Carwow is an online car marketplace that simplifies the entire process of switching vehicles. Originally launched as a car-buying platform, it has rebranded as a “car-changing marketplace” to better reflect how people actually use the service: transitioning from one vehicle to the next during major life milestones.

Through its platform, Carwow connects millions of drivers with a network of trusted dealers and manufacturers. It focuses on removing the typical stress of the automotive industry by offering two primary services in one destination.

Krasz and GT Walsheim are the typefaces used for the identity of fuxundkauz. From Büro Uebele:

I’m me and you’re you

fuxundkauz (the German name references two very different creatures, the fox and the owl) takes philosophical workshops or rather “thinkshops”, into schools. Given that we’re all different, there’s more than one way of looking at fundamental issues. Which provides plenty to talk about, also and especially with students.

The visual identity translates this approach into simple, clear imagery – two individuals meet and engage in dialogue, showing that peaceful coexistence is perfectly possible even when you’re not cut from the same cloth. you just have to talk to one another. Here we have a clear statement from our two clients and, incidentally, not only political education but aesthetic training as well: being quirky can be beautiful; you don’t have to fit in.

Albra Book from Ultra Kuhl is used together with Messapia Bold and Coconat Bold Extended by Collletttivo in They That Do’s identity for Seedfolk, inspired by vintage botanicals and vegetable wood carvings. With an earthy look for the home startup, the studio set out to connect people with the colourful joys of growing their own. The website additionally uses Grilli Type’s GT Walsheim.

From Ellis Tree’s article for It’s Nice That:

Inspired by the shift in a desire to be outdoors and connecting with nature in the tough and isolating times of national lockdowns, Seedfolk was born out of a moment when many had time to slow down and reflect on the smaller things – in Gemma’s case this was growing veggies in her own back garden. The seed subscription and grow club started from Gemma’s own family’s journey with gardening and her desire to share this joy with others. “I thought this was a wonderful story and ultimately it's where the name came from – folk coming together to grow from the humble seed”, shares Vincent.

This is the catalog of the exhibition Man Ray, le beau temps, held from July 8 to November 19, 2023 at La Banque, musée d’Hyères, in the south of France.

The exhibition retraces Man Ray’s encounters with some of the most important artists of the 20th century, from Duchamp to Éluard and Cocteau. Set against the summers of 1936–1938 on the Côte d’Azur, it evokes friendships and romances as well as moments of bold experimentation – portraiture, color, photomontage and rayographs – always driven by the artist’s desire to transform photography into art.

Federico Parra Barrios’ Exposure (205TF), its nature resonating deeply with the artist’s own work, is the main typeface. It was chosen as a nod to the very nature of photography, to Man Ray’s rayographs – one of which was selected for the catalog’s cover – while also evoking the harsh Mediterranean sunlight that bathed his summers with Ady, Picasso and others.

Page numbers even have a circular text wrap gently repelling the surrounding text, like a radiant light or a playful hint at a sun’s silhouette.

The rest of the text is set in Walsheim (Grilli Type) by Noël Leu, for its 1930s aesthetic.

Published in 2023 by La Banque, musée d’Hyères and Éditions courtes et longues.

Halyard is the display typeface used for the website about Strasbourg’s term as World Book Capital.

Established in 2001, the World Book Capital is an initiative of UNESCO which recognises cities for promoting book culture and fostering literacy. For 2024/2025, the French city of Strasbourg was awarded this title. Under the theme of “Lire notre monde” (“Read our World”), it celebrated books and reading through more than 1,000 events and activities.

The dedicated website was designed by local agency Thuria, using Halyard Text (Darden Studio) and GT Walsheim (Grilli Type).

Strasbourg’s 5 strategic areas of focus are presented in Halyard Text Bold.

The program included a weekly challenge, announced on the website.

Detail from the French language version

Detail from the English language version

Detail from the German language version

Some parts of the website are adorned with illustrations by Frédéric Bellier.

Homepage

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.

Querido muerto mío is a novel by Felipe Núñez Mestre, published by Rey Naranjo Editores, that delves into the complexity of the willingness to go to war and the fragility of bodies shaped for combat, set in an opaque Caribbean with shifting borders and a threatening sea. The story contrasts the weight of a childhood among corpses, a furious adolescence, and an adult life trying to find meaning amid the military, the pursuit of fortune, and death. The book’s visual concept was created by Raúl Zea, Isabella Viracachá, and Isabella Barajas as part of the Rey Naranjo Editores design team.

