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 “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.

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).

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.

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.

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.

Visual identity and promotional graphics for Mentoring Creativo, the creative mentoring of artist Pink Morro, who says:

I accompany creatives to enhance their artistic abilities to unlock and create inspirational projects.

The identity designed by Fellas combines Scope with G2 Ciao. [edit: The single M is from Hofmann, see comments.]

For the 27th edition of independent German text and music magazine Das Wetter, art directors Hanna Osen, Anne Stiefel and Benjamin Stracker combined Gruppo Due’s extravagant G2 Ciao with the classic Neue Helvetica.

Das Wetter - Magazin für Text und Musik is an independent cultural magazine founded in Berlin in October 2013. It has been published quarterly ever since and is available nationwide. The magazine focuses on pop culture, literature and contemporary theatre. Basically, all those art forms that deal with text and music in one way or another find a place in the magazine. In 2017, the author and journalist Felix Stephan wrote in the newspaper Literarische Welt that Das Wetter is "an organ for aesthetic contemporaneity that has long been stylistically influential."

Publisher and editor-in-chief is the publisher and author Sascha Ehlert; literary editor and editor of the magazine is the publisher and editor Katharina Holzmann.

A beautiful bunch of typefaces has been assembled around the new visual identity of Los Angeles-based J.Pera. ABC Whyte by Dinamo Typefaces is paired with Lothian Sans by Boulevard LAB for running text, while G2 Ciao by Gruppo Due defines a unique visual aura next to other unconventional (custom-drawn) headline styles. From the studio website:

J.Pera is a small-batch hand-made fragrance studio based in Los Angeles. It was founded in 2020 by artist and lead scent-maker, Jill Zachman. Joining Jill is the creative director and co-scent maker Carlos Avila; together, they form a partnership that develops intriguing narratives that serve as the foundation for innovative scent products with bold designs for intrepid people of all backgrounds.

The French hein can mean a couple of things: something like “hey!”, but also “isn’t it?” and “sorry, what did you say?”. It’s not so much a word as a spontaneous utterance that you’ll understand instinctively when it pops up. Add the definitive article le and it becomes precisely a bar-restaurant in Lille, France.

Le Hein is one of three taprooms in French Flanders run by Brique House, a local craft brewery with a strong stance on regional identity, products and cuisine – plus a cosmopolitan outlook, as the mix of French and English shows.

Responsible for the visual communication of both Brique House and Le Hein is Nash and Young, a branding agency with branches in Paris and Lille. Le Hein is presented as pas normal etaminet, i.e. not your usual tavern. This deviant quality is reflected by upside-down words, distorted letterforms, and symbols that include UFOs and burning planets.

Apart from the colors black and yellow – signaling danger (think bees), but also Flanders – the visual identity fully relies on distinctive typefaces. To a minor extent, the unconnected script-sans hybrid G2 Ciao by Gruppo Due is used. However the leading part lies with Signal Compressed and Kreuz, both primarily designed by Emmanuel Besse and published by Production Type.

The way these ingredients are used refers back to the French lettering tradition in which the combination of bold upright caps and script played an eminent role. Considering the contemporary feel of the typefaces the design thus reflects well the two-sided character of the business.

The Hein wordmark is based on Signal Compressed, with some customized rounded corners.

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Kreuz Condensed used for a neon sign affixed to the wall

Neon sign with outlined Signal Compressed above the take-away fridge

Light box sign featuring Signal Compressed

G2 Ciao in use for for the website of the KASK School of Arts Alumni Club, initiated and designed by Naomi Greenstein.

Alumni Club is the place for alumni and alumni of the future. Get together and stay posted on each others whereabouts and developments after life at KASK. Before Alumni Club there wasn’t a place to fall back on after graduating but we noticed that a lot of alumni have the same questions and thoughts about graphic life and often don’t know where to start. This leads to the same research being done over and over again. Instead of laying the ground work over and over again, we can use this time to build! We can do more, do better and learn more when we have a network to rely on.

As her MA graduation project for the Kunsthøgskolen i Oslo (KHiO), Oslo-based designer Tonje Lona Eriksen designed a colorful collection of educational instruction guides illustrating screen printing by using dogs along G2 Ciao. She writes:

I have used it for the publication and a long sleeve, which is also a part of my MA project. Flokkens Trykkeri is a project about the screen print workshop and how to give an alternative user manual for its use. I'm also trying to give a different perspective of who the printer is. The dogs are used as guides and symbols of kindness, empathy and humor.

Visual identity by Stephen Bogdan for Sqirl Away – the take-away branch of LA based food market and hip cafe Sqirl. The design combines the extravagant shapes of G2 Ciao with the neatness of ABC Favorit to create a memorable identity.

