Ode an das Handwerk / Ode to Craftsmanship was shown at Japanisches Palais, part of the Staatliche Kunstsammlungen Dresden:

The special exhibition Ode to Craftsmanship, featuring films made by Donata Wenders between 2019 and 2023, provides a portrait of skilled crafts in Saxony. Commissioned by the Staatliche Kunstsammlungen Dresden, ten installations have been created, focusing on crafts that are characteristic of the region, some of which are at risk of disappearing.

The identity by Office Kay Bachmann extends across posters, booklet, leaflet, postcards, a signage system, flags and ads.

The display titling is set in Ninna (designed by Margot Lévêque), an ornamental typeface whose swashed capitals are each conceived as an illustration rooted in the decorative arts. Secondary headlines and the date are in ABC Synt by Dinamo. The text typeface is Baton from Fatype.

Nomad Electric delivers comprehensive utility-scale renewable energy solutions, pioneering solar, wind, and hybrid power plant technologies.

We implemented a complete brand transformation using our “unselling” methodology, repositioning Nomad Electric from a conventional energy contractor to an advancement-driven technology pioneer. The strategic redefinition centered on the concept of “never stop” – continuous energy, innovation, and operations – while developing a sophisticated identity system that speaks to engineers rather than boardroom executives.

The project Oltre le parole (“Beyond Words”) is a multidisciplinary tribute to poet Giuseppe Ungaretti. It explores the connection between photography and poetry, focusing on Ungaretti’s experiences in the Friuli Venezia Giulia region during World War I, at the time when he resided there.

This book by photographer Gianpaolo Arena was presented at the Trieste Photo Days 2025.

The texts were written by Di sassi e di parole and Angelo Floramo. The design was created by Federico Barbon, using UCity.

Maie ja Mummi is a book by Kadri-Maria Külaots, telling the story of simple everyday, yet memorable activities done together with her grandparents when she was little. It is mainly aimed at children, but due to the imagery and nostalgia-instilling theme, it has received a warm welcome from audiences of all ages: from 2-year-olds to seniors. The illustrations are completely handmade out of paper.

The book measures 29,8×22 cm. It was printed by Greif and published by Pänja in 2024. Maie ja Mummi was selected as one of the best designed Estonian books of 2024. The illustrations and book design were also awarded at ADC*E Estonia's and in the Golden Egg Awards.

The typeface used throughout is Baton Nouveau.

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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.

Hillside Clubhouse are a North London charity working between Camden and Islington council wards, providing a supporting space for people with a variety of mental health difficulties.

There was a desire from new leadership to re-focus perceptions – from a place of passive sanctuary to a service actively helping people on their journey to better health and into employment.

The name Hillside no longer had any real meaning behind it, but was long established. We saw potential in it where they didn’t, using hill-climbing as an analogy for their patrons’ mental health journeys, leading to a unique messaging approach: Dropping the word ‘Clubhouse’ positioned them as a service, not a place.

We built on the hill-climbing metaphor with a logo based around a climbing pair of legs standing in for the ‘LL’, and lettering that gradually rises up.

The typography is deliberately unpolished, but full of energy. Baton has a slightly wonky quality that fitted this perfectly. Imagery and layout treatments are deliberately simple so that they can be easily adapted by Hillside patrons of all ability levels.

Comércio com Memória – Almada 1973–2023 is a book which celebrates Almada’s 50th anniversary as a city through its people and particularly its historic shops, with 50+5 shops photographed by 12 photographers and a roster of written essays. The book’s title is set in Milkman, a sans serif with gothic alternates that refers to the history of the shops portrayed in the book. It is complemented by Beausite Classic, used as the main text typeface.

The tissue paper used as a dust jacket alludes to the papers used to wrap and protect the objects sold in those shops.

The book was designed by Lisa H. Moura (Frau im Mond) and printed by Gráfica Maiadouro on Fedrigoni papers. It includes essays written by Ana Catarino, Agapi Dimitriadou, Álvaro Domingues, Sandra Gonçalves, Olga Mariano, Gabriela Salhe Salazar, Maribel Mendes Sobreira, and João Tempera,. Additionally, it features photographs by Rui Sérgio Afonso, Nuno Andrade, Augusto Brázio, Rodrigo Cabrita, Luísa Ferreira, Céu Guarda, Lara Jacinto, Pedro Letria, Tiago Miranda, Pauliana Valente Pimentel, Enric Vives-Rubio, and Sofia Yala. The text was edited by Agapi Dimitriadou and Gabriela Salhe Salazar, and the photographs by Augusto Brázio and Agapi Dimitriadou.

