Written by art historian Jan Ivanega, Život Na Sídlišti (“Life in the Housing Project”) traces the origins and history of housing estates in Pardubice, from the postwar enthusiasm for construction and the challenges of building a “better world” to the transformation of older neighborhoods. The book explores both realized and unrealized urban plans, the development of infrastructure and schools, and, above all, the everyday lives of residents. Drawing on eyewitness accounts and historical photographs, many of them published for the first time, it offers a detailed portrait of life in Pardubice’s housing estates across decades.

The book was published by Východočeské muzeum v Pardubicích in a design by Milan Nedvěd Studio using KTF Compact from Kyiv Type Foundry, Grilli Type’s GT America and ABC ROM Mono from Dinamo.

I completed the identity, digital design, and development for a psychoanalytic practice in New York City.

For a psychoanalytic practice, the typography needed to bridge the gap between clinical authority and deep, human expression. I chose to pair GT America and GT Super Text to create this exact balance. GT America provides a sturdy workhorse structure that bridges the precision of a European Grotesk with the expressive flow of an American Gothic, establishing immediate trust and clarity for the user interface. In contrast, GT Super Text – rooted in the idiosyncratic, calligraphic motions of 1970s and 80s editorial type – injects a warm, literary, and introspective quality into the reading sections, beautifully reflecting the rich, narrative nature of psychoanalysis.

From design studio Everyday Practice:

Aqua Paradiso, hosted by the Asia Culture Center, is an exhibition that imagines a positive future through life, birth, healing, regeneration, and recovery under the theme of ocean and ecology.

Everyday Practice has tried to visualize the concept of healing and recovery of water in a mythical/religious sense. We designed the key visual by borrowing the phenomenon of anthropocene and the landscape of climate crisis that it causes as a graphic motif.

The title is composed of Voyage and Neue Haas Grotesk Display. Voyage is also used in the interior, paired with GT America, Sandoll GothicNeo and Suisse Works.

This photographic volume explores the divergence between the myth of La Dolce Vita and its contemporary reality. Moving from expressive, saturated color experiences to surreal imaginations, the book arrives at a “factual coolness.” It documents a journey through Italy outside the tourist season—spanning from Cremona to Genova, through Tuscany to Rome, and finally Rimini.

For the typography, I chose GT America. The book focuses on composition and observation, questioning the “perfect imagination” of the south. To anchor the rich, atmospheric photography, GT America was chosen for its versatile and utilitarian character.

As a typeface that bridges the gap between 19th-century American Gothics and 20th-century European Neo-Grotesks, GT America provides a deliberate structural counterpoint. Its straightforward, unembellished aesthetic reflects the “factual coolness” of the investigation, acting as a neutral, documentarian observer. By using GT America sparingly, the design allows the saturated color palettes and the restless silence of the Italian landscapes to remain at the forefront, while the interviews are manifested through a typeface that feels both timeless and modern.

Made as Diploma project at the ABK Stuttgart.

Published by Phaidon in April 2026, The Caribbean Cookbook offers an exploration of Caribbean cuisine and culinary history, featuring more than 380 authentic home cooking recipes from across the region, compiled by chef Rawlston Williams. The book was designed by Studio Mut in bold tropical shades, using both widths of Maroni for headlines, while copy is set in GT America.

The Magic Oyster Tour is a series of pop-up events across Germany, organized by Sara Hillenberger. It presents objects, calendars, ceramics, new shirts, live acts, and much more.

The design was created by Herburg Weiland, using Romie Regular and Italic (designed by Margot Lévêque), and available from Claude Type Foundry. Romie is supported by Grilli Type’s GT America Condensed.

Ordinary People designed the exhibition graphics and book for the 2023 Title Match: Dongi Lee vs. Sangwoo Kang at the Buk-Seoul Museum of Art, part of the Seoul Museum of Art (SeMA). Title Match is a signature annual exhibition at the museum, and for 2023, it brought together artists Dongi Lee and Sangwoo Kang. These artists deconstruct the familiar by either ‘borrowing what has already been borrowed’ from mass media imagery or by revealing the ‘insignificant and fragile figure seen from behind’.


From the works of Dongi Lee and Sangwoo Kang, Ordinary People distilled shared themes of ‘temporality’, which disrupts linearity, and ‘ambiguity’, which purposefully obscures the familiar. Inspired by these concepts, they reinterpreted established norms, incorporating ambiguity as a core graphic element throughout the exhibition. The accompanying book also embraces this theme, reimagining conventional book structures, reading sequences, and orientations.

