Founded by Filipa Alves in 2022, Flórida Studio brings to life a cross-pollination of ideas between designers and makers, hosting a collection of handmade objects, home goods, apparel, vintage and art, alongside offerings in floral design installation and events. The brand reminds us that the creative spirit comes to life when you follow your heart while believing in the strength of collaboration.

Having known Filipa for over a decade, we were honored to help bring her vision to life — developing the brand from the ground up with a new identity, signage, creative direction, printed materials, and a custom e-commerce platform that captures the studio’s soulful, intuitive spirit.

LeVivre, which means "the act of living" in French, is an invitation to deepen our relationship with our daily life, time, and the world we live in. By combining knowledge and carefully selected ingredients, the brand develops exclusive scents very carefully, using formulas made out with top-quality sustainable essential oils.

The visual identity was designed to emphasize the natural aspect of the product composition and occupy a niche brand territory, where classic and contemporary meet in balance.

The brand was launched with an initial line of four candles that evoke different sensations, such as relaxation, mental clarity, and energy elevation. Polar was involved from the beginning of the product design process, starting with the naming and verbal communication that differentiated each candle. The packaging, which was designed to be gift-worthy and reusable after consumption, shows compositions with silhouettes that represent the ingredients used in each scent. Finally, the direction of the launch photoshoot followed the same proposal to evoke sensations, where the images of the products and ingredients reflect the delicacy and sophistication of the life that LeVivre wants to inspire.

Bluprnt, an innovation consultancy focused on the digital workplace, needed a rebrand to be seen as a partner that helps corporate workers through design. Our goal was to create a brand identity highlighting their mission to make work more human-centric. To achieve this, we carefully selected typefaces that communicate innovation and approachability.

We chose GT Super as the primary typeface for titles and headings, with GT Super Text and GT Super Display variants providing a dynamic and elegant look. The typeface collection ensures readability and impact, which are perfect for emphasizing key messages and creating a striking visual hierarchy.

We use GT America for body text, subtitles, and captions. This versatile sans-serif typeface blends clarity with warmth, ensuring that all textual content is readable and visually appealing. GT America Regular, Medium, and Bold allow consistency across various media, maintaining a clean and modern aesthetic.

Additionally, the logo incorporates a unique u element, symbolizing Bluprnt’s human side and commitment to user-centered design.

See the full case study at serious.business.

In this project of visual poetry, the poems focus on the idea of buccality – oral health and mouth pleasures, making use of the three-dimensionality of space and highlighting its visual and poetic aspects, which emphasize the multiple meanings and uses of the word mouth.

The Margin of Error, by photographer artist Emanuel Cederqvist, continues the work started by Axel Hamberg one hundred years ago, depicting Sarek National Park in the north of Sweden. In the book, Cederqvist places Hamberg’s archive photos next to his own taken in the same area.

As a landscape, Sarek hasn’t changed considerably since the last ice age around 10,000 years ago. The difference between Cederqvist and Hamberg's photographs is almost indistinguishable. It’s only the camera and the position in the landscape that set the pictures apart.

The book is designed with both the past and the present in mind, making it feel at home both in a modern bookshelf as well as in a century-old archive.

Two images, taken in the same place, one hundred years apart, meet each other on the cover. The design plays with the conventions of traditional hardcovers using familiar elements in unconventional ways. At the end of the book, text and images flow together in a continuous story creating a unique visual index.

The book was issued by Blackbook Publications.

Access is the leading destination management company in the country, with over 50 years of experience. They coined the term “DMC” and have continued to redefine what it means. Access sought a new identity that reflected the true nature of their business, and prestige in the event industry. An identity that communicated their driving forces and motivated internal teams around the future to come. FRNDS in Denver brought us on to build a daring identity that balanced warmth with sophistication, and embodied the strategic and creative powerhouse behind the nation's biggest corporate events.

We use the highly-contrasted serif GT Super Display as the display font to push into the neighborly aspect of their new tone and voice. The display font is complemented by the mono-linear geometric sans-serif Roobert, packed with loads of personality and detail.