The Toneelschuur (“Theatre Shed”) is a renowned institution in the Dutch theater world: a theater and cinema house along with their own production house. Toneelschuur have been presenting progressive, innovative, and adventurous theater, dance, and film performances for over 45 years. Since 20 years their home base is a building co-designed by Mecanoo and artist/designer Joost Swarte, who also created their logo. Recently, Toneelschuur have embarked on a transition to better connect with a younger and more diverse audience.

Adopting the shorter name “Schuur”, the new visual identity reflects this change in direction. A new identity without losing sight of the rich history. To maintain the connection with the past and with Joost Swarte, the existing logo was applied in a simplified form. By stretching the logo in various ways, Schuur is visually represented as a versatile provider of a broad program.

This logo was the foundation for Schuur, a custom typeface that extends its atmosphere in a contemporary way throughout the identity. A set of drawings by Joost Swarte was digitised and served as a basis for a typeface family with extended language support, fit for use on screen and in print. Converting the logo’s versatile stretching as a variable axis, selected glyphs can be transformed, allowing flexible typography that mirrors the identity. For editorial use the typeface was expanded with a weight axis.

To illustrate the growing interconnectedness of Schuur’s offerings, images of performances that visually relate to each other were used to create compositions. This results in an eclectic and dynamic visual language that conveys what Schuur stands for: a place where creators and enthusiasts of theater, film, dance, music, and poetry come together and are pleasantly surprised.

Based on this identity, various materials were developed that further embrace the new direction. A website that provides room for depth and cross-references, a magazine that offers more context to the program, and materials such as folders, flyers, videos, and campaigns that showcase the breadth of Schuur and give the stage a modern, youthful, and innovative appearance.

A series of promotional cards, each displaying one character of Schuur’s new typeface

A few of Joost Swarte’s initial drawings for the Schuur typeface family.

The new look of Neptune Lines had to respect its past and the legacy of the founder, but, above all, it had to respond to the contemporary challenges that a shipping company faces today.

Guided by this direction, Specter Design Group developed an original narrative that emphasizes Neptune’s differentiation from the competition in terms of technological advancement, employee safety, and ecological awareness. Three creative concepts lead to a common message: We always look forward to our destination, but we never forget what we leave behind.

The logo uses a custom version of Rework from Sociotype Foundry. This choice has a visual connection to the large modern car manufacturers, who are the company’s primary customers. In the Neptune Lines identity, Rework is supported by Fatype’s Beausite Classic for all text.

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Fleet page on the website

German viticulture has undergone a radical transformation over the last fifteen years. Climate change is bringing new challenges and chances: while some sites suffer from draught, other vineyards profit and can accommodate varieties of grapes previously alien to northern latitudes. On the other hand, a new generation of winemakers is taking over long-established wineries, bringing in new ideas on cultivation methods, the wines they want to produce and their marketing.

This is also true for the company featured in this post. AuTerroir is a small family business located in the very southwestern corner of Germany, bordering France and Switzerland. The region of Baden, where winemaking was introduced by the Romans, is a prolific stronghold in Germany’s wine industry, benefiting from warm air streaming north through the Burgundy Gate.

Since 2019 AuTerroir have shifted to the exclusive production of natural wines which implies ecological methods of cultivation, waiving pesticides and almost any form of additives to the final product. The winery cultivates two vineyards, the Mauchener Ruchmatt and the Auggener Liesten which is one of the steepest vineyards of the region, with a slope up to 58°. The respective degrees of slope are at the heart of AuTerroir’s marketing concept, discerning between the two terroirs they cultivate, each offering different soil composition, light exposure and grape varieties.

The visual identity of AuTerroir is based on a high-quality photography uniting authentic motifs with elegantly desaturated colors and an interesting mix of contemporary typefaces. On the wine labels the most prominent player is Columbia Sans Display by Production Type. It is also used for the the logo lettering and as headline style on the website where it is combined with GT America by Grilli Type for the reading text.