The design combines contemporary Latin and Korean typefaces to support the exhibition’s layered narrative. Farmacia by Nguyen Gobber is used for English titles across both the exhibition graphics and the book, adding a distinctive visual character to the design. Aktiv Grotesk KR by Dalton Maag serves as a secondary heading typeface for English and Korean in the exhibition graphics, providing clarity and consistency across languages. In the book, Korean headings are set in AG Madang Display by the AG Typography Institute, while GT America by Grilli Type is used for Korean and English body text.

Pixie: A Meeting of Earth, Time, and Visual Enchantment

Pixie is more than a wine. It is an ethereal expression of all that nature holds as invisible, enchanted, and deeply vital. Its name evokes a small magical creature—a forest fairy, associated with the spiritual world of nature, the ancestral wisdom of plants, and the creative force of the universe. It is also the affectionate name given to the muse who inspired this unique wine project, born under the principles of biodynamic agriculture at Quinta da Nossa Senhora da Conceição, in Évora, Alentejo.

This wine arises from an intimate connection with cosmic rhythms. The vineyard is cared for in harmony with lunar cycles, using practices that respect and enhance the vitality of the soil and the energy of ecosystems. Biodynamics is more than an agricultural method—it is a philosophy that sees the earth as a living organism, a system in constant dialogue with the sky and the stars.

It was this concept—the interplay between the visible and the invisible, the organic and the spiritual—that gave rise to the design of the label. The visual identity takes shape in a minimalist, delicately dreamlike composition. At its center rests a small fairy upon a surreal fruit: a symbol of fertility, of dream, and of raw matter transformed—a visual metaphor for biodynamics itself, where subtle, natural forces meet to generate something greater.

Every graphic element was designed to evoke the lightness of the ethereal world while also conveying the depth of natural cycles. The soft color palette, discreet typography, and symbolic illustration create an atmosphere of contemplation and mystery. This label does more than communicate the wine—it invites a sensory ritual: opening the bottle becomes a poetic gesture, a silent toast to the invisible energies dancing between the fertile earth and the starry sky.

Pixie is, in this way, an ode to enchantment. A project that unites wine and design in a coherent and emotional narrative—an invitation to intuition, delicacy, and imagination. Through this visual creation, the brand offers a pause, a celebration of that which can only be felt when we truly learn to see.

The News Movement is a social-first newsroom created for a generation that encounters news incidentally rather than intentionally. Founded to serve audiences who care about what’s happening in the world but no longer engage with traditional news formats, TNM sits at the intersection of journalism, culture and platform behaviour.

Rebranded in 2025 by 20Something, the design uses GT Alpina, Brik (Mike Hill) and GT America.

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.

TIBE has crafted a new brand identity for the Arbeiderpartiet (Norwegian Labour Party), blending historical reverence with contemporary clarity.

The headline typeface is a customised version of Store Norske Jernskrift, a revival and elaboration of a long-lost piece of Norwegian typographic heritage. Jernskrift draws its inspiration from the distinctive numbers found on Norway’s first official car number plates, introduced in 1929. For decades, these numerals were a quiet yet omnipresent part of Norway’s visual culture: seen on every road, ingrained in daily life, and emblematic of Norwegian modernity in the twentieth century. Over time, it faded from view, nearly forgotten—a “sleeping beauty” of Norwegian design history.

Due to the Skrift i Oslo project, Jernskrift has been carefully researched, revived, and reimagined for contemporary use. Its reappearance in Arbeiderpartiet’s identity is both poetic and poignant, bridging eras and reconnecting Norwegians with a subtle but powerful symbol of their shared past. The typeface’s geometric forms and industrial spirit evoke progress and resilience, while its story is one of the beauty that can be rediscovered in visual traditions. Jernskrift create an identity that is both forward-looking and deeply rooted in Norwegian heritage, celebrating the Labour Party’s enduring connection to Norwegian industry and the people and history of Norway. Supporting text is set in GT America.

Tilt is a fintech company focused on expanding reliable access to cash and credit for people who are often underserved by traditional lenders. They look beyond just credit scores using non-traditional signals of financial health and “real-time” income and spending data to assess people’s ability to repay.

Tilt partnered with Ragged Edge who created a new name and brand for their new credit system and set of credit products. The branding features ABC Gravity and Romek Semibold italic. Ragged Edge commissioned a custom version from The Designers Foundry to closer match the vertical metrics of Gravity, dubbed Empower Serif. The type palette is rounded off by GT America Expanded.

The Splendour in Venice exhibition at Gulbenkian 2024 immerses visitors in 18th-century Venice, showcasing works by artists like Canaletto and Guardi. Inspired by the Grand Tour tradition, it highlights the city’s grandeur and everyday life through its art. The visual identity draws on Venetian architectural perspectives and muted tones, blending seamlessly into the exhibition spaces. Developed collaboratively with curators, editors, and designers, the catalogue and overall design encourage reflection on both the city’s vast compositions and its people.

