Working both independently and as an extension of in-house or agency teams, Laura is a creative partner for clients in the media, hospitality, wellness, and technology spaces.

She is based on the East Coast of the US and is currently immersed in:

Working both independently and as an extension of in-house or agency teams, Laura is a creative partner for clients in the media, hospitality, wellness, and technology spaces.

She is based on the East Coast of the US and is currently immersed in:

Brand Identities

Brand Identities

Typography Projects

Typography Projects

Art Direction

Art Direction

Editorial Layouts

Editorial Layouts

Digital & Animated Designs

Digital & Animated Designs

  • Alder brand packaging – sage green boxes.
  • Alder logotype in the background of leaves.
  • Animated Alder packaging bottles.
  • Alder brand guidelines.
  • Alder packaging examples.
  • Alder packaging in a shower setting with eucalyptus next to atmospheric photo of a person standing on top of a waterfall.

Alder

Alder

Brand identity and packaging design for nature inspired skincare products.

  • 2025 marked 100th anniversary for The New Yorker. To promote this centenary celebration we developed a brand-led campaign across multiple channels. We had a challenge to distill the 100 years of legacy into a tagline that also notes how the brand is looking ahead into the future to come. After many discussions we arrived to a line encompassing this idea: Here’s to the next hundred.
  • Campaign’s designs extended editorial team’s visual language and celebrated The New Yorker magazine’s unique combination of wit, intelligence, journalistic integrity, globally recognizable art-driven covers and the ability to poke fun at itself by acknowledging how much people love the tote bags. Speaking of limited-edition totes, the centenary year also needed a subscriber-exclusive tote. After exploring a range of options with the editorial team, we decided to use the seal illustration by Christoph Niemann on a royal blue background.
  • Another phase of the campaign featured Eustace illustrations drawn by Luci Gutiérrez. Working closely with Luci we created additional frames for character animations that feature across different advertising units. Creative Direction: Thais Klein, Nicholas Blechman
Art Direction, Design & Animation: 
Laura Dirzyte, David McLachlan
Copy: Michael Polovsky Illustrations: Christoph Niemann, Luci Gutiérrez 2025

The New Yorker's 100th

The New Yorker's 100th

Art direction and design for 100th anniversary campaign and limited-edition tote bag.

  • Pronto Pizzeria signage.
  • Pronto pizza box design.
  • Brand identity design for Pronto pizzeria combines Neapolitan pizza traditions with bold and bright metropolitan city aesthetics. “Pronto” name comes from Italian word meaning “ready”. Ready to pause, indulge rich flavors and then jump back into the busy life in the city.
  • Photo of a pizza and chef sprinkling cheese.
  • Pronto logotype color variations.
  • In the logotype “Pronto” is set in bespoke letterforms inspired by pizza ingredients – creamy mozzarella cheese, cremini mushrooms and olives. These round letters softly arch over “Pizzeria” title set in slab serif font. It’s a more traditional type style that can be associated with pizzeria at a glance. However, Relaate font by Alex Slobzheninov, gives it a modern look with rounded details.
  • Pronto color scheme.
  • Photo of a man in a kitchen with a Pronto branded t-shirt.
  • Pronto brand has three main colors – bold basil pesto green, bright olive green and pizza dough beige. These colors bring brand to life and the bright green helps the brand to stand out amongst the competitors. Key brand illustration is a man running to deliver fresh pizza. 
A combination of solid lines and half tone pattern echoes brand essence by mixing vintage and modern graphic aesthetics.
  • Pronto slogan with an illustration.

Pronto

Pronto

Brand identity design for a pizzeria delivering Neapolitan style pizzas.

  • Postcards with Cold lettering.
  • Love script lettering with expressive squiggly forms on hot pink background
  • Lettering of city Vilnius with bold high contrast letterforms on a forest green background
  • Creative interpretation of ampersand on a maroon color background
  • Creative interpreatation of a cyrillic letter Ж pronounced as Zhe

Type With Feeling

Type With Feeling

A collection of emotive and dynamic lettering pieces.