As the name suggests, “Die Genusshandlung” is a place for exquisite specialties and delicacies from near and far.

This is how brothers Florian and Jonas Imfeld are introducing their gourmet store in Stans, Switerland, which they run since 2014. In the shop one can find a huge range of regional cheese and dairy products, suitable accompaniments, and many homemade specialties from their own factory.

For these products, Luzern-based designer Manuel Alonso developed a packaging design using various colorful brushstrokes and watercolor blots echoing the vivid tones of juices and dips. NewParis and GT Walsheim are used in combination on all the delis labels.

MadeByShape undertook a comprehensive re-branding and web design project for Millennium Care, aiming to reshape the public's perception of care homes. The project involved refreshing various brand elements such as colour schemes, typography, and photography, with a focus on improving user experience and the content management system. This holistic approach aimed to distance the brand from the clinical and corporate aesthetics typical of the industry, thereby creating a more emotionally appealing platform.

Additionally, we consolidated seven separate websites into a single, cohesive website. This not only streamlined the brand's online presence but also ensured that the brand's messaging was consistent across all homes within the Millennium Care group. The redefined website and branding emphasise capturing genuine, daily moments in care settings, reflecting a realistic and positive view of later-life care.

Presented in June 2021 in the TDF Collect art space in Collingwood, Melbourne, Australia, Here, In My Mind is the debut exhibition of emerging artist Amalia Keefer and the first body of work she has created en masse.

Designer Sasha Aarons chose NaN Weiss for the title of the exhibition, showing its distinctive serifs on serifs on the capital letter I. On the flyer/postcard, Freight Micro makes an appearance with its distinctive warm and open rhythm and dynamic italics. The display cuts of Freight are used on the TDF Collect website, suggesting a consistent use across their identity. The sans serifs are GT Walsheim for the artist’s name and Sofia for the opening hours.

Leeds Art Gallery is thrilled to present a major retrospective of British documentary photographer Peter Mitchell:

Known for documenting Leeds throughout his career, the exhibition explores and reflects upon key bodies of work from Mitchell’s remarkable career and feature works previously unseen by the public. Peter Mitchell has a long-rooted connection with Leeds and Nothing Lasts Forever marks nearly half a century since Mitchell’s first exhibition at Leeds Art Gallery in 1975.

Nothing Lasts Forever is his poetic title for the exhibition, which is accompanied by a new publication; together they create a timely opportunity to enjoy work by one of the most important early colour photographers of the 20th century.

Marketing and exhibition design was created by Leeds Museums & Galleries in-house creative designer in consultation with Peter Mitchell. Rusty reds and vernacular type prominent across Mitchell's photographs informed the interpretation headings set in Altivo Black by Kostic Type Foundry, paired with the gallery’s house font GT Walsheim.

Leeds Art Gallery, 17 May – 6 October 2024

The exhibition catalogue was designed and published by RRB Photobooks in April 2024, with an essay by Diane Smyth and a preface by Jane Bhoyroo. It addition to the softcover trade edition, there’s also a special hardcover edition bound in red cloth and limited to 250 copies (shown here). 148 pages, 24.5×24.5 cm

In Giselle Beiguelman's exhibition Botannica Tirannica at the Museo Judaico São Paolo, the artist establishes the indexes between botany, colonialism, and artificial intelligence, approaching scientific taxonomy as part of the colonial project.

The visual identity for the exhibition aimed to establish a critical dialogue between the language of natural science museums and digital language. In order to create unity between the different temporalities (classic and contemporary) and universes (real and virtual), I explored contrasting colors, such as neon green and military green, and typefaces created at different points in history: Baskerville, a transitional serif typeface designed in the 1750s; NB Typewriter (incl. its Rounded variant), a monospaced font family created in 2008 that alludes to the language of digital coding; and GT Walsheim, from 2009, with smooth rounded geometry, a sign of another future, different from the one denounced by the exhibition.

The catalogue for the exhibition was awarded Bronze at the 2023 Latin American Design Awards in the complete book category.

Visual identity and signage by Maria Cau Levy, with design assistance by Karime Zaher. Exhibition design by Helena Cavalheiro. More info at m-cau.com.

