A new time is here, a new GT Era. 🟥🟧🟦 GT Era reimagines the warmth and idiosyncrasies of early grotesk typefaces for our own era.

@simone_nr @taryncowart @yourfavorite @HilaryGreenbaum What other hot topics should we cover??

DYLI Live: The Queue EP36

Thanks to all of our contributors for their words of wisdom ⭐️ @simone_nr @taryncowart @yourfavorite Adam O’Reilly, @HilaryGreenbaum and Jake Hobart.

Does working in-house sound monotonous to you? Well, maybe we can change your mind! 🤓 This month’s Grilli Guide is all about working in-house, and how it can help you build a whole new set of design skills. 🤯

Final result (in case you haven’t seen it yet) →

Here's my unpopular opinion: Glory be to God the Father, Christ is Lord!

Should we have included that text-shifting ball after all?

Restraint was never an option for GT Era… ❎ Check out some BTS from our latest release. ⬇️

A classic: The GT Ultra poster 🖼️ Printed in Berlin, it features all the elaborate technical details you’ve ever wanted on your walls. More info → https://t.co/wkG8Q8zQem #GTUltra #GrilliType

From Noël's bookshelf 📚: Standard Crest Collection This catalog was the go-to reference for Japanese graphic designers back in the 1950s. A collection of corporate logos, family crests, and trademark designs published during the Showa era.

GT Alpina in Edciones Inauditas. The Berlin-based publishing house releases vinyl records of sound works by conceptual artists. Designed by Koby Barhad, the packaging for the series features GT Alpina.

Learn more about GT Era on its typeface minisite

And here we are! They share DNA but aren’t siblings. Maybe cousins?

But I finally figured out how I could make GT Era work: it needed optical sizes for today’s contemporary design needs, but the optical sizes should reflect a much more diverse approach than usual. The result is two typefaces sharing a common ethos, created to be paired.

So when it came to building out the family, I found the lighter weights of Breite Fette Grotesk to not be a great starting point.

Furthermore, the designers were limited to whatever typefaces their printer offered. The Bauhaus gained its own letterpress workshop in 1925, and Breite Fette Grotesk was one of the typefaces they had available. Other print shops instead had Venus—see Walter Dexel’s designs below

Multiple related weights were often not a family in today’s sense. Often, roughly similar styles were sold under the same family name. See for example the Breite Fette Grotesk (black) and Breite Magere Grotesk (light) lowercase e compared.

GT Era is heavily inspired by the typeface Breite Fette Grotesk (ca. 1894) and its accompanying lighter weights by the German Schelter & Giesecke foundry. But it’s decidedly not a revival.

Our newest typeface, GT Era, started with Thierry’s love for early modernist designs, and their designers’ favorite typographic tool, 19th century grotesks that were decidedly pre-modernist.

Have you checked out GT Era's minisite yet? Escape this cold world of friction-free UX designs and dive into: https://t.co/SlR95aD769 #GTEra #GrilliType

GT Walsheim in 30yrs of making noise To celebrate Fuse’s 30th year of continuous operation in Brussels, press Afterclub and Fuse collaborated on this book, designed by Otis Verhoeve, and featuring GT Walsheim.

The new Bauhaus inspired @grillitype release GT Era looks so great, so nicely crafted, clean but warm. Amazing work from the team as usual. Congrats @blancpain @jheftmann and co!