Read and see more in the case study.

Interior Felt approached Frontier looking to better communicate its purpose and to connect with its architecture-and-design audience. We identified the company’s key differentiators and helped it define its values and ambitions. We then built on that work by creasing the visual identity depicted here, which celebrates the natural beauty of felt.

The fabric’s textures, colors, pliability, and versatility inspired a careful and elegant photographic style that forms the basis of the brand. We then combined that with timeless typography, abstracted patterns, and technical keyline graphics to create a visual system that reflects the level of care and attention to detail Interior Felt delivers with its products.

To make the logo we customized Grilli Type’s GT Super Display Super. All body and display copy is set in the Roman or Medium weights of Neue Haas Grotesk. Following the brand launch, Frontier designed and developed a new website and swatch kit, images of which are included here. For a full case study, see the Frontier website.

Interior Felt wordmark and logo

Interior Felt swatch kit

View of new Interior Felt website

Branded Interior Felt products

Our planet now faces a global extinction crisis never witnessed before by humankind. Scientists predict that more than one million species are on track for extinction in the upcoming decades. One of the main challenges in tackling mass extinction is the lack of public awareness and citizen agency.

In the project Extinction Claims, artist Paolo Cirio combines the legal concept of “environmental personhood” with the “right of nature” jurisprudential theory, informed by climate change litigations, ecocide bills, and global climate treaties to give legal rights and protection to the natural world. Cirio aims to legally accuse the international oil, gas, and carbon companies that deliberately emitted over 70% of all greenhouse gases, causing extensive damage to Earth’s ecosystems and the species dependent on them for survival.

Extinction Claims is a co-production between Baltan Laboratories in Eindhoven and MediaMatic in Amsterdam, presented at the Dutch Design Week 2021 at the Natlab.

The visual language – including posters, social media assets, trailers, bags, elements for lectures and the arrangement of the exhibition – is straightforward and minimalistic. Formula Condensed from Pangram Pangram evokes associations with appel, a protest. The blocky forms resemble letterpressed political leaflets back in the 1960s. Bold and screaming typography is juxtaposed with the classic, editorial Times New Roman, adding gravitas and credibility to the information. The “Claims” part of the logo is set in GT Super Display.

The main feature of identity is contrast and simplicity, highlighted by the use of black and white, thin lines separating text blocks, and the typeface selection. These elements create geometric, information-filled views juxtaposed with photos of endangered species of animals and plants in their natural habitat.

In the social media material, I added mesmerizing animations to emphasize extinction and the fleeting nature of life. Masked images of animals appear in blunt slogans before our eyes, helping to connect the information layer with the emotional layer. Typographic masks reveal cute photos of endangered species.

Designed by Gabriela Baka with help of Łukasz Podolak.

At Yonge and St. Clair, a desirable neighbourhood in downtown Toronto, One Delisle will stand tall as the first project in Canada by world-renowned architect Jeanne Gang and her visionary architectural firm, Studio Gang. Studio Gang’s architecture considers narrative and context and is distinguished by a desire to build better connections between people and place. Together with a team of internationally celebrated architects, designers, and urban innovators, Slate Asset Management and Studio Gang will realize One Delisle, an iconic piece of architecture that unifies Toronto’s urbanity with the tranquility of the nearby ravine.

Vanderbrand was engaged by Slate Asset Management to develop a comprehensive brand strategy and launch campaign that would amplify the architectural ingenuity of the building and complement the surrounding natural landscape and ravines. The brand and marketing materials is a response to the poetics of the building and highlight the future of high-rise living at One Delisle.

Vanderbrand commissioned internationally acclaimed type foundry Letters from Sweden to develop a typeface that would reflect One Delisle’s transformation from a square retail base to a 16-sided circular floorplate. The foundry began by designing the wordmark, which became the base for the complete typeface. One Delisle Display is a contemporary sans serif which balances sophistication and complexity by honouring the architectural ingenuity of the tower. The custom typeface is paired with GT Super Display (Grilli Type) and Spezia (Luzi Type).