Columbia Sans is a sans-serif with marked stroke contrast. It draws its historic references from a variety of sources and blends features of French Renaissance types with later models that evolved in the Lower Countries. Noteworthy here are the special characteristics of the display size of Columbia Sans, providing a larger x-height and narrower proportions in order to achieve best impact in headlines.

Especially in the all-caps use seen here, Columbia Sans conveys a very elegant French notion that is perfectly in line with the brand identity. In that same way Baton by Fatype renders the additional text on the bottles, harmoniously rounding off the visual concept that bridges tradition and innovation.

Avant Garde Journal is an Italian independent publication, with a mission “to communicate a new aesthetic, to discover beauty around the World and to communicate a different point of view on hand-made products.”

Creative director and founder Fabio Ferraris used a combination of Baton Turbo and SangBleu Kingdom to make the magazine stand out design-wise. The text content of the magazine is set in the more classical MT Baskerville.

Baton Turbo is available from Fatype. SangBleu Kingdom is available from Swiss Typefaces.

The Icelandic Athletic Federation (FRÍ) was founded in 1947 and has been operational ever since. The federation governs Icelandic athletics as well as working towards empowering athletics in Iceland. To make the federation more visible in its mission the decision was take to update its visual identity.

Beausite Classic by Fatype and ABC Diatype Mono by Dinamo are the brand fonts of FRÍ. Beausite offers a stylistic set where cuts are made in the stems of the uppercase characters, creating a sense of movement in the type. This stylistic set is only used at the beginning of headlines and sentences to make the federations’ voice more recognizable. Diatype Mono is used as a supporting font for details.

The idea was to find a typeface that would be recognizable but at the same time not too flashy so that it would age well. To tie the font to the new logo we utilized another stylistic set that Beausite offers, where rounded dots are used instead of squared. This speaks to the rounded red dot in the logo. For the supporting font, we wanted to reference the data boards used at competitions to show the athletes’ performance data. Diatype Mono fits that purpose well. It also shares a lot of similarities with Beausite which makes them pair well. An example of that would be the lowercase a. Diatype is only used in smaller headlines, short descriptions, and supporting text.

Together with Simon Viðarsson, I wrote an in-depth article about the rebranding on Medium (also available in Icelandic), with more information, images and animations.

Langara Construction is a building practice specializing in design-driven and architecture-led residential construction projects. Located in the Greater Toronto Area, Langara Construction works alongside teams of award-winning architects, interior designers, landscape architects, and property developers to realize innovative structures that aim to propel the future of city building. With a distinct drive to produce buildings of enduring quality, Langara Construction meticulously oversees each project from conception to completion.

Vanderbrand developed a new visual identity that would establish Langara Construction as a leading authority in residential and multi-residential construction. Led by a striking graphic symbol, the resulting brand is designed around a contemporary framework that reflects the internal structures and processes of building. Grounded by the weight of the logo mark and supported by captivating photography, Langara Construction’s new visual presence allows for compositional flexibility across a wide range of brand applications.

Drawn with reference to geometry and architecture, the logo mark utilizes overlapping primary shapes to construct an abstracted graphic monogram that captures both the angular edges and round curves of Langara Construction’s initials. The resulting symbol is an iconic emblem that feels organic yet constructed. The monolithic form is balanced by a light-weight sans-serif wordmark set in Beausite Classic; pulling apart from each other to anchor the visual space within each composition they occupy. The secondary type is Surt.

Gurudutt Perichetla is an Indian, Atlanta-based product designer simplifying complex information systems into inclusive human-centric experiences.

He has worked with Salesforce, Google, the Atlanta Symphony Orchestra, and the Georgia Aquarium. His design approach is participatory, inclusive, and grounded in research.

Guru chose to use UCity Pro from Swiss type foundry Fatype across the whole website.

Guru’s website is featured on Bestfolios.

From Paraguay Press:

In Paris in the 1890s, Eugène Frey was a young painter who rapidly steered his career towards the shadow theatres and magic lanterns that animated cabaret stages. In 1900 he developed the technique for Décors lumineux à transformations: Light Set transformations, a complex system of lighting projections combining pictorial, photographic and cinematographic techniques that allowed stage sets to be dressed in multiple variations of colours, lights and forms, while also incorporating moving images. He developed this unique process on the stage of the Opéra de Monte-Carlo between 1904 and 1938. The artist João Maria Gusmão conceived this very first monograph devoted to Eugène Frey, by reinterpreting the Light Set technique that was contemporary to the origins of cinema. Published to accompany the exhibition organised by the Nouveau Musée National de Monaco at the Villa Paloma, the book brings together Frey’s theatrical creations with those of numerous other inventors from the first half of the 20th century.