  • Notes of Dynamic Interventions booklet design printed with risograph.
  • How can we as designers, writers, artists, developers and publishers intervene in the public debate and counter misinformation in a relevant manner? Drawn to investigate the complex landscape of contemporary communication, together with Bruna Osthoff we attended the Urgent Publishing conference navigating this question. 
Our intention was to bring the insights back to the peers
at University of the Arts London.
  • Inside spreads of Notes of Dynamic Interventions booklet design printed with risograph.
  • Inside spread of Notes of Dynamic Interventions booklet design printed with risograph.
  • Notes on Dynamic Interventions was set up as a starting point from which students could go on to discuss contemporary communication strategies and the ways social media can interact with their academic projects. The publication was designed as space for collaboration too – wide margins and foldout back cover section encouraged students to add their further notes.
  • Inside spread of Notes of Dynamic Interventions booklet design printed with risograph.
  • The visuals spanning publication’s pages are inspired by the shifting modes of communication too. We folded and manipulated a sheet of paper while scanning it. This method gave us a series of dynamic flowing digital shapes. Notes on Dynamic Interventions were printed with risograph. This method reflected the urgency and freshness of the ideas we wanted to share.
  • Notes of Dynamic Interventions booklets printed with risograph.
  • To learn more about the ideas explored, you can visit the article we wrote for UAL Postgraduate Blog. This project was funded by the LCC Graduate School Student Fund. Writing & Design: Laura Dirzyte, Bruna Osthoff 2019
  • Notes of Dynamic Interventions booklets printed with risograph.

Notes on Dynamic Interventions

Notes on Dynamic Interventions

Writing, illustration and design for a riso printed publication.

  • The Economist ad in New york Subway Station.
  • The Economist ad saying "Bring the world into focus" with CTA saying "See more". When hovering over the ad, the text comes into full focus.
  • Animation of The Economist ad on a competitor site. It shows how text comes into focus when you hover over it.

The Economist Brand Campaign

The Economist Brand Campaign

Award winning brand campaign for The Economist highlighting it as a dependable resource for different perspectives.

  • South Carolina script lettering with flourishes

Scripting the States

Scripting the States

A project in progress – lettering the state names of America. More coming in 2026.

A project in progress – lettering the American states. More coming in 2026.

  • Green limited-edition tote for The New Yorker with animated Miguel Porlan's winter illustration.
  • Since it launched The New Yorker’s tote bags have become almost as well-know as the magazine itself. During special sales a limited-edition tote is released as an additional incentive to subscribe. In 2024 my team was tasked to design a new one for the holiday season. The brief was to create a tote that was both seasonal and evergreen, meaning it would work for both winter and spring season sales.
  • Green limited-edition tote for The New Yorker with Miguel Porlan's illustrations.
  • The answer to the creative challenge was to have a visual on each side of the tote. We wanted them to clearly communicate the seasons but at the same time be thematically connected. We asked illustrator Miguel Porlan to revisit one of the old sketches he pitched for the merch store and to create a spring version with the same characters connected by a similar thread.
  • Green limited-edition tote for The New Yorker with Miguel Porlan's spring illustration.
  • The final touch was the green color for the tote itself. It’s a first bright green tote for New Yorker and it fits well in both winter and spring seasons. 
 Illustrations: Miguel Porlan 
Creative direction: Nicholas Blechman, Thais Klein
Art direction & animation: 
Laura Dirzyte
Marketing campaign design: 
David McLachlan 
Copy: Michael Polovsky

New Yorker Tote

New Yorker Tote

Art direction and animation for New Yorker's limited-edition holiday tote bag.

  • Thoughts & Wonders logo in color
  • Thoughts & Wonders logo in black & white
  • Alder logotype in color
  • Alder logotype in black & white
  • Pronto Pizzeria logo in color
  • Pronto Pizzeria logo in black & white
  • Proto Toto logo in color
  • Proto Toto logo in black & white

Logofolio

Logofolio

Series of logotype design proposals.

  • Unseen zine cover design.
  • Unseen zine internal spread design.
  • We can live in the same place for years and not see it in great detail. Being forced to stay at home for weeks during the quarantine had given me an opportunity to really notice how the same space doesn’t really remain the same throughout the day. Rooms change throughout the day as they are touched by the traveling sunlight.
  • Unseen zine internal spread design.
  • Through a series of photographic and typographic compositions, zine explores the modalities of [UN]SEEN at home. The solid and transparent, the repetitive and dynamic, the hidden and highlighted are brought together in the spreads of the zine.
  • Unseen zine internal spread design.
  • Unseen zine internal spread design.

Unseen Zine

Unseen Zine

Photography and design for a zine competition inspired by 2020 lockdown.

  • Animated preview of Stories typeface. Dynamic type moves between two extremes of its variable styles. Text reads "Stories that refuse to be one dimensional".
  • Animated preview of Stories typeface. Dynamic type moves between two extremes of its variable styles. Text reads "We need stories to remind us that the way things were might not be the way things will always be".
  • Detail image of letter "O" letterforms at the two style ends of its variable design.
  • Animated visual showing "O" moving between two letterform extremes.
  • Detail image of letter "S" letterforms at the two style ends of its variable design.
  • Animated visual showing "S" moving between two letterform extremes.
  • Detail image of letter "X" letterforms at the two style ends of its variable design.
  • Animated visual showing "X" moving between two letterform extremes.

Stories Typeface

Stories Typeface

Experimental variable font challenging the way type styles could function.

