Business Sustainability Toolbox. Innovative Wege zur Nachhaltigkeitsstrategie (“Innovative approaches to sustainability strategy”) is a 280-page reference book on the development of sustainability strategies for SMEs, corporations and start-ups. It was compiled and written by Julia Weber and Marcel Farkhondeh-Hoy and published by Vahlen (Munich) and Versus Verlag (Zurich).

Step-by-step instructions, templates and numerous illustrations are used to simplify the complex processes across four chapters, making it easier for readers to get started with the topic. Macan is used throughout.

Selleb is a resale platform that connects second-hand fashion with culture, storytelling, and status. Its visual identity, developed in-house, revolves around a bold and unconventional use of the typeface Bull‑5.

Bull‑5 Mono is used prominently in brand elements such as the logo and product markings, where its monospaced rigidity communicates structure and presence. In contrast, across the website and other content platforms, Selleb uses a custom hybrid version that blends Bull‑5 Mono with Bull‑5 Typewriter – often mixing styles within the same headline or paragraph. This results in a lively, tactile typographic texture that reinforces the platform’s emphasis on individuality, surprise, and curated imperfection.

The brand’s typographic voice is raw yet intentional: expressive, irregular, and entirely unique. Supporting styles include Bull‑5 Regular for longer text and Unica77 for fine print or metadata, ensuring a balance between character and clarity.

For a detailed look at the brand identity system, see the full guidelines.

For the thematic exhibition PAPIER, in Bausch und Bogen (“Paper, in all its forms”) at Turm 9 – Stadtmuseum Leonding, the typefaces Bolivia and Bull-5 Mono were combined. Bolivia, used for primary headings, offers clean, geometric shapes that lend structure and calm clarity, guiding visitors through the interactive narrative of paper from its medieval beginnings to contemporary artworks. Its open letterforms ensure legibility on wall text and printed guides alike.

Complementing Bolivia, Bull‑5 anchors the secondary information and captions. Its firm, monospaced voice introduces a subtle rhythm that grounds the more geometric headings. Together, the two typefaces create a balanced layout: Bolivia frames large graphic elements, while Bull‑5 defines detail blocks, ensuring text feels integrated yet distinct from the visual flow of the exhibition.

Typeface usage is consistent across wall panels, printed materials, and digital signage, supporting a cohesive visitor experience from entrance to curated displays.

Wirksam in is a Swiss platform that promotes participation in public space planning, bringing together architecture, landscape architecture, urban development, and communication design. The initiative aims to give people a voice in shaping their immediate environment through a digital tool that makes public interests more visible and accessible.

To reflect this mission, BÖE studio developed a visual identity centered on clarity, openness, and structure. The typeface Bull‑5 (Proportional) plays a key role in this system: its monolinear strokes and slightly uneven geometry strike a balance between seriousness and approachability. Used across website, materials, and workshop tools, Bull‑5 lends the project a calm but confident voice; well-suited to a platform that invites dialogue and civic engagement.

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I'm Gurudutt Perichetla – a creative with a background in digital product design and sound design. I apply systems thinking to build unified experiences across conversational channels, with a focus on customer support and sales.

My 2025 portfolio offers a personalized viewing experience through distinct themes (inspired by different types of food), each featuring unique color palettes and typography. Viewers can select their preferred visual style for viewing my work.

This website was built with Next.js, TailwindCSS, and Reshaped, aided by Claude and GitHub Copilot. It runs on Vercel with PostHog handling analytics and Clerk managing authentication. Typefaces are licensed from 10+ type foundries.

There’s also an AI messaging and voice experience powered by ElevenLabs.

The theme switcher allows viewers to change website’s appearance.

Dark mode support

Hero section in “Tiramisu Éclair” theme. The typeface used here is ES Peak Rounded by Extraset. I used this typeface to invoke a playful feel due to its rounded and soft aesthetic.

Hero section in “Red Berries” theme. The typeface used here is UCity Pro by Fatype. One of my favorite typefaces to invoke a futuristic aesthetic.

Hero section in “Pumpkin Spice” theme. The typeface used here is ES Rebond Grotesque by Extraset. The quirky design of the lowercase g and k especially stands out, perfectly capturing a sense of playfulness.

Hero section in “Mango Lassi” theme. The typeface used here is Luma Sans by Faire Type. Its wide, perfectly geometric letterforms complement the cheerful, sunny yellows of the design.

