Gabriel Guilherme is a São Paulo-based multidisciplinary designer whose practice balances aesthetics and intention across graphic design, motion, and UI. Currently a designer at Estúdio Biabum, his experience spans collaborations with advertising agencies and branding consultancies alongside his work as an independent designer on commercial and personal projects.

The website is typeset in Antra by Muhittin Güneş.

Pouya Kary’s Archive of thoughts and quotes anthology draws inspiration from the Dynamicland Archive, rich in interactivity of cross-referencing and adorning patterns. Pouya Kary is a Tehran-based media architect, philosopher, designer, computer scientist, and science historian. In his last post on 21 February, Pouya hinted that he had been conscripted into military service, which preceded the recent turmoil in Iran following attacks by the United States and the subsequent Instability of internet access. As a reader of his work, I am concerned for his well-being.

The website uses variations of the Latin Modern fonts, including Latin Modern Roman Dunhill 10, Latin Modern Roman 10, and Latin Modern Sans Quot 8. The monospaced sans serif with the long ascenders is Lotion.

H.Lab is a studio created by Sinuhé CID, a freelance art director and type designer from Nantes, France. According to himself –

Sinu*Hé is sometimes a bit DIY, but always thoughtful, often in movement, but never aimless, often experimental, but never in a void, often intuitive, but always with perspective and, above all, always trusting the process.

For the branding, the communication and website, he used Large by Alexandre Créquer for titles and Neue Helvetica for texts.

The 2025 version of Haley Park's personal website uses BN Wispy and Editorial Old as the primary fonts. Altesse and Old Standard serve in supporting roles. GT America is the text typeface for project descriptions. The decorative crosses and the fleurons in the footer are taken from Bodoni Classic Ornaments.

Vasilis van Gemert is an artist interested in things that always repeat, yet are always different. He mostly uses web technology to make his art, but uses other code as well. Van Gemert is a lecturer at the CMD School of Digital Design in Amsterdam, where he teaches the next generation of digital product designers about designing and making websites that work for everybody. On top of that, he helps students at the Master program Design Research at the Piet Zwart institute to consciously shape their future practice.

His homepage is a collection of links, set in Electric Blue by Font Spectrum, designed by Daniël Maarleveld and Edgar Walthert and released via Future Fonts. The site employs a hover effect that utilises the multiplexed weights of the variable font, layering a lighter weight over the current one to create an inline effect. As the CSS wizard he is, Vasilis has programmed the colours to subtly shift over time or randomly recolour upon page reload. The website is fully responsive and will adapt to different screen dimensions.

I’m Payam Zadeh, a graphic designer and web designer based in Cologne, Germany. As an Awwwards jury member, I bring my passion for clear design and thoughtful typography into every project. For my personal website and branding, I’m using Mori by Pangram Pangram – a versatile gothic sans serif inspired by contemporary Japanese design. The typeface combines clarity with subtle personality, reflecting exactly what I stand for as a designer: functionality meets conscious aesthetics.

Updated since its previous iteration in 2023, the design of this text-heavy website remains centred primarily on its typography. This time it takes cues from book design, asking how the functional design elements that make up a book page might be translated into a webpage without simply mimicking a different format.

Tid by Letters from Sweden is used as the primary typeface. It allows for easy reading as well as effortless skimming, particularly considering the website frequently carries long form content. Uniform letter widths across weights in Tid allow for not only predictable design with dynamic layout changes (via the menu) but also a justified setting (pictured) for readers who might prefer it. Justification also indents paragraphs instead of adding spaces between them.

Tid is used in its Display optical sizing for drop caps and pull quotes.

Side notes for essays are implemented next to the main body copy on wide screens and interspersed beneath paragraphs on mobile. These along with all UI elements, like the menu, are set in New Transport by A2-TYPE, including, in some cases, entire pages e.g. the ‘Index’ page and reading list (both pictured separately).

The use of Söhne Mono introduces a playful element to the website’s Guestbook (pictured) where it is used on sticky notes that carry messages from the website’s visitors.

Tid is the primary typeface with New Transport accompanying it. Tid is used in its Display optical size for drop caps.

The letter widths of Tid are forgiving enough to allow for a properly readable justified setting which is offered optionally to readers.

The index page is set primarily in New Transport.

Söhne Mono Buch is used on sticky notes on the Guestbook to add a playful element.

Tid is used in its Display optical sizing for pull quotes.

The dark mode uses an alternate accent colour.

