and to help people recognize the beauty of a place that is built through passion, time, and human connection.
Grand Interview about MioBar Editorial Design
I had known the master of MioBar, Mr. Miyanishi, long before the renovation began, and I had often heard his passionate vision for the place. He did not see MioBar simply as a bar or cafe, but as a Gran Caffe, a cultural space that could take root in Hiroshima and grow as part of the city’s culture.Because of this, I also felt that the renovation should not be treated as an ordinary renewal. I did not want to simply create a surface-level design for the new space. I wanted the design language itself, including the typeface, to be made with the same care and dedication that was being put into the interior.While the craftsmen were working on the renovation, I visited the site many times. During those visits, I began to notice the beauty of the curves embedded in the space. They were not just decorative lines; they expressed the character, intention, and future of the place. I thought that if those curves could be translated into typography, the letters themselves could carry the spirit of MioBar.That was how the idea for Rinata emerged. The name means “reborn” in Italian, and for me it represents the rebirth of MioBar as Gran Caffe. Rinata was not created only as a typeface, but as a way to connect the renewed physical space with the printed editorial design. It allowed the atmosphere of the renovated cafe to live inside the letters.
MioBar was renovated with a strong awareness of the true essence of historic Gran Caffe culture, such as the long-established cafes of Venice. The aim was not to imitate the appearance of such places, but to understand their deeper spirit: hospitality, conversation, atmosphere, continuity, and cultural presence.Inside MioBar, there are no digital displays, and there is no standardized, manual-like customer service often found in chain stores. The place is built through a very high level of communication between the owner, the staff, and the guests. The atmosphere is created through conversation, attention, memory, and personal exchange.For this reason, the leaflet was not designed as an ordinary advertisement. It was created as a printed object that could be handed to guests naturally within that refined communication, perhaps during a conversation or at the moment they leave the cafe. It carries the thoughts, values, and care of the place.The leaflet introduces details that may not be fully noticed during a single visit: the owner’s philosophy and achievements, the atmosphere of the interior, the carefully selected coffee beans, and the prosciutto served with a slicer by Berkel, one of the world’s finest makers of ham slicers. These elements are not presented as simple information, but as traces of the culture MioBar is trying to cultivate.I believe this is where print still has a deep role. A thoughtfully produced leaflet can remain in the hands and memory of the guest. It can quietly extend the experience of the cafe beyond the visit itself, and encourage the guest to return with a deeper understanding of the place. In MioBar Editorial Design, print functions not as promotion alone, but as a cultural bridge between the space, the people, and the local community.
I have always loved the grain of monochrome film. For me, a photograph is not only an image. When light is burned onto film, and when that image is later enlarged and printed on photographic paper, it becomes a physical object. It has a material presence that digital data cannot fully replace. I find that presence very beautiful.I usually carry a Leica camera with me when I walk through the city, and I had photographed MioBar many times before this project. I had also given prints to the owner, Mr. Miyanishi, in the past. Before the renovation, MioBar was already a wonderful Italian bar, deeply loved by many regular guests. It had its own atmosphere, history, and human warmth.When Mr. Miyanishi told me that he wanted to make a photo book of the final business day before the renovation, he specifically asked me to photograph it on film. I understood that request very naturally. Film is expensive, and the process takes much more time and effort than digital photography. However, the beauty, warmth, and quiet depth of film were essential for this subject.The final day of MioBar was not something I wanted to record quickly or efficiently. It was a day filled with memory, gratitude, and a sense of farewell. By photographing on monochrome film and developing it myself, I could stay close to that emotional atmosphere from beginning to end. The process gave the images a certain slowness and density.For LULTIMOGIORNO, the analog process was not a stylistic choice alone. It was a way to respect the time that had accumulated in the place and the feelings of the people who gathered there. Mr. Miyanishi and I shared the belief that film could carry this warmth more honestly. That shared sensibility became the foundation of the photo book.