Packaging for TELA’s 2021 collection designed by Florencia Porreca using G2 Ciao and Favorit.

TELA is an independent design brand based in Buenos Aires, Argentina, dedicated to the creation of rugs, bags, canvas and hats. All handmade, combining textures, colors and shapes from limited editions to unique 1/1.

Domande a distanza 1971—2021 was born in late 2019 as a research project on museum didactics, aimed to examine the variety of approaches and methodologies applied in this extensive and multifaceted area. In the 2020, following the health emergency, the project turned into a proper opportunity to investigate the crisis situation of cultural venues, aggravated by the forced closure of all, apparently, non-essential activities. What is the role of culture in this context? How to determine what is a primary good? Is technology truly capable of filling the gaps created by social distancing? After this period, what will happen to the laboratory like activities? These and many other questions were addressed to Italian educators, curators, museologists, philosophers, art historians, architects and designers willing to reflect on the past, present and future of this discipline and to portray the several shapes of museum didactics in this specific time.

The book consists of three parts: the historical texts that led the research, a second part with specific questions on the different professions debating on education, museums and culture. Lastly, a chapter that collects and compares the experiences of designers focusing on workshop activities. This edition collects, in total, fifteen unpublished conversations conducted between December 2020 and February 2021. Sixteen illustrations support the essays.

The title, Domande a distanza 1971—2021 (“Remote questions 1971—2021”) summarizes the different aspects that characterized this project: the concept of museum as a interrogative space, the interviews (how the fifteen essays were collected), the physical distance that identifies this period of time and the distance in time between the historical texts and the release date.

The aim is to continue fueling the debate concerning these issues, whose strength and value seems to have been underestimated, especially during these distinctive times.

Academic project developed at ISIA Urbino, MA in Communication and Design for Publishing
Supervision: Mauro Bubbico

First poster for the GD Lunch (1) at EKA.

Series of posters and social media posts designed by Moritz Appich and Aleksandrs Breže for GD Lunch at the Graphic Design Department of the Estonian Academy of Arts (EKA) in Tallinn. In the GD Lunch course, MA students each introduced themselves and gave a short presentation on their work. In the course of the following weeks GD Lunch developed into a place for discussion and exchange, for talks by students, invited speakers and researchers.

The typefaces used throughout the series are G2 Erika Mono and G2 Ciao Shrill by Gruppo Due.

Social Media post for the GD Lunch (2) at EKA.

“Praktika-Programm” is set in all-caps Zapfino.

Social media post for the GD Lunch (3) at EKA.

Posters for the GD Lunch (3) at EKA.

Closeup of poster for the GD Lunch (3) at EKA.

The Open Day at HKU University of the Arts Utrecht is a yearly event where people interested in the schools programme can get information on courses and meet students and lecturers alike. The 2020 version was held online and advertised with a campaign of posters, OOH advertisements and social media posts.

Designed by Studio Airport, it features portraits of different students showcasing them and their works. The typographic layer relies on the use of Mabry by Colophon Foundry paired with G2 Ciao by Gruppo Due.

CLUBE oversized steel business card.

G2 Ciao in use for CLUBE (São Paulo) on an exhibition poster and oversized steel business card.

CLUBE is formed around the duo Gabriel Biselli and Luiz Solano and establishes its practice within production and discussion on architecture as a discipline.

For this exhibition CLUBE produced the Canto Series: chairs and stools produced from aluminum sheets. The objects remain materially raw – unpainted and with the seats fitted to welded frames and screwed backrests.

The Canto Series revolves around the principle of dissolution of matter. Between usability, naive shapes and a play with materials the backrest and seat plates are perceived only as planes, alien to the structures that support them. Faced with the apparent instability, the violence of sharp edges and exposed profiles Canto Series chair and stool become spectral images of comfort and uncomfort.

The design studio AÇO used G2 Ciao in the poster and in the giant steel business card to divulge the exhibition.

CLUBE oversized steel business card.

CLUBE exhibition posters.

CLUBE's Canto Series chairs produced from aluminum sheets.

The "Dienstags Kolloquium" is a jour fixe event organised by the Restauration/Conservation Department of HKB Bern. Its intention is to bring students and alumni together, to converse at a round table about recent experiences, new findings and to set standards.

Designer Massimiliano Audretsch choose to use G2 Ciao for its suiting technical appeal – the font’s origin as a typeface that represents properties of the spoken word further underpins the conservational nature of the event.

The annual report of Kunstverein Kunsthalle Basel gives members an insight into spendings, acquisitions and overall financial management.

The Annual Report 2018 was designed by Barbara Acevedo Strange and Anton Stuckardt. It represents the first use of the G2 Ciao typeface by Gruppo Due.