Source: www.esiete.com License: All Rights Reserved.

Visual system and communication elements designed by ESIETE, for the 2025 Fitness Festival campaign on the occasion of the Mercè festivities. Under the slogan “Uneix-te al Flow” (“Join the Flow”) the campaign revolves around a dynamic flow of colors that symbolizes energy, movement, and unity, running through all graphic pieces and conveying the vitality and collective spirit of the event.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

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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.

Debuted at Expo West 2024, Copper Cow’s refreshing rebrand, courtesy of their in-house team, encapsulates the speciality Vietnamese coffee company’s confident growth from a DTC brand to a retail-ready fan favourite. In revisiting the brand, they opted for an approach that warmly (and excitedly) embraces the customer head-on, unapologetic, joyful and eye-catching. This call for change also aligns with the brand being in the process of converting the first organic certified coffee farms ever in Vietnam, the world’s second largest coffee supplier.

With this rebranding they switched from Poppins that they used since the brand launch in 2017 to NaN Jaune as their hero typeface, with its equally unbridled form, chunky contrast and character. At the time of writing, Poppins is still the main typeface used on the Copper Cow website. On the packaging, the secondary typeface is Extraset’s Rebond Grotesque, another gestural and whimsical grotesque, while the quieter GT America is used to set all mandatory information in its condensed widths. This brings the number of grotesques used on a single packaging to three.

Onward provides lifelong, seamless supported living for individuals with developmental disabilities and acts as a hub, providing a single point of contact for doctors, specialists, caregivers, and families. Onward came to us to help them reimagine their external and internal branding. The external brand needed to be direct and professional, making sure patients and families felt like they were in good hands. The internal brand needed to be relaxed and chipper to attract the best talent.

ES Rebond Grotesque was used and adapted for the logo, while all typography is set in a combination of Grenette and Right Grotesk. Shortly after, Onward was renamed A1 (and the new logo is based on Right Grotesk, see last image).

Identity by Nonfiction
Copywriting by Brit Eaton
Web development by Triple G Interactive

Szczera Sfera (“Honest Space”) is a Poland’s first non-profit educational project focused on eating disorders and people’s complex relationships with food. Promoting self-care and raising awareness of various mental issues connected to eating, the project challenges our social obsession with flawless looks and perfect weight. The educational approach and thoughtful questions encourage dialogue with the initiative’s Instagram followers, who are often directed towards the in-depth specialist articles published on the project’s website.

In terms of typefaces, we decided to go for two alternative styles – artist and designer Justin Sloane’s debut typeface Simula (Sharp Type) and Roger Gaillard’s ES Rebond Grotesque (Extraset).

The project’s visual identity incorporates a vivid blue shade that is not to be found in any food item and has been said to curb appetite. The logo, which employs sharp lines, conveys the problematic relationship with food by depicting a twisted fork. Deliberate, hand-drawn forms and outlines used in the illustration style stand in opposition to perfect geometrical shapes.