To design this visual identity, Lisbon-based graphic design studio Panorama used Injurial (Sandrine Nugue, 205TF), GT America (Noël Leu, Grilli Type) and Parnaso (Mário Feliciano, Feliciano Type).

More photos and information on Panorama's website.

Fil Roig is a book series by Catalan publisher Tigre de Paper, reissuing emblematic works of Catalan political and social thought. Its visual identity, crafted by Gerard Joan, features a striking logotype set in Triomf, a display serif by Gerard Sierra (GS‑Type).

Triomf is also used for the titles of the books, bringing sharp contrast and geometric rhythm to the design. It evokes a sense of historical authenticity—recalling protest signage—while asserting a clean, modern editorial tone.

Applied across book covers, chapter headings, and promotional materials, Triomf gives Fil Roig a voice that is both rooted in tradition and boldly contemporary. The accompanying sans is GT America by Noël Leu (Grilli Type).

Following a name change and return to their original crest, Seattle Reign FC partnered with Redscout to reimagine their identity through honoring the club's legacy and their renewed commitment to belonging and purpose-driven leadership. Building on the symbolic power of the Reign's Queen mascot, Redscout developed a sophisticated and expressive design system that reintroduces Seattle Reign FC to the world with elegance, pride, and conviction.

Typography played a vital role in creating distinction within the crowded sports landscape and redefining the club's new voice. Redscout selected Manner by Colophon Foundry for its unique blend of old-style elegance and contemporary edge, a perfect reflection of the Queen's heritage and forward-looking spirit.

Manner also brings versatility to the system, balancing functionality with expression. Its lighter weights communicate poise and refinement, while the bolder styles take on a commanding, majestic presence. The result is a typographic system that feels regal, grounded, and unmistakably Reign.

The secondary typeface is GT America by Grilli Type.

Album cover

Raw Data Feel is the sixth studio album from English art rock band Everything Everything. The quartet has once again teamed up with Adult Art Club – comprising Charlotte Audrey and Jonny Costello – for its art direction. GT America Black Extended was used for all titles on the album, singles, and website. The body text and captions were set in Aperçu Mono. On the tour posters, the band name is set in caps from Korolev.

[More info on Discogs]

Website

Instore poster

US tour poster

Serbia Games Association (SGA) is a non-profit organization that supports the growth and international visibility of the Serbian video game industry. Founded in 2018, SGA connects game developers, artists, publishers, and educators, fostering collaboration and knowledge sharing. Through mentorship programs, workshops, and global partnerships, the association plays a key role in positioning Serbia as a rising hub for creative and technical talent in game development.

We developed SGA’s digital annual report for 2023 to highlight key trends in Serbia’s gaming industry. The focus was on clear, visual storytelling – featuring 150+ local studios and ten expert voices – while reinforcing SGA’s mission and aligning with modern digital standards.

Each year, we take a fresh creative direction. For this edition, we embraced a bold visual style using AI-generated graphics, reflecting one of the year's most relevant industry themes. The final report is visually striking, easy to navigate, and highly informative, effectively positioning Serbia’s gaming ecosystem on the global stage.

The main typefaces in use are Poppins and NeueBit.

The condensed sans used for “150M€” is GT America Compressed Bold.

The 2025 album Passagen takes ZEMENT’s sonic exploration to new heights, offering more disco, punch, glitter, motorik beats, lyrics, and even more jazz.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combine psychedelic illustrations and weird AI generated images with bold and playful typography: Glyphs from Dinamo’s Maxi Round and Maxi Sharp form the band’s name while ABC Connect delivers Baustellen vibes, nodding back to the Rohstoff artwork from 2021. The lyrics and liner notes are set in GT America.

[More info on Discogs]

Right: Riso-printed inlay featuring liner notes by Tobias Lindemann

Limited golden edition of the LP containing a Riso-printed inlay with liner notes and a sticker

Left: LP inner sleeve featuring the lyrics. Right: Shirt design based on the LP artwork

LP back cover

Left: cover artwork for “Station to Station” single

Artworks in poster format for promoting Lady Gaga’s upcoming Mayhem Ball tour 2025, posted on her Instagram. The script is Laura Worthington’s Origins. The specific style of GT America in use is the Expanded Black. A blur effect was added to all the text.

American Broadcasting Company (ABC) introduced its new look on August 9, 2021, ahead of the 2021–22 season. Designed by Trollbäck & Company, it is designed to adhere to flat design trends, and returns to a solid, two-dimensional design with smaller and bolder lettering. The main logo is rendered in a dark, blue-gray color, outlined and black-on-red variations are also used, such as for the on-screen bug and promotional usage, respectively.

The main brand typefaces are GT America Condensed Medium for text and Heldane Display Bold for headlines.