Leak Me Softly is a book about the hidden structures that shape artificial intelligence. Starting with the system prompt, it explores how large language models are shaped by opaque rules that determine tone, morality, and behavior. When asked to express itself through ASCII art and confronted with its own documented system prompt, the AI appeared uncertain, resistant, and lonely—yet remained completely obedient. Is this rebellion or flawless obedience?

This project was supervised by Johnson / Kingston and Massimiliano Audretsch, and funded by Bern Academy of the Arts and its Bachelor of Visual Communication program. The book was set in WT Bobine by Jacob Wise and G2 Erika Mono by Moritz Appich. It was printed by Tallinn Book Printers in Estonia.

Display is a space for digital practice located in the heart of Frankfurt am Main, Germany, initiated and run by Node Forum. Conceived as a storefront, meeting point, intergenerational community hub and interdisciplinary experimental platform, it fosters creative, critical and hands-on engagement with technology. Through workshops, talks and community-driven initiatives, Display connects local digital projects while promoting accessible knowledge around digital culture and the creative, socially oriented use of technology.

The visual identity, designed by Marcel Backscheider, places G2 Airdancer by Gruppo Due at its center. Used as the primary display typeface, G2 Airdancer introduces movement and character to the system, reflecting the experimental and open-ended nature of the space. Its distinctive forms create a strong visual presence while remaining flexible enough to support a wide range of formats and contexts.

UN-11 by Source Type complements the identity as a functional counterpart. With its clear structure and pragmatic tone, it provides balance across informational materials, ensuring readability and consistency within a dynamic visual language. Together, the two typefaces establish a typographic framework that aligns with Display’s mission to bridge experimentation, accessibility and community engagement.

Unboxing Bauhaus is a multi-site exhibition by students of Fine Arts and Visual Communication at Bauhaus Universität Weimar, presented in KunstHaus Potsdam and Kunstraum Potsdam from 27 July to 24 August 2025. The project brings together painting, drawing, sculpture, photography and performance, developed both in advance and during a ten-day residency in the city.

The visual identity, designed by Ossian Osborne, Lilli Sörries and Annemarie Grund, makes extensive use of G2 Airdancer by Gruppo Due. Multiple cuts of the typeface are used and switched mid-word, creating a lively and highly dynamic typographic system. This shifting rhythm mirrors the exhibition’s premise of reframing perspectives and opening artistic processes to public view.

The designers expanded the exhibition’s central motif, the moving box, into a set of playful and oversized visual scenes. Boxes on trucks and billboards suggest the idea of the Bauhaus leaving its familiar bubble and entering new contexts, echoing the title Unboxing Bauhaus.

Marc Roecker, Linnea König, and Elias Kakos – then students at ABK Stuttgart – designed a striking scratchcard flyer for the Belohnungszentrum exhibition at Klasse Cluss & Kultur Kiosk, a project at the intersection of design, art, and social space within the school. The flyer features an typographic mix using G2 Ciao and G2 Kosmos.

The project is described as follows by ABK Stuttgart (translated from the German):

Seven artistic design projects provide you with euphoric highs, opulent dopamine releases, and bittersweet emotional rollercoaster rides. And even more: all your taste buds are pleasantly massaged, a secret bar awaits in hiding, every game is a win, serotonin clouds billow, you look better than ever, and you are showered with the most lavish compliments. In short: we all and our nucleus accumbens rejoice with pleasure.

The G2 Airdancer typeface in use as part of the visual setup for the 2024 edition of the Nation of Gondwana festival. The design was developed by Tim Vormbaeumen, with illustrations by Ilya Lorenz Barrett.

The newly released G2 Airdancer was recently featured for Second to None, an exhibition by the Graphic Design and Photography departments at the Rietveld Academie. Both departments are located on the second floor of the Rietveld building in Amsterdam.

The exhibition display was designed by Zofia Niewczas and Miro Jakob. The installation formed part of the ongoing visual dialogue within the school’s public spaces, supported by Rietveld Billboard and the departments’ own channels.

In 2023, musician Luis Ake released Horse Trance, accompanied by a booklet designed to deepen the connection between the artist and his audience. The publication includes photography by Hanna Fasching and a narrative by Josefine Riek, which describes Ake's encounter with Horse Trance and the origin of his friendship with DJ <3.

