1931Bakery, Porto
Padaria Sol
We brought back the 1950s sun from an old bread bag, repainted the shopfront by hand and reissued the paper bags in two colours.
Saturday queues again: 38% more walk-ins in the first year.
60 brands back in love
PhotoA 1950s typewriter, reprinted
Start a projectReply in 24 h3studio places left for autumn projects
Six kinds of work, one habit: we start from what your customers already remember and redraw it so it holds up for another fifty years.
We dig out the original marks, find the version people love and redraw it clean — logo, colours and rules for using them.
Labels, tins and boxes that look like the shelf you grew up with, built for today's printers and today's rules.
Painted fascias, enamel plates, window gold leaf and neon — drawn by us, made by craftspeople we have trusted for years.
The hand-drawn letters on an old label become a working typeface you can type with, in every weight you need.
A site that feels like walking into the shop: your story, your products and an easy way to order or visit.
Over the decades the pieces drift: a new font here, a cheaper box there, a website someone's nephew built. We line everything back up.
Most of the brands we work with are older than their owners. A bakery that has used the same blue since 1961. A soap maker whose label was drawn by a cousin. A ferry line whose flag everyone in town can draw from memory.
Nothing about them needs erasing. We find what people still love, redraw it properly and print it again — so it looks like itself, only sharper. The work is slow at the start and quick at the end, and it always begins with a visit.
Inês Lobo and Tomás Reis, founders
Family firms from the same few streets. Each one had a mark people still loved and a shelf of things that no longer matched it.
1931Bakery, Porto
We brought back the 1950s sun from an old bread bag, repainted the shopfront by hand and reissued the paper bags in two colours.
Saturday queues again: 38% more walk-ins in the first year.
1962Barber, Ribeira
We kept the red-and-white chair and lost the clip-art. A new enamel sign, a price board in the old lettering and booking online.
Two chairs became four; bookings moved online within three months.
1978Tea house, Foz
Forty years of tins, each in a different style. We drew one family of labels that lets every blend look related, and a lantern mark to hold them together.
Stocked in 26 shops abroad, up from three.
1948Oils, Matosinhos
The grandsons wanted to look modern; their customers wanted the old can. We gave them both: the 1948 can, redrawn, and a clean system around it.
The reissued can sold out its first run in six weeks.
Every project follows the same five steps. The first one always happens in your shop, not ours.
Book a first visitWe come to you, open the drawers and photograph every label, sign and invoice we can find. Then we listen to the people who have worked there longest.
Customers tell us which version they remember. It is rarely the newest one. That is the one we redraw.
Mark, lettering and colours are drawn again from scratch and proofed on real paper, tins and glass, until they look right at arm's length.
We stand at the press with you for the first run, then fit the signs, labels and website in the same week.
Two check-ins a year keep new packaging, signs and posts lined up with everything else.
Two designers who grew up above shops, a packaging engineer and a sign painter who has held a brush for forty years.
FounderLettering
Keeps a drawer of 400 sugar-packet labels and can date most of them by the kerning.
FounderIdentity
Grew up above his grandfather's hardware shop and still sketches on its receipt pads.
PackagingPrint
Knows every press within a hundred kilometres and which one prints the best red.
SignsGold leaf
Painted half the shopfronts on Rua das Flores the first time round. Now he repaints them.
Most of our clients have never hired a designer before. Here is how it went for them.
My grandmother walked in, saw the new bags and cried. Then she asked why we ever changed them.
Rita SolPadaria Sol
They spent a whole morning in the back room reading old invoices. That is when I knew they were serious.
Jorge NunesBarbearia Nova
Forty tins finally look like one family. Buyers in Copenhagen now ask for the lantern by name.
Helena CostaCasa Lanterna
We asked for modern. They showed us our own 1948 can and we stopped arguing.
Rui FerreiraFerreira & Filhos
Clear prices, clear weeks, no surprises. The sign went up on the exact day they said it would.
Sofia MatosDrogaria Matos
Proofs, paint and metal type from the studio floor. Nothing here is a mock-up.
Prices include VAT and the press checks on the first print run. Printing and making are billed at cost, with the makers' own invoices attached.
Anything else, ask at hello@rerun.studio. A person answers, usually the same day.
That is the whole point. We test the redrawn pieces with your customers before anything is printed, and we keep what they point at.
Almost always. Old photos, a neighbour's shopping bag or the city archive usually turn something up. If not, we draw from what people remember.
Yes, anywhere in Portugal and Spain, and further for larger projects. The first visit is always in person; the rest can happen by post and video.
You do, including the font files and the working drawings. We only ask to show the project in our portfolio.
We take on six projects a season. First visits for the autumn are being booked now; after that, the list opens in January.
Labels, receipts, a faded sign, a photo of the shop in 1970. Send what you have and we will tell you what we see — free, within a day.