See the case study for more images and information.

Brochure spine.

Brochure table of contents.

Chapter title in brochure.

Brochure interior.

Chapter title in brochure.

Gift box with debossed logo.

Note card.

Website with sliding menu.

Mobile website.

Sales gallery.

Pin with letter O; newspaper.

Wayfinding signage.

Folder.

Sales gallery.

About Koa Health:

At Koa Health, we believe in putting people (and their mental health) first. So we’ve made it our goal to leverage technology and research to enable people to change their behaviors with effective and accessible support that adapts to their unique circumstances.

Surt (Blaze Type) and GT Super Display (Grilli Type) are used for the identity of Koa Health. The logo uses the Expanded stye of Surt, with a modified lowercase l.

From Design Sake Studio:

The Kūlia story starts with its name. Kūlia in Hawaiian means ‘to strive,’ and founder Jasmine Keeney is striving to create a new standard in organic skincare. Every ingredient in Kūlia's Regenerative Face Serum and Revitalizing Eye Serum is certified organic or wild grown, and held to the industry's highest standards. We are proud to have partnered with Jasmine every step of the way, to build this incredible brand from the ground up.

The most visible element of the Kūlia identity is the logotype, set in Tenez. The organic didone qualities of Tenez are a great match to the floral, tropical motif of the identity.

Transat Text, a stylish deco sans that falls in the spectrum of both Erbar-Grotesk and Brandon Grotesque, provides a touch of simplicity to the supported copy like description and content as well as for body copy on the website.

Speaking of which, GT Super Display enters the scene on the website as titling typeface. It makes for a more compact/editorial headline, while keeping the natural/fashion magazine look.

Laura Klamburg's Surreal PostIndian (Type-Ø-Tones, 1999) brings a slightly bewildering outline-with-extras style to a striking book cover. The optical disruptive effect has been reinforced by layering multiple copies of the type in different shades of pink, perhaps evoking some of the aura of neon lights. A pink donut cheerily replaces the O in “WON”.

I haven’t read the novel, but I assume the donut is symbolic of capitalist consumerism, and a hole within which we lose our soul.

The author’s name, Rachel Genn, is set in Noël Leu’s GT Super Display (Grilli Type, 2018).

From Lonsdale.fr:

Founded back in 1961, Lonsdale is a leading branding and design agency in France, helping brands, businesses and retailers to grow and create cohesive experiences. They work guiding brands in defining their uniqueness to help them build cohesive and powerful experiences.

In the run-up to their 60th anniversary, Lonsdale launched a new bilingual website, in French and English. Aribau Grotesk (Emtype Foundry) is used in several weights from Light to Black, both for display and text. It’s paired with GT Super Display (Grilli Type) for headlines.

Transit Filmfest is an independent film festival in Regensburg, Germany. The lovingly curated program excites cineasts with an interest in underground directors and off-the-mainstream productions with international relevance. The 2020 edition dedicated to the topic “utopia” was highly impacted by the Covid-19 pandemic and will be caught up in the following year.

The artwork pairs 2D flower illustrations with Grilli Type’s GT Super Display/ GT Super Text and GT America Extended/Expanded. It was realized by Philipp Dittmar and Sabrina Zeltner at Complex Pleasures.

The book Mulheres Míticas em performance (“Mythical women in performance”) celebrates the sixth anniversary of the theatre group Mulheres Míticas through the publication of two plays, O Deszerto (“The Wilderness”, by Felipe Cordeiro and Gabriela Figueiredo, inspired by Carlos Franz’ novel) and Classe (“class” by Guillermo Calderón), plus a number of essays revolving around them.

The project uses visual resources found in archives to organize plays, essays, interviews and collateral text, placing the book as part of the group’s living memory. The cover and back cover externalize this concept through the exposition of the object’s technicalities and symbols that dance over those structures.

14×21 cm, 320 pages, published by Javali. GT Super Text and GT Super Display are used throughout.