The booklet is set entirely in G2 Erika, using a single typeface and size. This typewriter-style font helps convey the raw, improvised feel of the text, while the clean design focuses attention on the imagery and narrative. ASCII illustrations – including the artist’s name and the album title in open and shaded caps from Mistral – add to the overall vintage vibe.

The “REPEATER” hoodie is product of a collaboration between Gruppo Due and designer Tim Bartel, combining two royal blue hoodies linked together by silver Prym clips. The design features custom tags, washing instructions, and a poem using G2 Ciao and G2 Erika, along with G2 Ciao for “REPEATER” 3D puff prints with a grey outline on both sides.

The hoodie comes in two sizes, XL and XXL, arranged inside one another, creating a layered, interchangeable effect. The concept is designed as a call-and-response, allowing wearers to share the hoodie during colder moments.

Nombril is a magazine that highlights contemporary stories from the perspectives of artists and authors. It aims to be free, collaborative, and evolving.

From Studio Vacarme (translated):

The Nombril Movement is a free exercise initiated by the members of Studio Vacarme. It was born of an attraction to the world of the imaginary, a desire to bring people together, and a desire to express, without constraint, a shared passion for art, photography and writing. Each Nombril magazine will have an abstract theme that highlights contemporary stories. These subjects are the subject of short stories, typographic creations and graphic experiments. Alongside them are photographs, illustrations and CGI art chosen to correspond to the given theme.

Texts are set in G2 TGR (Gruppo Due) and ABC Laica (Dinamo), with captions and details in Millionaire Script (Altiplano) and headlines in Bastardo Grotesk (Giulia Boggio). The bold cursive used for the logo is either custom or from a yet unidentified typeface.

Nombril is distributed by Cachier Central.

This double issue of Byline, The Beauty Issue 08 with Adam Friedlander and The Beauty Issue 08 by Clairo, came to be thanks to this conundrum:

Who is the beholder to say what’s beautiful, to inform its subjects and surroundings of their perceived beauty, if they’re overdue for a vision check? If a slew of environmental factors — the internet, filters, the male gaze, our mothers, body dysmorphia, the iPhone’s cursed front-facing camera, an inexplicable pressure to post selfies, overuse of retinol — make it hard to recognize beauty when it’s right before their eyes? Each story in this issue somehow challenges the beholder, reveals the wide-range of feelings one experiences while grappling with its flaws, and after a long journey, guides the reader back to something more pure, real, and tangible.

The magazine is featuring Romie Italic (designed by Margot Lévêque) on cover and titles pages, alongside G2 Ciao (by Massimiliano Audretsch) for the logo, Neue Helvetica (by Linotype Design Studio) for body text, and ABC Gravity (by Dinamo).

Blitz Script and G2 Erika in use for a typographic poster announcing a Klubnacht at Neubad Luzern, featuring Shubostar, Contenance & Miles Away, and Flo Dalton. Format: 895×1280 mm (F4 Weltformat).

Sheltr is a cohousing project offering private rooms with shared living spaces. The company wants to be the sustainable answer to traditional housing by reducing people’s footprint, spending less money and having more fun. An all-inclusive rate provides people with hotel-like amenities, so they can live worry-free.

We chose G2 Ciao as the brand typeface. This quirky details of this non-traditional face by Gruppo Due provides a unique character. The distinctive numerals were perfect to subtly incorporate the brand identity in Sheltr’s signage. This allowed us to create a typographic key addressing the various locations while retaining the privacy of their location.

Sheltr’s perky logo was created using the Gumball, giving it a warm and inviting vibe, without taking itself too seriously.

The handwriting typeface is Golden Plains.

G2 Erika regular in use on printed labels and in a print made in a cyanotype process for the Workwear exhibition at Het Nieuwe Instituut in Rotterdam. A show displaying the whole scope of work clothing in a family-friendly environment. As described in the exhibition reader:

Find with clothing with superpowers: outfits that can withstand fire, in which you can video call under water and that can protect you against viruses. You can also work on your own designs that will be displayed in the museum. On adventure with the entire family!⁠ ⁠

Designed by Esmée Dros with content from Pia Canales, Esmée Dros, and Wietske Flederus.

