The project began as a way to rethink how physical activity is usually represented. Instead of another dashboard centred around pace, distance and performance, FR treats the shape of the route itself as its primary material. Users can transform the paths they run into letterforms, generate patterns from their movement and unlock clothing shaped by the places they have been. A run becomes less like a result and more like a trace, something personal that can be collected, worn and built upon.

Goalkeepers are the very best team players! They also stand a bit outside the team, on their own. They are reliable, stubborn and a bit crazy. Be a goalkeeper in life!

Self-initiated project – Eternal research into custom typography and icon design techniques (balance between icon design and illustration).

UsMeCa typography is a commemorative work made in honor of the World Cup in 2026, and follows a sequence of projects that are developed by Nacione™.

The concept behind the UsMeCa typeface was inspired by modern football: tactical, rigid, and structured in blocks, where players rarely stray from their assigned roles. We missed the unexpected moves, the dribbles, and the rebellious urge to defy the coach’s instructions.

Illustrations by Gabriel Diogo
Font Production by Naipe Foundry

Camiseta is a Graphic Design thesis supervised by Davide Luccini. It investigates the football jersey beyond the pitch, tracing its transformation from functional uniform to cultural symbol. The project explores how the jersey has escaped its original context to enter streets, fashion and everyday life, becoming a vehicle for identity, belonging and style, while carrying the visual codes and memories of the communities it represents—revealing what lies beneath the fabric.

Driven by a passion for football culture and design, these custom jerseys bridge the gap between the pitch and the streets. Through striking visual concepts, bespoke typography, and high-attention detailing, each garment celebrates the emotional power of kit design while offering a fresh, modern perspective on modern sportswear identity.

Originally used to hand food and supplies to riders during road races, the musette bag remains an icon of cycling culture.

Designed, sewn, and screen-printed with a custom graphic, the project is completed by matching packaging and a pasted poster wall that references the musette bag’s racing heritage.

Originally used to hand food and supplies to riders during road races, the musette bag remains an icon of cycling culture.
Designed, sewn, and screen-printed with a custom graphic, the project is completed by matching packaging and a pasted poster wall that references the musette bag’s racing heritage.

Ping. Pong. This is what happens when you ask type to stop describing a sport and start performing it. The letters don’t gesture at ping pong; they are the exchange, reduced to its two essential sounds — high and outward, low and inward — and the shape of what’s missing between them.

Crack is a typeface developed since November 2025 at HEAD–Geneva, alongside CrackHead Football Collectif, a self-initiated, amateur and mixed student football collective. Built entirely without curves, its rigid, angular forms deliberately break with the visual conventions of football typography. Used on jerseys and communication materials, Crack questions football’s commodification and consumerist codes, reclaiming the sport as a collective and non-commercial space.

Kill Bill and the football schwalbe seem worlds apart, yet both stage exaggerated drama for effect. This project explores that unexpected common ground: theatrical suffering as spectacle. Through visual experimentation, close-up portraits merge stills from Tarantino’s Kill Bill with photographs of football players mid-fall, blurring cinematic violence and sporting performance into a single, tension-charged image — where pain becomes choreography.

Waddesdon Manor Wild Wood Adventure Playground poster announcing the new playground, encouraging children to play, explore and get active.

A simple twist on the traditional game of Dominoes – replacing the dots with coloured squares. We wanted to engage designers with the form, texture and tactility of real paper and print. We wanted to encourage physical play in a digital world. The Domino logotype replaces the O’s with squares to echo the card format.

Beijing 2022 was a proposal for the visual identity of the Winter Olympic and Paralympic Games, exploring the energy and movement of winter sport through typography and graphic form. Studio Sutherl& developed a flexible visual language inspired by snowflakes.

8×8 is a typographic project exploring how a familiar system can be reconfigured through type, structure and play. Using the 64-square chessboard as a starting point, Studio Sutherl& developed a series of variations that challenge how the grid can be seen, read and used. The project explores the space between typography and chess, turning a fixed structure into something fluid and unexpected.

ABRAZO is a film about an amateur tango club in Folkestone, exploring connection, duality and the relationships formed through movement. The identity reflects this idea through letterforms that embrace and intertwine, creating three distinct ligatures: AB, RA and ZO.

Film by James Poole, Angus Sung and Tom Ip

Studio Sutherl& began playing chess over Zoom during the Covid-19 lockdown using chess notation, which describes the name of the piece being moved and the square it’s moving to – for example, Bishop C8 to F5. “As inexperienced players we didn’t know the squares, so used written prompts on the board itself,” says the studio. “We then discussed producing a board where the A-G and 1-9 were intrinsic to the squares themselves. The lettering literally forms the chessboard.”

Studio Sutherl& began playing chess over Zoom during the Covid-19 lockdown using chess notation, which describes the name of the piece being moved and the square it’s moving to – for example, Bishop C8 to F5. “As inexperienced players we didn’t know the squares, so used written prompts on the board itself,” says the studio. “We then discussed producing a board where the A-G and 1-9 were intrinsic to the squares themselves. The lettering literally forms the chessboard.”

A limited edition of 50 typographic chess sets, inspired by text notation.

Bikedot sells and curates bikes, parts, and clothing. They have 30 years of experience with many of the world’s leading bike builders. Bikedot only recommends quality parts they have tested. They also offer a range of cycling attire, including their own bikedot brand.

Bikedot sells and curates bikes, parts, and clothing. They have 30 years of experience with many of the world’s leading bike builders. Bikedot only recommends quality parts they have tested. They also offer a range of cycling attire, including their own bikedot brand.

A typographic football scarf created for the launch of SZCZĘSNY, an Amazon Prime Video documentary charting Wojciech Szczęsny’s incredible career, from Arsenal to Barcelona. A variable typographic system expands and contracts like a goalkeeper filling the net, he italicised ‘Y’ nods to him diving to make a save, frozen in typographic form.

Visual identity and motion graphics for SZCZĘSNY, an Amazon Prime Video documentary charting Wojciech Szczęsny’s career. A variable typographic system expands and contracts like a goalkeeper filling the net, with match data woven into the narrative.

Inspired by Szczęsny’s physical ability to fill the net, the typographic framework utilises Podium, a variable typeface from Polish foundry Warsaw Capitalics. The type expands, compresses, and shifts in weight to fill the frame, adapting dynamically to display match locations, key milestones, and title cards. Within the wordmark, the italicised ‘Y’ nods to him diving to make a save, frozen in typographic form.