Hero section in “Holy Basil” theme. The typeface used here is Realm by Approximate Type. I’m a huge fan of its flared serif style, which draws inspiration from medieval and Old English aesthetics.

Hero section in “French Lavender” theme. The typeface used here is Söhne by Klim Type Foundry.

Hero section in “Fig Jam” theme, showcasing the Moderat typeface by TIGHTYPE. This is one of the first fonts I bought, nearly five years ago.

Hero section in “Dinosaur Kale” theme, showcasing the MNKY Maurice typeface by MNKY Type (Monkey Type). Its geometric style, reminiscent of Futura, works perfectly alongside the vibrant teal palette.

Hero section in “Caffè Mocha” theme, showcasing the Onsite typeface by Sociotype Foundry. I’m drawn to how sharply corporate this grotesk font feels—it evokes the business card scene from American Psycho.

Hero section in “Blueberry Cookie” theme. The typeface used here is GT Walsheim by Grilli Type. Its playful character pairs perfectly with the blue color scheme.

Hero section in “Blue Agave” theme. The typeface used here is Modern Era by Family Type.

Hero section in “Apple Pie” theme. The typeface used here is MD System by Mass-Driver.

Interactive prototype of a component marketplace. The typeface used here is WT Saltburn by WiseType.

Interactive prototype of a CRM list view. The typeface used here is Inter by Rasmus Andersson.

The website for Zeppa, a design studio based in Amsterdam, reflects our bold and socially engaged ethos through a minimal digital identity.

The entire site is set in Moderat—a geometric sans-serif by TIGHTYPE. Its clean lines and rational structure convey both clarity and contemporary energy,

With this new site, we also take a step toward more energy-efficient web design. The dark mode interface reduces screen energy use, while a toggle offers visitors a lighter alternative if preferred.

Fiverr Go is a product by Fiverr, presenting AI-powered tools to amplify human talent – it “empowers freelancers to train and control personalized AI tools and enables clients to generate unique work instantly”. Fiverr used our Power Grotesk as the main font for their branding and campaign. On the website, it is paired with Macan which is used for body text.

Pastels, du pigment à l’œuvre (“Pastels, from pigment to artwork”) is an exhibition highlighting a selection of the hundred or so pastels held at Brest’s Musée des Beaux-Arts. Through major themes such as landscape, symbolism and portraiture, this selection highlights artists' renewed interest in this technique from 1830 onwards.

Atelier Bartleby uses Anto Rounded as the titling font for this exhibition. Texts appear to be set in Moderat, featuring its alternate glyphs for a g y.

Burg Hotel is a place to celebrate life uninhibitedly. A legendary place of longing in Oberlech, which has always had a reputation for the fantastical. From 2019 to 2022 Solid & Bold have been working with the elegant resort on their branding which heavily features Morion. For the restaurant logo, the designers modified the B and g. Throughout the identity, Morion is supported by Ballpoint Script and Moderat.

Poster and program for the 2024 edition of the Biennale des Musiques Exploratoires.

I created the graphic design and the photography for the visual identity, the official poster, and the program. The fonts used are Moderat and Moderat GRAME Display, designed by TIGHTYPE.

Biennale des Musiques Exploratoires is produced by Grame (Générateur de Ressource et d’Activités Musicales Exploratoires), National Center for Musical Creation.

Büro für vielfältiges Erzählen engages in dramaturgical activism that broadens the view.

The office was founded in 2019 by Letícia Milano and Johanna Faltinat and offers training, lectures and dramaturgical advice, editing and story development for creatives and media professionals. Among other things, they support those who are committed to diversity but do not yet know exactly how to approach it.

Corporate identity development, creation of a design system including a style guide, web design, and barrier-free web development.

The Bellegarde Cultural Center is an institution dedicated to contemporary and digital arts located in Toulouse, France. For its new identity, Vif Design used Kernevel for the logotype and titles, with Moderat for informational text. For now, it looks like only the signage system was redesigned.

The 41 Feria del Libro de Granada, or 41st Granada Book Fair, took place in April 2023. From Plácida:

Is a picture worth a thousand words? Illustrated books, children’s stories, graphic novels, comics… A book is not only made up of words and the 41st edition of the FLG honours those genders where literature and illustration go hand in hand, foregrounding both disciplines.

Illustrator El Marqués is in charge of bringing this edition’s poster to life, and the graphic identity is developed inspired in his illustrations and color palette. In the author’s own words, his proposal represents de infinity of realities and worlds that a kid can live through reading. On their own, each illustration represents each section of the book fair.