For over a decade, and almost in secret, Scott Avett has amassed an impressive body of artwork. Though known primarily as a member of The Avett Brothers, Scott’s formal training was in visual art. We designed and co-edited a monograph that catalogs his work and documents his creative process.

The typographic palette was carefully chosen to balance a host of tonal qualities and specific use cases. GT Super Display, a striking contemporary serif from Grilli Type, provides the lion’s share of typographic personality. Its sibling, GT Super Text, imparts an appropriate formal quality to the essays. With its simple, rounded, typewriter-esque forms, Optimo’s Hermes Condensed provides a stark counterpoint to GT Super’s razor sharp serifs. Dia, a blocky, quirky sans from Schick Toikka, is peppered throughout the book in titles and headings. Dia’s lighter weight is paired with GT Super Text in interviews to provide a visual tone-of-voice change from interviewer to respondent.

Poster and animation series for the second occurrence of the Autodromo party series. F200 Posters are printed digitally on 120g/m² blueback paper. Nicola comments on the design:

I took my inspiration from the French automotive designer Paul Bracq. This was my first published project where I did the whole concept, location scouting, research and art direction by myself.

Fonts in use for the project: Ambiant Sans by Laura Csocsán and GT Super Display by Grilli Type.

Equally as controversial as Kanye West’s latest album, the work done by A$AP Mob’s creative collective AWGE for Jesus is King’s merchandise is bold and brash. The album and movie poster use GT Super Display (Grilli Type) and convey the royal simplicity of their title.

There is a stern difference between the two styles of design – that which is purely Jesus is King is much cleaner and presentable, whereas the rest of the merchandise really goes its own way typographically.

Much of AWGE’s type work breaks professional design standards, stretched type, pixelated images, and un-centered text plague the merchandise line in an attempt to be “so bad it’s good”.

Track list. GT Super’s kerning has been deactivated, see “We” or “Water”.

Cassette

Album release announcement

Movie poster

T-shirt with bible quotes in Cooper Black Italic, by Kanye West x Cactus Plant Flea Market

Kanye West x Cactus Plant Flea Market

Arial Black, stretched and outlined.

Longsleeve featuring a crossword in all-caps Brush Script.

Urbanlike is a lifestyle magazine focused on urban life and issues in Seoul, published by Urbanbooks since 2013. For every issue, the editorial team chooses a topic that revolves around us in the city life, for example hotels, meals, printed matter, stationery.

Issue 39 is about workplaces where creators like artists, designers, or photographers make something meaningful. In this issue, we used a number of different fonts to reflect the diversity of workplaces. Likewise, the texts and images have a wide spectrum. We chose each font to adequately express the character of the topic.

The issue’s title uses PP Monument. The Urbanlike logo is based on Futura.

The table of contents combines Gopher with Sandoll GothicNeo and Neue Haas Grotesk.

This article features GT Super Display.

Rolling Stone Italia, issue 11, November 2018

In October 2018, with its 10th issue, the Italian version of the legendary music and culture magazine Rolling Stone unveiled a new design, using Centra No.2 (Josh Finklea / Sharp Type), GT Super (Noël Leu / Grilli Type) and Grandmaster (Lucas Descroix / The Designers Foundry).

It was also the occasion to restructure the content of the magazine, with recurring sections, including one about politics. “For a newspaper that is increasingly rich in music, cinema and current affairs.”

Rolling Stone Italia, issue 11, November 2018, p. 8-9

Rolling Stone Italia, issue 10, October 2018, p. 22-23

Rolling Stone Italia, issue 11, November 2018, p.6 6-67

Rolling Stone Italia, issue 11, November 2018, p. 78-79

Rolling Stone Italia, issue 10, October 2018, p. 84-85

Rolling Stone Italia, issue 11, November 2018, p. 84-85

Rolling Stone Italia, issue 11, November 2018, p. 94-95

Rolling Stone Italia, issue 11, November 2018, p. 106-107

Rolling Stone Italia issue 10, October 2018, p. 78-79