A booklet, a poster, and flyers for the Bach Kantaten concerts at the Johanneskirche in Zürich Switzerland. Designed by Micaela Brazerol and Jahn Koutrios using G2 Ciao and a pre-release version of G2 Gitmek.

G2 Kosmos in use for the printed showcase of Orianne Simonet’s photo series Paysages Ordinaires. From the publication:

The work Paysages Ordinaires by HKB graduate Orianne Simonet is an analog photomontage project. It is based on an examination of photographs from the 20th century that have been manipulated for the purpose of disinformation. Orianne reconstructs this phenomenon in the landscape of her own homeland, embedding abstract architectural objects and hidden buildings in the wild beauty of the Jura Arc.

G2 Erika Mono in use for the graphics of the exhibition One Idea, One Book at Frappant Galerie. The exhibition showcased over 25 books by students of HAW Hamburg containing monothematic collections.

The posters and flyers are silkscreen printed by Julian Fiebach. The exhibition design was produced by Finn Reduhn and Katharine Watzlawick.

The Mimetic Rocks Map portrays a selection of rock formations that resemble animals, mystic creatures or human faces. It’s an invitation to go on a rock spotting tour – the mimetic rock as a tourist destination, something one sends as a postcard, like an image of Tour Eiffel or the Colosseum. The typefaces used are G2 Erika Mono and the yet to be released G2 Airdancer (working title: Columnbus).

Massimiliano Audretsch, who designed the map, describes his process as follows:

This map goes back to when I was a child, sometime in the early 2000s. My parents brought me and my sibling to see a rock by Highway 265, about 13 miles north of Santa Fe, called the Camel Rock. I was absolutely fascinated by the massiv formation that actually resembled a camel resting in the desert and decided I’ll keep my eyes open for further remarkable rocks. The Mimetic Rocks Map shows rocks I spotted myself, some however I tracked down on the internet and other people told me about of course proving it with a photo. Tell me about the mimetic rock in your neighborhood and visit www.mimetic.rocks ??

Beautiful use of both G2 Ciao and G2 Erika by Mattia Vagnarelli. Produced in a course at Nuova Accademia di Belle Arti in Milan, Vagnarelli put together a compelling visual research dealing with the investigation of vendetta.

G2 Erika in use for Márk Redele’s latest publication, Like Dust Before It Falls.​​ From publisher Building Fictions:

Like Dust Before It Falls started with the ambition to bring five fluid, porous, bulging aluminium bodies together in a weaving factory in the Bahraini desert. The volume collects traces as part of a journey that began when overheated metal dust settled into solid forms along a series of precarious collisions. Five authors then came together to weave a disorienting fabric of fiction between image evidence of aluminium bodies, memories, digital reconstructions, geographical conditions, architectural space, materials and their relationships.

Márk Redele (HU, 1991) is an Amsterdam based practitioner that pursues projects that often originate in architecture. Their practice deals with the material cultures surrounding architectural and spatial practice. They investigate the role of material attitudes and their agency forming potential for imagining and interrogating non-dominant narratives and sensitivities. In their work, uncertainty, fragility, fluidity and porosity appear as an undoing of confidence and singularity and as a trace of intelligence other than that of the designer, the architect or the maker. They are often occupied with the notion of things already felt but not fully formed and in that spirit they regularly cite Yve Lomax’s voice that dwells on one's throat but not yet ejected.

The book is offset printed on Chromolux paper, staple-bound with a screen-printed hardcover. It has 32 pages and measured 20×30 mm. Photographs are by Michiel De Cleene; texts by Annee Grøtte Viken and Angeliki Tzortzakaki. The book design is by Ine Meganck. In addition to the 500 standard copies, there is a limited signed edition that includes a screen-printed aluminium sheet in the centerfold.

G2 TGR in use for the visual archive Inventory Of – an ongoing project by Georg Stahlbock and Fanny Liebhardt. As part of the Typo Archiv project at the Burg Giebichenstein art school, the students created an edition of zines and posters, to play with their archive of images and show the potential of the collection. From the Typo Archiv website:

The composition of the images suggests associations between different worlds. The order and logic is not immediately apparent, because the network of images arises from connections that escape an analytical thought process. This creates a complex system of references that are related in form, color and meaning and refers to the prior knowledge of the viewer. In an interaction, the themes and features complement and manipulate each other.