TWELVE®

ALL-DAY HOUSE

A coffee shop by day and a bar by night, in one identity, built to be handed to somebody who was never in the room.

06:24COFFEE

TWELVE® ALL-DAY HOUSETHE CROSSING

NIGHT

17:00 · BATCHED · BONE ON INK

DAY

06:00 · FILTER · INK ON BONE

01 — THE IDEA

A clock at twelve looks the same at noon and at midnight.

One space, two moods, and no second identity to pay for. The mark is a single circle divided once. The division is where the hands are, so it moves with the hour and never becomes a different logo. Morning is dark on bone; night is bone on dark. Same geometry, inverted, the cheapest range a brand can own and the easiest thing to hand over.

12:00

00:00

The same face. Twice a day.

02 — THE MARK

One circle. One division.

The ring is the hour that has not happened yet and the solid half is the hour that has. The stroke is five percent of the diameter at every size, so the mark never thins out on a sign or fills in on a cup lid, and the ring's outer edge is flush with the flat of the half so the two read as one drawing rather than two shapes that met.

RING = 5% OF M · AXIS AT THE HOUR

03 — CONSTRUCTION

Everything measured from M.

M is the diameter of the mark. Every gap and size is a fraction of it, so the lockup rebuilds correctly at any scale and a franchisee with a ruler cannot get it wrong.

TWELVE®ALL-DAY HOUSE

STACKED · cap M/2.5, gap M/6

TWELVE®ALL-DAY HOUSE

HORIZONTAL · cap M/2, gap M/4

DAY

06:00 — 17:00

Filter, a counter you stand at, and a room that is mostly light. Dark mark on bone, amber for anything that has to be found across the room.

A bone poster reading A CLOCK AT TWELVE LOOKS THE SAME AT NOON, with a hot orange spec panel and the mark dissolving into spray at the right edge

04 — THE MORNING VOICE

It states the hour and stops.

Agdasima for anything the room has to read from four metres, Space Mono for everything that is a fact: an origin, a grind, a price, an hour. The posters are argument and specification on the same sheet, and the spray at the edge is the only decoration the identity owns.

A hand holding a TWELVE takeaway cup in hard morning sun, the dark printed band wrapping around the paper cylinder

A bone TWELVE coffee bag standing on a concrete counter beside spilled beans and a brass scoop, in hard morning sun

A pulp four-cup carrier holding two TWELVE takeaway cups, carried in two hands, with a printed takeaway box on the ledge beside it

05 — THE DAY MENU

The menu is the clock.

Every line carries the mark turned to its own hour, so the list reads as a day passing rather than as a price list. It is also the cheapest possible reprint: the drawing is one rotation of one shape, and a new drink is a new row.

TWELVE

DAY

06:00 — 17:00

FIRST POUR4
06:00Filter, single origin, no sugar offered
DOUBLE5
07:00Ristretto, two shots, standing only
THE COMMUTE6
08:00Flat white, oat by default
LONG BLACK5
09:00Two shots over water, never the reverse
CARDAMOM5
10:00Turkish, ground to order
THE SECOND5
11:00Cortado, the one nobody admits to
NOON8
12:00Espresso tonic, the hinge of the menu
AFTER BREAD6
13:00Cappuccino, cocoa on request
COLD BREW7
14:00Eighteen hours, served over one cube
THE SLUMP6
15:00Cortado, doubled
AFFOGATO9
16:00Ashta ice cream, one shot poured at the table
THE CROSSING14
17:00Espresso martini. The day hands over.

COFFEE ALL DAY

The TWELVE day menu lying on a travertine cafe table beside an espresso, a hand resting at the edge of the frame — THE CARD, 100 × 148, UNCOATED

DAYNIGHT

05:00 · THE CROSSING

Seventeen hundred. The grinders go quiet, the shutters come halfway down, and the same room opens again as a bar. Nothing about the identity is replaced. It inverts.

The TWELVE fascia sign over a stone shopfront in Mar Mikhael, Beirut, in hard midday sun — ONE PANEL, TWO LIGHTS · MOVE ACROSS IT

NIGHT

17:00 — 02:00

Batched cocktails, one light over the backbar, and a room that is mostly dark. Bone mark on ink, indigo where amber was. Nothing was redrawn.