To mark the 500th anniversary of the Protestant hymn book, the German postal service published a stamp in January 2024. The stamp shows a stylized illustration of the hymn book and the church of Lutherstadt Wittenberge. I translated the historical theme into a contemporary, modern design , making visual reference to a church window that is illuminated. This effect intensifies when the stamp is arranged in a row with the margin of the sheet of ten stamps. GT Walsheim fits perfectly with the reduced, geometric illustrations and gives the stamp a modern character.

In addition to the stamp, two first issue postmarks were created for Berlin and Bonn, as well as the margin of the sheet of ten, which continues the design of the stamp beyond its format. The stamp is available in all Deutsche Post shops and online. The date of first issue was January 4, 2024.

As part of a rebranding, Swiss bakery and confectionery chain Kleiner used a beta version of what became NN Konrad. This new typeface replaced the neo-Gothic lettering and gave the brand a friendlier appearance. The lettering is combined with a modern grotesque typeface, GT Walsheim, and is paired with hand-painted illustrations that are used as patterns on bags, etc.

Since 2024, Kleiner is part of the Kleiner Jung AG.

Before and after the redesign

Semihandmade is a company that makes customizable cabinet doors for Ikea cabinets. The Semihandmade logo uses Gneisenauette. Text on the website is rendered in various weights of GT Walsheim.

Sign for the guided group queue

Yerebatan Sarnıcı müzesi is the museum for the Basilica Cistern, “the largest of several hundred ancient cisterns that lie beneath the city of Istanbul, Turkey” [Wikipedia].

The museum uses GT Walsheim and Domaine Display in their visual identity. The logo is based on Displayed. Fika İstanbul designed the booklet with a presentation of the museum (pdf), with photography by Şahan Nuhoğlu and Oğuz Çiçek.

Booklet cover

Spread from the booklet

Studio DAD is a writing and design agency that builds brand identity systems, content, campaigns and experiences. DAD worked with the Oregon Zoo over the course of 13 months to create their first all-new identity in more than a quarter century. The rebrand supported a reimagined, conservation-focused mission and vision for the Zoo, embodied by a new tagline “Together for Wildlife.”

DAD worked with the internal marketing team to develop a fitting creative vision for the new identity: it should feel like part of the Northwest, it should inspire pride in the Zoo, and it should reflect the diversity of wildlife that calls it home. The logomark is built on a circular container shape, referencing the O in Oregon, and features animals iconic not only to the Zoo, but to the Northwest. A scalable patterned icon system represents the diversity found at the Zoo while celebrating the flora and fauna of the region. The wordmark is set in Exchange. The tagline pairs Exchange with GT Walsheim.

Spektra is the headline typeface for the website of Upsala Circus. Spektra, which brings together the specifics of many various scripts, is an ideal tool for social projects,  such as a circus with no animals, but with an inclusive team instead. It introduces to the arena children with special needs, mentally atypical children, as well as neurotypical kids at the same time.

The typeface used for body text is GT Walsheim, designed by Noël Leu and released by Grilli Type as a Latin-only typeface family in 2009. Cyrillics were added in 2014, designed by Noël Leu with Mirco Schiavone.

Patricia Wants to Cuddle is a new book by author Samantha Allen and published in 2022 by Zando. The cover prominently features Roslindale Narrow Ultra. This is part of the later set of weights that I first issued in September 2020, which has been used less often than the original Display Condensed. It’s cool to see it in action!

According to Bookshop.org, the book is “a whirlwind romp careening toward a last-girl-standing conclusion, and a scathing indictment of contemporary American media culture, Patricia Wants to Cuddle is also a love story: between star-crossed lesbians who rise above their intolerant town, a deeply ambivalent woman and her budding self-actualization, and a group of misfit islanders forging community against all odds.”

The company Grünkraft was founded in early 2017 by three young, innovative friends. Inspired by the purtiy and power of nature, they shared the common vision of high-quality cannabis made in Switzerland. Since 2020, the brand is offering a range of CBD oils and flowers for sale across the whole European territory.

The company logotype and packaging typeface have been designed by Bern studio Maison Standard with a customized version of Vogy Smog from Swiss Typefaces’ Lab, with a newly single-storey lowercase g designed by the foundry and a tailored ft ligature. The complementary typeface the brand is using for its website and packaging is the geometrical GT Walsheim from Grilli Type.