After the long anticipated font update from v0.1 to v0.2, Harald Peter Ström could finally add a CV to his personal website. Before that, the designer of Konst & Teknik used Electric Blue only on his front page. He requested the urgently needed diacritics on Future Fonts right after the release of version 0.1. “Guuuuys, i love this so much but my name doesnt work properly… any chance of a scandi version soon featuring åäö ÅÄÖ ? /peter stroem”

Font Spectrum’s Daniël Maarleveld and Edgar Walthert just have been really busy with other thing to finish the entire set of accents. Just dropping a few Middle European ones, as a patch, did not seem right for everyone else.

Recently, Harald Peter Ström added an animated loader to his CV page which makes use of the transforming abilities of variable fonts. The loader revolves through the weights in a wave motion.

The Index and Work pages use Weiß-Antiqua for everything. The bouncing “2025” device that references the iconic DVD logo screensaver has numerals from ABC Walter Neue.

When entering the website, all the pills rotate before they find their horizontal position. The background color changes according to the width of the browser window. If one does note interact with the page, everything gets blurry.

The animated GIF was made with a QuickTime screen grab and then made into a GIF with the help of ezgif.com

CV page of Peter Ström, entirely set in Electric Blue. The bottom of the page is faded out and gets thicker on scroll – one of the advantages of variable fonts.

The index with Harald Peter Ström’s work features Weiß-Antiqua (URW’s digitization).

Another sub-url called work.peter.stream. Weiß-Antiqua is one of the classic typefaces that still looks en vogue thanks to its slightly eccentric details.

Schick Toikka’s Scto Grotesk A in bold is used for all links and lists, with their Items typeface in light and light italic used for headings and body text. Pangram Pangram’s Playground is used as page titles that show on load and slowly fade out. Photography series use a mix of fonts to show the title of the works.

About the project, from developer Maël Ruffini:

The Jonathan Grado website brings to life the creative journey of photographer and artist Jonathan Grado, the third-generation leader of Brooklyn's renowned Grado Labs. Born and raised in Brooklyn, Jonathan has blended his family's legacy in audio innovation with his passion for multidisciplinary photography. The site features cinematic design that mirrors Jonathan's artistic vision, showcasing his work with brands like Pokémon and A24 Films.

Designed for flexibility, the website uses a modular layout. Smooth transitions immersive visuals guide users through Jonathan's portfolio, highlighting his attention to detail and creative storytelling.

We also integrated subtle text animations and gentle transitions throughout the site. These micro-interactions help guide visitors through the content without distracting from the images or the narrative.

The primary goal was to create a platform that would showcase Jonathan’s work as a photography portfolio, giving prominence to his images and narrative while allowing his work to speak for itself.

Principle design was done by Gaétan Pautler of Concrete Club.

Homepage

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.

Ben Evans James is a designer-researcher currently working between the UK and Canada. His new portfolio website is set in Onlysans by Daria Cohen (available from Contemporary Type).

I am a designer-researcher whose work explores ways that technologies construct knowledge and produce power, shaping the socio-economic landscapes within which they are embedded. As an interdisciplinary researcher, I draw upon technological cultures, media philosophy, and histories of design. Committed to practices that engage publics directly, my work moves between curatorial projects, documentary films, and written works.

Kaveesha Shah is an award-winning interior designer at Studio Saransh, India—but her identity extends far beyond her profession. A photographer, a lover of food and poetry, and a deep appreciator of culture and history, Kaveesha approached Studio Ping Pong to design a website that would reflect the full spectrum of her personality and practice. She wanted a digital space that went beyond the ordinary—one that could evoke the materiality, serenity, and attention to detail found across her work.

The website blends professional acumen with personal nuance. Alongside a showcase of her interior design projects, it offers glimpses into her process, inspirations, and reflections—through words she lives by, music that accompanies her workflow, and photographs taken during her travels.

We chose the typefaces Proxima Sera and DM Sans to reflect the balance in Kaveesha’s practice between artistic expression and practical clarity. Proxima Sera, with its warm, contemporary serif character, blends qualities of old-style and modern serif typefaces, bringing depth and a refined touch that connects to the tactile nature of her work. By contrast, DM Sans offers a clean and modern complement. It allows for easy readability across devices and provides a grounded, neutral backdrop that supports the content without overwhelming it. Together, these typefaces create a rhythm that mirrors the duality of Kaveesha’s approach—systematic yet fluid, understated yet thoughtful.