Japanese people love Italian cuisine, and there are many Italian restaurants throughout Japan. However, I feel that there are not many places that truly aim to understand and cultivate the deeper culture and essence behind Italian food, coffee, and hospitality.The owner of MioBar, Mr. Miyanishi, is someone who has experienced that culture not only as knowledge, but physically and professionally. As a barista, he became a Japanese champion and went on to become a finalist in a world competition. He understands coffee, service, and Italian bar culture at a very deep level.MioBar began in Hiroshima, a city where this kind of Gran Caffe culture was almost nonexistent. Over thirteen years, it became a well-known and much-loved place, supported by many regular guests. The renovation was not a departure from that history. It was an attempt to take everything MioBar had cultivated and bring it to a higher level as a Gran Caffe.After I was entrusted with the design for this renovation, I had many conversations with Mr. Miyanishi. Through those conversations, I came to understand his passion, his standards, and the cultural meaning he wanted the space to carry. My role was not to create a design that simply looked European, nor to follow current trends in Japanese design. I wanted to express the essence of the culture he had been pursuing.At the same time, the design had to remain rooted in Hiroshima. MioBar was not an imported image of Italy. It was a place built through thirteen years of relationships with local people. Therefore, the visual language needed to respect European Gran Caffe heritage while also speaking to people in Hiroshima in a sincere and accessible way.Through the editorial design, I wanted not only regular guests, but also new visitors, to feel the passion and care behind MioBar. By communicating the depth of the owner’s philosophy and the details of the space, the design could help people encounter a culture that may not yet be common in Hiroshima. For me, this balance was essential: honoring Italian heritage while allowing it to grow naturally within the local community.
The most difficult challenge was how to express MioBar’s culture and passion without reducing it to decoration or a simple promotional image. However, in a personal sense, I did not experience the project as something difficult in a negative way. Long before the actual production began, I had already been visiting MioBar as a guest, listening to Mr. Miyanishi’s ideas, and sharing his vision for the place. The project started from empathy.Because of that, the process felt less like solving a conflict and more like a session between two forms of passion. Mr. Miyanishi would say, “The counter is finished, come and see it,” and I would respond by showing him ideas such as, “I tried creating this typeface.” We inspired each other continuously as the renovation and the design developed side by side.The constraints did not feel like limitations. They helped us focus on what truly mattered. The important question was not how to make MioBar look luxurious or European, but how to communicate the genuine cultural aspiration behind the place. Every decision, from the custom typeface to the printed materials, had to serve that purpose.Through this process, I came to understand editorial design as a form of cultural translation. For a small venue facing its local community, editorial design can do more than explain services or present information. It can give shape to the thoughts, conversations, and emotional energy behind a place. In MioBar Editorial Design, the printed materials became a way to share the spirit of the venue with people who had not yet fully understood its depth.
The two main printed works in MioBar Editorial Design represent an ending and a rebirth.The photo book LULTIMOGIORNO records MioBar as it existed before the renovation, as a beloved Italian bar with its own history, atmosphere, and regular guests. It is a record of the final business day, but it is also a quiet farewell to the space and time that had accumulated there.The folded leaflet, on the other hand, represents the rebirth of MioBar as Gran Caffe. It introduces the new vision of the place, a space that Mr. Miyanishi will continue to age, refine, and deepen throughout his life. In this sense, the photo book looks toward the past, while the leaflet opens toward the future.Rinata was created to make these two artifacts feel special and to connect them through a single visual language. It may be difficult to see in images, but each letterform has corners shaped with a double-radius curve. This detail comes directly from the two-step curved edge of the counter, which is one of the defining features and the face of the renovated cafe.The interior of MioBar places great importance on curved beauty: the ceiling, passages, shelves, and counter all contain carefully considered curves. Rinata takes these curves into its structure and translates them into typography. For me, it is not simply a custom typeface used for MioBar; it is a typeface that could only have been born from MioBar itself.In the leaflet, Rinata appears more prominently and functions as a symbol of rebirth. In LULTIMOGIORNO, the visual rhythm is more restrained, because the subject is memory and farewell. However, the sensibility of Rinata still influenced the editorial pacing: the use of quiet intervals, curved movement, and a rhythm that allows the reader to move slowly through the final day.By connecting the photo book, the leaflet, and the typeface, I wanted the project to become more than a set of separate design objects. Each component has a different role, but together they form a continuous narrative: the memory of the former MioBar, the emergence of Gran Caffe, and the visual language that bridges the two.