Published by Paraguay and the Nouveau Musée National de Monaco on the occasion of the exhibition Variations. Les décors lumineux d’Eugène Frey présenté par João Maria Gusmão at the Villa Paloma.

Héroïne is a retail design studio focused on client experience. Working together with ethnologists, interior designers, graphic designers, and retail managers, the team of Héroïne offers a method based on the design of persona’s courses, reflecting a brand’s strategy and target. The specificity of Héroïne is its dedication to create not only beautiful retail design, but an experience that brings a whole new idea of how branding can apply to space.

Kevin Bichaud designed Héroïne's identity and website. For the web design, the emphasis was put on large immersive images, taking the visitor into a swirl of fast-cut pictures at the time they arrive on the page. The single page design with subtle parallax scrolling effects plays with the adaptability of images to the user’s visit, and guides them into a path they can’t step aside from – an analogy to the compelling services proposed by Héroïne. The website is set in alll-caps Baton from Fatype for titles and in Columbia Sans from Production Type for body text. This pairing calls to mind some Art Deco prints with heightened middle-strokes and humanistic sans serifs such as Peignot; this style was also known for its wide application, from buildings to entire interiors, from objects to walls and floors. Both typefaces add a contemporary twist, Baton with a sobered lineal design, and Columbia Sans with more classical references in its design, ranging from Times New Roman to Plantin and the Elzevirs. Visiting this website works as an experience in different steps, where the typographic choices come to create a sense of unity.

Book design, posters and exhibition design for 100 Years of Art Education in Tallinn,
designed by Stuudio Stuudio. From the Academy's website (translated):

The history book compiled for the 100th anniversary of the Estonian Academy of Arts consists of research articles. The writings with an emphasis on educational history illuminate new aspects and junctions in the formation of a central art school. The activities of the Estonian Art Society in establishing the school, the role of Voldemar Päts, the swallowing of the Tartu Art Institute, the Student Science Society and the teaching of red subjects in the ERKI, the turn of the urban patrols, the neoliberal challenges to EKA, etc.

The typography uses mainly Baton, available from Fatype; paired with Times for smaller texts.

Website and identity for Canada Modern, a project by Believe in®

Canada Modern is an archive of modernist Canadian graphic design focused on the period 1960—1985. It was conceived and produced by Canadian creative director Blair Thomson in 2017 and is the culmination of a long held ambition to curate a comprehensive national cache, whilst simultaneously addressing the absence of any such resource on a singular (red) thread.

The project uses an early version of Beausite Classic (with an angled t), a contemporary take on the neogrotesque archetype.

Leeds based design studio Passport creates the identity and supporting print & digital materials for the Vagina Museum in London; “the world’s first bricks and mortar museum dedicated to vaginas, vulvas and the gynaecological anatomy.” From Passport’s website:

We [supplied] seven different typefaces with a variety of personalities, which could be mixed and matched to create different aesthetics as well as distinct tones of voice. We maintained brand consistency by always using black on coloured backgrounds.

Life-size marionettes, graphic art and collages, fantastical hybrid creatures, ceramics, surrealist paintings, taxidermy, obscure fetishes and relics, cinemas and stages – the universe of Czech surrealists Jan and Eva Švankmajer seems never-ending.

The exhibition Move little hands... “Move!” at Kunsthalle im Lipsiusbau is giving an insight into the artistic couple’s lives and work. It presents contemporary Czech surrealism through a wide variety of media, uniting the oeuvres of both artists in one place.

Serious Play was commissioned by the State Art Collection Dresden to create the visual communication to promote the exhibition. Building upon the exhibition title and Svankmajer’s typography used in their films we presented two routes. Of the four posters shown in this post, the second pair was realized. Staying true to the legacy of Czech type designers and their disctinctive typography we decided to use BC Baseliner by Šimon Matějka and Tyfa Antikva by Josef Týfa for a bold and contrasting look.