These design choices extend into the finer details of the site. A playful ‘tip of the day’ section highlights her experience, while the contact form, designed like a traditional envelope, gives users a small moment of interaction before they leave. Every element was crafted to ensure that Kaveesha’s personality and professionalism were represented in equal measure—a digital presence as multifaceted as the designer herself.

I’m Antoinette Chow, a designer in New York from Hong Kong. My portfolio website features two styles from in luuse’s Hershey Noailles typeface series — Hershey Futura Simplex Regular and Hershey Times Duplex Italic Light.

The Hershey fonts represent a fusion of technological innovation and design economy. Despite technical constraints, the font displays a range of stylistic expressions. They carry a personality of quiet utility that, upon closer inspection, reveals deep layers of inventiveness and adaptability.

Futura Simplex is used as the primary typeface, and Times Duplex is as secondary.

Spanish creative studio LA TECLA brings theatrical nuance and poetic tension to life in their digital identity and website for stage director, playwright, and performer Alberto Cortés. At the heart of the project is Faust by Bouk Ra, a typeface whose dramatic contrast and idiosyncratic details echo the artist’s rich and unpredictable creative journey.

Cortés, who describes his body of work as a “theatrical journey that begins with stray playwriting and grows wild,” sought a platform that could reflect the depth and evolution of his interdisciplinary practice. Latecla responded with a website that feels both enigmatic and emotionally charged – a fitting mirror of Cortés’ narrative voice.

Faust serves as a central visual thread, adding an expressive typographic layer that enhances the site’s overall atmosphere: subtly mysterious, yet deeply human. Paired with considered photography and a minimal layout, the typeface contributes to a sense of theatrical intimacy – perfectly balancing elegance with eccentricity.

On the website, Faust is supported by Héctor Gatti’s Archivo for the menu and all smaller text.

The result is a digital portfolio that feels more like an unfolding performance than a static website, blurring the line between stage and screen, artist and archive.

Austen (Goodman) is an architect, designer, and entrepreneur. After graduating from The Bartlett, he shifted from traditional architecture to explore the intersection of design and marketing. He co-founded Talgh.co, building a system that tests design ideas through ad campaigns, turning instinct into data. Now, through Mandatory Attendance, he helps clients launch products that are not just well-designed, but truly wanted.

On his personal website, he is using Melange Grotesk in Bold.

Interactive website inspired by Neue Grafik—a quarterly graphic design journal founded in 1958 by Josef Müller-Brockmann, Carlo Vivarelli, Hans Neuburg and Richard Paul Lohse.

DHQ® is the independent design practice of Demilade Olaleye aka demiladeHQ; a Nigerian artist, engineer and designer.

All headings are set in Akzidenz-Grotesk and body text is set in Inter instead of Monotype Grotesque (like Neue Grafik) for a slightly easier read due to a taller x-height.

Freelance graphic designer and art director Lena Tervooren from Germany uses Before Paris by Azuliq Type for her own visual identity. The Regular weight is used for both the printed business card and its digital touchpoint. A bespoke version of Before Paris is used for the “LT” logo, as seen on her website.

NN Nouvelle Grotesk is the typeface used for the personal branding of Swiss TV and event host Lukas Studer. His visual identity was designed by Agentur Koch.

Lukas Studer is a compelling sports presenter on Swiss television and a popular host at various events and panel discussions. Human, personable, professional, and composed, he is empathetic yet challenging. Honest, approachable, and most importantly, with a touch of humor, he is one of the most popular presenters of our time.

These characteristics perfectly align with the Nouvelle Grotesk typeface. Confident, elegant, clear, and with a friendly, approachable look.

The new portfolio website of art and creative director Ville Kansanen, villeville.co, combines Scope with Bergen Mono and IBM Plex Sans.

Scope is used for headlines and prominent highlights, while Bergen Mono is used for project metadata in the overview. IBM Plex Sans is used for body copy.

RT Alias Rough Regular in great use for the navigation on David Herren’s personal website showcasing his projects. From the About page:

David Herren (b. 1984) is a visual artist currently based in Lucerne, Switzerland. In his work, Herren questions the role of living beings in relation to a technologized environment and explores resulting phenomena. He examines systems on the brink of instability by modeling processes with information from databases—or by developing recursive machines evoking human inadequacies in their behavior. Herren's artistic practice reflects ideologies in social and personal contexts, and he is always concerned with his own entanglement in the world.

The text typeface is Univers Next.