  • A sample set of letters A, K, O and Z from 36 Days of Type design alphabet.
  • Letter A from 36 Days of Type design alphabet.
  • A sample set of letters A, B, C, K, G, H, N, S and V from 36 Days of Type design alphabet.
  • Pages from sketchbook exploring letterforms for 36 Days of Type drawing challenge.
  • A full 36 Days of Type design alphabet.

36 Days of Type

36 Days of Type

A collection of favorite letters from different years participating in 36DOT.

Visual Framework for Wired Reviews

Visual Framework for Wired Reviews

Artwork template design for the prestigious WIRED Review section.

Proto Toto

Proto Toto

Logo design for Brooklyn’s First Design Lab for Kids. More coming soon.

  • Editorial design for Containerville's Economic and Social Impact Report.
  • Containerville is a workspace set up from upcycled shipping containers, where a diverse network of professionals building successful businesses have found a home. 

Paul Hamilton from OneAnother Studio asked to extend his newly refreshed Containerville brand identity into editorial design by creating The Economic and Social Impact Report.
  • Cover design for Containerville's Economic and Social Impact Report.
  • Inside spread design for Containerville's Economic and Social Impact Report.
  • A meticulous grid system and bold type for headlines & page numbers created space for the content to speak in the publication. In this manner editorial design echoes the purpose of the company – to provide space for the local businesses and draw focus to their work. Art direction: Paul Hamilton
Design: Laura Dirzyte 2020

Containerville

Containerville

Editorial design for Containerville's Economic and Social Impact Report.

  • The New Yorker was looking to refresh their marketing design templates and a key part of the acquisition communications was the email. The refresh consisted of several parts: UI elements needed to match The New Yorker digital product style guide, header needed to be more engaging and subscription option components needed fresh visuals.
  • To simplify the design we dropped different colors for each subscription module and instead set them up in shades of yellow. Noting the most encompassing subscription in the most saturated shade and the simplest subscription in least saturated color.
  • Comparison between old and new design of The New Yorker's evergreen marketing email.
  • New illustrations by Joao Fazenda were introduced for each component, too. They noted the level of engagement with the content through interaction with a butterfly. The illustrations are a subtle nod to the first cover of The New Yorker and show modern interpretations of the Eustace Tilley character.
  • Close up detail of the subscription tiers with new illustrations by Joao Fazenda.
  • Creative Direction: 
Thais Klein
Art Direction & Design: 
Laura Dirzyte
Copy: 
Michael Polovsky, Stephen Milioti
Butterfly Tote Photoshoot & Animation: Raj Shah, Chris Brown
New Personae Illustrations: 
Joao Fazenda 2024

New Yorker Email

New Yorker Email

A redesign of New Yorker's evergreen subscription email.

Art Director & Graphic Designer

Art Director & Graphic Designer

Laura specializes in creating new visual identities and refreshing existing brand touchpoints. She sets up design systems that allow companies to flex between the smallest screens and the largest billboards.

Her work is rooted in thoughtful use of typography, balancing between elegant and bold expressions. Alongside brand and typographic work, Laura also art directs promotional campaigns and designs websites.

Laura specializes in creating new visual identities and refreshing existing brand touchpoints. She sets up design systems that allow companies to flex between the smallest screens and the largest billboards.

Her work is rooted in thoughtful use of typography, balancing between elegant and bold expressions. Alongside brand and typographic work, Laura also art directs promotional campaigns and designs websites.

Featured Work & Awards

Featured Work & Awards

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Fedrigoni 365 calendar 2024

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The Drum Awards 2023 – Winner in Digital Advertising: Media and Entertainment category for The Economist brand campaign

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Fedrigoni 365 calendar 2022

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Fedrigoni 365 calendar 2021

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Speaking & Interviews

Speaking & Interviews

Speaking & Interviews

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Creative Mornings, NYC is Creative 2024

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Delfi Rytas (interview in Lithuanian)

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LRT Radio “Keturi milijonai” (interview in Lithuanian)

LRT Radio “Keturi milijonai” (interview in Lithuanian)

Select Clients

Select Clients

Aescape * Audimas * BBC Good Food * Bon Appétit * Economist Education * The Economist * The Ministry of Foreign Affairs of Lithuania * The New Yorker * WIRED

Aescape * Audimas * BBC Good Food * Bon Appétit * Economist Education * The Economist * The Ministry of Foreign Affairs of Lithuania * The New Yorker * WIRED

Aescape * Audimas * BBC Good Food * Bon Appétit * Economist Education * The Economist * The Ministry of Foreign Affairs of Lithuania * The New Yorker * WIRED

hello@lauradirzyte.com

hello@lauradirzyte.com

hello@lauradirzyte.com

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