02 · The place
Poured the way Oman has always poured it.
Halwa in a copper pot, coffee from a dallah, honey from the jar on the shelf. The identity had one job: to look like it had been on that roof the whole time.
Coffee and halwa on the roof, above the palms.
Honey from the shelf, poured thick.
03 · The posts
Four frames, and the shop had a voice.
The launch set: where the house is, when it started, what it looks like with nothing else in the frame, and what it sells. Arabic throughout, one idea per post.
One mark, three colours and a pattern, and the set reads as one house before a word is read.
04 · The mark
One gesture, then the trade beneath it.
The name is a single connected stroke in the Diwani manner. Underneath, للحلوى العمانية, for Omani sweets, set small so the gesture never has to share the eye.
Scroll it back and forth. The ink lands right to left, the way the hand moves.
Clearance is the sub-line's own height on every side.
Cream on green, green on cream, gold on either. Three pairs, and the mark never appears in a fourth.
05 · The field
Keep going. The pattern finishes the name.
Ninety-five quatrefoils on a sixteen by nine grid, sparse at the head and solid at the foot. Fill it in and the name is what is left.
06 · The seal
The pattern, bent into a circle.
The stamp for lids, bags and the shop window. The same quatrefoil grid runs across the whole seal and is clipped to a ring, so the border is the pattern itself. Gold sits at the four quarters and nowhere else.
Drawn live, turning once every two minutes.
Four colourways: ring and disc trade places, the gold never moves.
07 · The words
Arabic only, and that was the decision.
There is no English version of this identity. Every line the customer meets is set in Arabic, right to left, and the English exists only here, for you.
عنوان الضيافة العُمانية
The address of Omani hospitality
The line under the name, on the shop front
حلوى و قهوة و عسل
Halwa, coffee and honey
The trade, on the card and the bag
هوية عُمانية أصيلة تحتفي بالمذاق التقليدي وروح الضيافة المتوارثة
An Omani identity that celebrates the traditional taste and the inherited spirit of hospitality
The long line, for the page and the tin sleeve
شارع الخوير، بوشر، مسقط
Al Khuwair Street, Bawshar, Muscat
The address, set small, never above the trade
The house dates itself twice.
The Gregorian year, for anyone who walks in.
The Hijri year, on the card, in Arabic numerals.
08 · The colour system
Three colours, and everything they make.
Green, cream and gold are the only measured colours in the identity. The system is what they are allowed to do to each other: six legal pairs, three ladders mixed from the same three inks, and one rule about gold.
Pair 1 of 6
Halwa cream
on frankincense green
Every long read, and the tin
#153A2B · #F0E6D2 · contrast 10.14 to 1
Every pair the system allows, one after another.
Every other tone is one of the three, mixed with another.
It marks the quarters of the seal and one line on a card. It never grounds a paragraph.
A piece of paper carries a ground and one ink. The third colour, if it appears, is a dot.
Hover, hairline, a sunken row. A new hue is never invented to solve a state.
09 · The paper
Three faces, one grammar.
Pattern, name, contact. Whichever way the card lands on the table it says the same thing, and only one of the three ever carries a phone number.
Printed, the pattern face is the one people keep.
Uncoated stock, one green, one gold hit. The quatrefoil is large enough to feel the ink sit in the paper.
10 · In the room
The pattern belongs to the wall, not the page.
Cut into plaster, printed on a bag, stamped on a lid. It was drawn on a grid so it can be made by anyone with a stencil and a steady hand.
Made to be handed over.
يبيع بن محمد الحلوى والقهوة والعسل في مسقط منذ عام 1985. الهوية عربية بالكامل، وهذا اختيار لا اضطرار: حركة خطّية واحدة للاسم، ونمط زخرفي رباعي على شبكة ستة عشر في تسعة يتدرّج من المتفرّق إلى المصمت، وختم بأربعة أرباع ذهبية، ونظام بطاقات بثلاثة وجوه. أخضر وكريمي ولمسة ذهب واحدة، كلها مقيسة ولا شيء فيها مُفترض.
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