Harbour from Alias Foundry, a typography inspired by manual calligraphic strokes, works as the link between Image and Word, between illustrations and the different graphic applications related to the book fair’s program and communication.

Harbour is supported by TIGHTYPE’s Plaid (with Mono).

Visual identity designed by Horah Inc. for Mirchi, a natural spiced rum distilled locally in the UK and inspired by West African and South Asian roots. Eclect Burger is used for the brand name. Text/information is set in Sneak from TIGHTYPE supported with Söhne Breit from Klim Type Foundry.

Pelican is a bar in the heart of Hamburg’s iconic St. Pauli. Conceived as Sonny Crockett’s favourite place the Miami Vice inspired bar serves fruity cocktails and longdrinks in a Memphis Design spatiality.

Pelican Poster is the bespoke typeface, designed by Paul Eslage, that defines the identity of the bar. Its combination of circular shapes and runic strokes gives it a clear yet playful character. Taking you back to Miami in the 1980s, this typeface embodies the unconventionality and clarity of that design era in a contemporary manner. It was developed from the wordmark and is used in any display usage in the menu, on the website and as signage inside the bar. Lemur is the main typeface for any informational text and is accompanied by Knif mono for second hierarchy texts like ingredient lists inside the beverage menu.

Visual identity for French Bre(a)d, a branding studio dedicated to crafting bespoke and unique visual identities, with a focus on food-related brands. The application of their new look includes business cards, custom website design and social media templates.

Futura Passata from AlfaType is the brand typeface, supported by Kalice by Margot Lévêque. Smaller texts use Moderat from TIGHTYPE.

Tetto is a restaurant and bar at the Bullitt Hotel in Belfast, Northern Ireland. It is self-described as “a bright, modern, design-led rooftop restaurant and bar showcasing fresh local seafood with an Italian accent alongside sourdough pizza and imaginative aperitivo inspired cocktails”.

The design was created by Rachel Cunning who mentions vintage Italian travel and motorsport posters as the source of inspiration for her identity design. The logo was created with Kiosk by Nguyen Gobber, while Plaak by 205TF and Bull-5 Mono by David Einwaller were used for copy text. On the fourth image, the bottom line of a menu is set in a yet unidentiefied serif.

A personal project that draws inspiration from a trip to Tokyo, Reflections of Tokyo is a print booklet that presents a collection of renowned Japanese poems.

Exposit is used as a bold heading font while Goozette and Igiari are quirky additions. In addition, Noto Sans JP is used for Japanese text.

Tired of the ongoing, unfulfilling search for the holy trinity of underwear (comfortable, sustainable and sexy), Nala decided to take things into their own hands. Nala is an Australian-based underwear brand making fun, bold and comfortable products with a sustainability focus, empowering their audience to look, feel and do good. They had the product expertise to create planet-friendly, affordable underwear without the sacrifice of quality. And they knew what they stood for – a mission to break social stigmas around women's bodies and create an ultra-inclusive lingerie brand that stood for and represented all body types, genders and races.

With this in mind, Universal Favourite created a flexible and vibrant design system that looked as good as their offering felt and championed the diversity and attitudinal tone of the audience they serve.

The brand uses simple and reliable typefaces to offset the beautiful visual rebellion of the photography and patterns. The primary typeface is Moderat Condensed – its low-stroke contrast and subtle detail providing a timeless quality suited for body text and large headlines. It pairs perfectly with Moderat Mono, whose technical flair and tactility sings as the brand’s accent font. The Nala logo is custom drawn.

This booklet was published as a debriefing and contemporary document for the PEW PEW PEW art festival, organised by the Austrian artist group edition: between 2021 and 2022. The folded event poster on glossy paper serves as the cover, the core is printed on slightly greyish, uncoated paper – which creates a wonderful tactile experience.

The assemblage of mobile phone photos, cut-outs and strictly continued monospaced typography combine to create an exciting mix of impressions around the festival. The back of the magazine is to be understood as a subordinate mini-poster that documents the evening of the zine’s release once again.

About the festival, from the artist group’s website:

The highlight of our annual program is the PEW PEW PEW festival. The festival’s name illustrates laser-beam sounds and sets the pace. Artist groups (two or more people) are invited to stay for mini-residencies (4–5 days long) in Linz, in which they collaborate on a show of their work, which will be presented on the mini-residency’s last day.