One of my biggest projects whilst working at The Gym Group was creating a new visual identity. I worked within the studio to produce a comprehensive and presentable set of brand guidelines for the company and our stakeholders. One of my key focus points was working with the senior designer on producing the guidance for using our fonts. I produced copy and visuals on how to use our new font, Gravity, including leading, max word counts, dos, don’ts and more.

The following months saw us translating this guidance into our every day assets and using the new tools to design fresh campaigns. I have worked over many mediums, from large scale print (billboards, ticket barriers, bus adverts), smaller print (leaflets, posters, correx, in gym vinyl), to digital assets (social media posts, D6 screens in gym, digital bus and billboard adverts).

The key audience for the exhibition were “Children & Families” and “Adults aged 25+” so I had to make the identity quite fun but also nostalgic for the big kids! I wanted to celebrate how powerful simple elements from the film could be to bring out the wistfulness in the adults and keep it bright and colourful with block colour.

I wanted the exhibition space to be fun and dynamic so a lot of creative solutions had to be thought up due to a limited budget. I managed to get a sponsorship from YesColours paint, which meant we saved hundreds of pounds. Since we had a lot of paint, and only a small amount of money for vinyl graphics, I made the design more vibrant and fun by designing simple but bold shapes for myself and the volunteer exhibition builders to paint onto the walls. For example, instead of straight lines to divide sections, we made them a diagonal, we painted triangular shapes which created a spotlight effect, and we even painted a simplified version of the jewel theft scene in the film! The dramatic shapes worked really well in the space and went hand-in-hand with the film’s references to film noir too.

For The Cartoon Museum I designed, planned and installed the exhibition: Norman Thelwell Saves the Planet. The show was centered around Thelwell’s book, The Effluent Society, and how relevant it is to today’s climate crisis, despite being published in the 70s. The audience for the exhibit was not only Thelwell fanatics, but also the younger generation who are facing the effects of climate change.

With this in mind I combined things such as the type from the book with a more modern sans serif font to create a new typeface. I called the colour palette “Neon Countryside” – a combination of lurid pinks, yellows and greens which not only to bring a contemporary appeal but also to signify the toxicity we impose on the environment.

As well as considering the environment in the design concept, I also had to consider the environmental implications of the materials I chose to present the graphics on too. First of all, I managed to get a sponsorship deal with YesColours a paint company who strives to be climate conscious from the ingredients of their paint to the packaging they put it in. Moreover, all the materials I chose to display the graphics with were recycled and recyclable, from the cardboard chairs, to the honeycomb interpretation panels to the sustainable cut-out vinyl lettering.

Whilst working at North Brewing Co. alongside designer, James Ockelford (Refold) we collaborated on a can design for their beer, Monument. Our inspiration for the design was the “death of artwork” – the strange but frequent feeling we had when discovering one of our pixel perfect designs dumped on the ground amongst other litter and footprints. To create the can, we each designed “test cards” and underwent a burial of the cards. A few months later, we dug them back up and used the decomposed, worm-ridden textures for the can design.

I was tasked with creating a range of products for the National Portrait Gallery’s exhibition The Face Magazine: Culture Shift. Working with The Face and the shop team at the gallery, I created an identity for all the products that incorporated both the gallery’s and the magazine’s brands. The range included a baseball cap, football scarf, pin and button badges, tote bags, magnets and more.

In the form of a three-act play combining the visual and verbal, Bureau d’Bureau examines the presence and purpose of design in the commonplace. It probes the narratives of everyday design aesthetics, such as the charmingly uncouth vernacular pieces found on notice boards and in marketplaces, and situates them in juxtaposition to the overly commercial, obliviously ridiculous designs created by bureaucratic baboons.