Grand Interview Question 07 : The MioBar Editorial Design represents a carefully considered document of a neighborhood bar becoming a space for cultural gathering, and the visual vocabulary it establishes feels as though it was built to grow alongside the cafe itself over many years. Looking ahead, how do you envision the design language originated in the MioBar Editorial Design evolving in future communications for Gran Caffe Mio, and how has completing this project redirected or deepened the longer-term trajectory of your own practice as a visual designer and photographer working in Hiroshima?
One dimension that I feel deserves more attention is the cultural ambition behind the project. MioBar Editorial Design is not simply a set of beautiful printed materials, nor is it only a branding project for a cafe. At its heart, it is an attempt to make the cultural value of a small local place visible.In Japan, and especially in many regional cities, I feel that there are still not enough people who deeply understand culture, design, and the essence behind a place. There are also not many venues that seriously try to cultivate such values. Compared with Europe, where design, art, and historical cultural spaces are often more naturally respected, Japan can sometimes be strongly influenced by advertising-like communication and short-term visual impact.However, places like MioBar do exist. MioBar has genuine culture, passion, and a strong philosophy behind it. My role was to design not just an advertisement, but a visual and editorial expression of that essence.What I want designers, clients, and local community members to understand is that design can do more than decorate or promote. It can help people recognize the cultural meaning of a place. It can give form to passion that might otherwise remain invisible. It can help a community see a small venue not merely as a cafe or bar, but as a cultural space worth supporting, returning to, and passing on.I hope MioBar Editorial Design can contribute, even in a small way, to creating a culture in which both Gran Caffe and design are more deeply understood and appreciated by many people. For me, the ambition of this work is not only to communicate MioBar’s renewal, but to help establish a richer awareness of culture itself.
LULTIMOGIORNO is a photo book that records the final business day of MioBar before its renovation, when it was still the Italian bar that had been loved by many people for many years. At Mr. Miyanishi’s request, I photographed that day on monochrome film. This choice was very natural to me, because the day carried a strong sense of melancholy, tenderness, and farewell.The final day was not simply the end of a business phase. It felt as if thirteen years of MioBar’s history, relationships, conversations, and memories were compressed into a single day. Monochrome film was the right medium for that emotional density. By removing color, the photographs could focus more deeply on gestures, expressions, light, shadows, and the atmosphere of parting. The absence of color made the memories feel more concentrated.The leaflet, by contrast, belongs to the renewed MioBar as Gran Caffe. It presents the luxurious interior after the renovation, with its beautiful curves, carefully designed details, and a level of atmosphere that had rarely existed in Hiroshima before. For this reason, color was necessary. The leaflet needed to communicate the richness, elegance, and vitality of the new space.I see the monochrome photo book and the full-color leaflet not as opposing choices, but as two complementary documents within the same editorial project. LULTIMOGIORNO preserves the memory of what MioBar had been, while the leaflet introduces what MioBar is becoming. One looks back with affection and sadness; the other looks forward with confidence and expectation.Together, they express the full story of MioBar’s transformation: the farewell to a beloved Italian bar and the rebirth of the space as Gran Caffe.
Mr. Miyanishi, the master of MioBar, had a strong awareness of the tradition of Gran Caffe culture, including the historic cafes of Venice. Because of that, I wanted Rinata to contain a certain cultural and retro feeling, but I did not want it to become a nostalgic imitation. My intention was to create something entirely new while still carrying the atmosphere of that tradition.During the renovation, I visited the site many times and observed the construction process closely. As the interior gradually took shape, the curves of the space left a strong impression on me. Mr. Miyanishi himself was very particular about curves, and I felt that these curves were essential to the identity of the renewed MioBar.The most important reference was the counter, which can be seen as the face of the cafe. Its corner has a distinctive two-step curved form. I took that double-radius curve and translated it into the corners of the letterforms. This detail became one of the defining characteristics of Rinata.Conceptually, I did not want to copy the architecture directly. Instead, I wanted to abstract the feeling of the space: its softness, elegance, rhythm, and sense of rebirth. The curves were studied not as decoration, but as structural elements that could give the typeface its personality.In this way, Rinata was designed as a typographic expression of the renewed MioBar. It carries a retro cultural memory connected to Gran Caffe tradition, while also expressing the completely new identity of the space. For me, the double curves in the letters symbolize the rebirth of MioBar itself.