Award winning architecture, design and planning practice responsible for cultural, historic and commercial projects such as the Holburne Museum of Art in Bath and St Martin-in-the-Fields Church in Trafalgar Square.
Project coordination and architectural graphic design for studio of over 80 staff; management of projects including design and production of large-scale typesetting for stone carving signage; and digital and print submissions for national and international competitions. Established central style guide with layout templates and typographic scale. Brochure and publication PR material.
Voluntary visual identity design and art direction for the first two years of the festival. Developed logo and brochure to celebrate the local community and linked, broader cultural heritages. Developed logo and events brochure. Continues to operate as Community Interest Company and awarded ‘Venue Film Festival of the Year 2010’. Event material used experimental typography to appropriately present the festival’s four film locations (north, south, east, west) in the context of the year’s film theme of ‘resistance’.
Voluntary visual identity design and art direction for the first two years of the festival. Developed logo and brochure to celebrate the local community and linked, broader cultural heritages. Developed logo and events brochure. Continues to operate as Community Interest Company and awarded ‘Venue Film Festival of the Year 2010’. Event material used experimental typography to appropriately present the festival’s four film locations (north, south, east, west) in the context of the year’s film theme of ‘horror’.
A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.
Self-censorship
Designed to censor itself.
A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.
Typerware
The exploration based on modular geometry and maximising the overall density of information that can be fit in to a certain space.
A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them and as physical and tangible manifestations.
Structural Ambiguity
An appropriation of M.C. Escher’s original impossible cube. The forced perspective is both structured and ambiguous at once. This manifestation was welded out of steel to highlight the contradiction of substance and superficiality.
Soft metal maquette
Impossible cube manipulated and welded steel
A series of typographic experiments for dissertation project, exploring the concepts and techniques of deceptive and manipulative nature of ‘spin’ in communication, rhetoric and politics. Research and collation of manifestos, speeches, interviews, journalistic analysis and public surveys all formed a basis for the work. This uncovered the use of common techniques, such as intentional ambiguity, cherry picking of facts, skirting, and simple denial of a common truth. The design response aimed to juxtapose selected themes of superficiality from the data, by establishing them as physical and tangible manifestations.
Shattered Perspectives
An appropriation of Jos De Mey’s impossible window illusion that appears in two opposing perspectives at once. This typeface’s manifestation played referenced the silhouette of the Houses of Parliament while appearing like shattered glass.
