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.

From Studio Yukiko:

Moshtari Hilal’s latest group show at Haus Coburg, co-curated with AVAH (Afghan Visual Arts & History) and Aneta Palenga (Haus Coburg | Städtische Galerie Delmhorst) KINDHEIT(EN), invited seven artists from the Afghan diaspora who grew up in different countries to dive into the fragmentary memories of their childhood exploring colours, textures and the profound influence the past has on their memories and visual languages and creative expressions. Despite individual biographies and different artistic expressions, they are united by a common pool of memory images, objects and narratives.

Having followed Hilal’s practice for a while, we were honoured to create the visual identity for the exhibition, uniting the delicate textile weaves used in many of the pieces as a jumping board to think of the flow of time and the bonds that come with that. Unbreakable threads that unveil a profound connection between personal and collective narratives, set to a backdrop of shapes and colours of memory's river.

The title design uses Ready Active, with a number of altered letters as well as organic protuberances, setting out in various directions, depending on the format. The same typeface also acts as drop-caps for Bolivia, the sans-serif used for all the other elements. The translation of the title is set in Noto Nastaliq Urdu.

A special newsprint publication by TREWIT, printed on the occasion of the presentation of two new chair designs at this year's Vienna Design Week – furniture as tool, form as function.

TREWIT presents two new chairs (ger.: Stuhl) that combine functionality and formal appeal in unique ways: A chair for musicians designed by Vandasye and a chair for people in need of care designed by Lucy.D.

Bolivia (G) is directly incorporated into the composition of the visual level, becoming the main character of the design. The concepts of the chairs and shapes form a mixture of identity and typographic expression. In addition, a text style of the font family developed exclusively for the company is used in small areas (e.g. on the postcard).

On the postcards, “Bolivia Text” is used in the small copy.

The Skin of All is an exhibition catalogue for the Brazilian artist Lygia Pape, beautifully designed by Fabian Bremer and Pascal Storz. In 448 pages, the designers created a very close interplay between the two main typefaces, Bolivia and Gerstner-Programm FSL. The unfussy yet playful application creates a beautiful balance to the large format illustrations of the artworks.

Interestingly, the catalogue includes a work showing a packaging design by Pape; the typography on it bears a strong resemblance to Albert Hollenstein's Brasilia, which also served as the starting point for my revival typeface Bolivia. From the back cover:

As one of the key figures of Brazil’s Neo-Concrete movement of the late 1950s and early 1960s, Lygia Pape developed a specific understanding of geometric abstraction that resulted in a radical new conception of concrete-constructivist art, challenging an overly rigid rationalism by moving toward more subjective, multi-sensorial modes of expression. Marking Pape’s first solo exhibition in Germany, this richly illustrated book presents the artist’s unusual creative power in all its breadth.

Packaging design with a typeface that looks a lot like Hollenstein's Brasilia. (the various small a’s are confusing though).

Logotype in Bolivia Semiextended G

The traditional company stands for solid wood furniture and series production of the highest quality. After 142 years, the family name Wittmann was replaced by the new brand name TREWIT, due to a change of generations. The new development of the brand brought with it a fundamentally different appearance — a language of its own was developed not only graphically, but also in its typographic approach.

The cornerstone of the new company is the lettering in uppercase letters, set in Bolivia Semiextended G. To complete the strongly typographic concept, after numerous headline applications, an exclusive text style (Bolivia Text Medium) was developed for the small-part application. The uniform typographic hierarchy provides clarity and an unmistakable moment in which the company’s vision is carried forward in a contemporary manner.

Particularly noteworthy is TREWIT’s extensive web presence, which includes furniture configurators, the entire product range, and a narrative thread with interesting facts about the wood industry.

Product folder

Product tags

Vienna Design Week 2021, TREWIT launch party and exhibition