The same poster inverted to near-black, reading AND THE SAME AT MIDNIGHT, with an indigo spec panel

06 — THE NIGHT VOICE

Same sheet. Inverted.

The night poster is not a second design. It is the morning one with the ground and the type swapped and indigo standing in for amber, which is why a franchise can print both from a single set of files and why the pair still reads as one brand across a street.

SAME TRIM · SAME GRID
GROUND AND TYPE SWAPPED
INDIGO WHERE AMBER WAS

The TWELVE night poster framed on a dark bar wall, caught by a direct flash with the backbar falling into black

07 — THE NIGHT MENU

The hours keep running.

Seventeen hundred to two. The same twelve rotations, the same mono, the same rule about what is a fact and what is a name. A guest who had a coffee here at nine in the morning is reading the same document at nine at night.

TWELVE

NIGHT

17:00 — 02:00

THE CROSSING14
17:00Espresso martini. The night takes over.
APERITIVO13
18:00Arak spritz, bitter orange, long ice
MAR MIKHAËL15
19:00Gin, sumac, cucumber, salt rim
THE SECOND HOUR15
20:00Negroni, batched in October
SOUR CHERRY16
21:00Bourbon, griotte, lemon, egg white
TWELVE17
22:00House martini, twelve turns in the mixing glass
LATE FILTER16
23:00Cold brew, rye, demerara, orange oil
MIDNIGHT18
00:00Sazerac. The mark is a full half at this hour.
AFTER12
01:00Amaro, neat, one cube if you insist
LAST CALL12
02:00Whatever is left in the batch
THE WALK HOME—
03:00Not served. Printed anyway.
CLOSED—
04:00Two hours until the first pour

COCKTAILS ALL NIGHT

A TWELVE bottle of batched Midnight cocktail on a walnut bar, lit by direct flash against the dark room

SYSTEM

ONE DRAWING

Everything above this line is the brand in a room. Everything below it is the four things a second site is actually handed.

08 — THE HOURS

Twelve marks, and only one of them is drawn.

The variable layer, shown as what it is. Morning hours take amber and evening hours take indigo, as a rule rather than an alternation, so a franchisee choosing a colour for a new cup cannot get it wrong.

09 — TYPE

One display face. One mono. Nothing else.

AGDASIMA BOLD · the name

TWELVE

Caps only, tracking +4, the L to V pair pulled to −3. The wordmark, the hour numerals, nothing else.

MONA SANS · the system

Flat White · Cortado · Negroni · Old Fashioned

Menus, signage, allergens, opening hours. Everything a stranger reads in a hurry.

SPACE MONO · the hour

07:30 — 17:00    17:00 — 02:00    04.50

Times, prices, the hour stamp. The only place numerals are allowed to be decorative.

10 — COLOUR

Two grounds and one accent, chosen by the hour.

BONE

#EDE7DA · the day ground

BURN

#F0531C · hours 01 to 06

INK

#101014 · the night ground

INDIGO

#2E44C7 · hours 07 to 12

11 — PATTERN

The repeat never repeats inside twelve steps.

Twelve rotations tiled in sequence, which means the eye finds rhythm without finding a seam. It scales from a coaster to a shopfront and it is the same one file.

TILE · 44 / 16 · AMBER 01–06 · INDIGO 07–12

12 — APPLIED

Everything a second site would be handed.

A franchise does not buy a photograph of the first shop to copy. It buys a drawing, a colour, a stroke width and a rule about the hour, and everything below is built from exactly those four things.

TOTE · ONE-COLOUR SCREEN

CARD · 90 × 54

A facade study showing the same sign panel twice, bone by day and reversed to ink by night — FACADE · ONE PANEL, TWO HOURS

A sandwich on a sheet of TWELVE wrapping paper, the mark tiled in black on bone, shot from overhead in hard midday sun — WRAP · ONE COLOUR ON BONE

TWELVE®ALL-DAY HOUSE

One circle, divided once, turned twelve ways. Everything else in this identity is a consequence of that and can be rebuilt by somebody who has never met us.

BRAINY STUDIO · IDENTITY CONCEPT · 2026