I am a recent Graphic Design graduate specializing in culture-led visual communication, worldbuilding, and concept-driven design. My practice explores identity, emotion, and narrative through branding, typography, and experimental visual design. Supported by professional experience in healthcare and customer-facing environments, I bring empathy, collaboration, and strong communication skills into creative team settings.…I am a recent Graphic Design graduate specializing in culture-led visual communication, worldbuilding, and concept-driven design. My practice explores identity, emotion, and narrative through branding, typography, and experimental visual design. Supported by professional experience in healthcare and customer-facing environments, I bring empathy, collaboration, and strong communication skills into creative team settings.WWW…
I am a recent Graphic Design graduate specializing in culture-led visual communication, worldbuilding, and concept-driven design. My practice explores identity, emotion, and narrative through branding, typography, and experimental visual design. Supported by professional experience in healthcare and customer-facing environments, I bring empathy, collaboration, and strong communication skills into creative team settings.…I am a recent Graphic Design graduate specializing in culture-led visual communication, worldbuilding, and concept-driven design. My practice explores identity, emotion, and narrative through branding, typography, and experimental visual design. Supported by professional experience in healthcare and customer-facing environments, I bring empathy, collaboration, and strong communication skills into creative team settings.WWWW…
Available to hire
I am a recent Graphic Design graduate specializing in culture-led visual communication, worldbuilding, and concept-driven design. My practice explores identity, emotion, and narrative through branding, typography, and experimental visual design. Supported by professional experience in healthcare and customer-facing environments, I bring empathy, collaboration, and strong communication skills into creative team settings.
Experience Level
Language
English
Fluent
Work Experience
Mental Health Care Support Worker at Mental Health Organization
November 1, 2023 - PresentDelivered person-centered support requiring trust, responsibility, and confidentiality. Developed strong interpersonal communication and experience working independently while maintaining professional accountability.
Crew Member at McDonald’s
January 1, 2021 - January 1, 2023Operated effectively within high-volume team environments, strengthened communication and customer experience skills.
Education
BA (Hons) Graphic Design at Leeds Beckett University
January 1, 2023 - January 1, 2026BTEC Level 2 Art Diploma at Kirklees College
January 1, 2019 - January 1, 2019BTEC Level 3/4 Foundation Art & Design at Kirklees College
January 1, 2019 - January 1, 2023BTEC Level 2 Information & Creative Technology - Merit/Distinction at Kirklees College
January 1, 2019 - January 1, 2023Qualifications
Industry Experience
Healthcare
The Spaces I Carry
This location-based poster series explores how personal environments shape identity, memory, and emotional growth. By placing a rendered version of myself into real locations that have played a significant role in my life, the work treats place as an emotional archive rather than a backdrop. Each image is paired with a single word that acts as an emotional anchor, allowing complex experiences to be communicated through design and narrative.
Drawing from Renaissance and Baroque compositional ideas such as scale, atmosphere, and symbolic presence, the series combines historical visual language with contemporary imagery and personal symbolism. Overall, the work aims to visualise healing, growth, and creative becoming by grounding internal experiences within real, lived spaces. graphicdesigner 3ddesigner…This location-based poster series explores how personal environments shape identity, memory, and emotional growth. By placing a rendered version of myself into real locations that have played a significant role in my life, the work treats place as an emotional archive rather than a backdrop. Each image is paired with a single word that acts as an emotional anchor, allowing complex experiences to be communicated through design and narrative.
Drawing from Renaissance and Baroque compositional ideas such as scale, atmosphere, and symbolic presence, the series combines historical visual language with contemporary imagery and personal symbolism. Overall, the work aims to visualise healing, growth, and creative becoming by grounding internal experiences within real, lived spaces. graphicdesigner 3ddesignerWW…
Street Fighter Redesign Creative Project
My Street Fighter project is not a direct redesign of the franchise, but a personal retelling of its narrative, using design as a way to explore authorship and imagination. By selecting a specific roster of characters, Ryu, Chun-Li, Dee Jay, E. Honda, Cammy, and Guile, I can construct a focused story world, where each character is chosen not only for their recognisability, but for how they contribute to the overall narrative I want to tell.
Street Fighter’s visual identity traditionally draws from street culture, graffiti, and bold graphic expression. While this influence remains present, I combine it with references to Renaissance and Baroque art to create a hybrid aesthetic. This fusion allows classical ideas of form, drama, and composition to coexist with contemporary street energy. Through 3D character redesigns and poster formats, creativity becomes a space where existing cultural material is reimagined, rather than reproduced. graphicdesigner designer 3dmodeller…My Street Fighter project is not a direct redesign of the franchise, but a personal retelling of its narrative, using design as a way to explore authorship and imagination. By selecting a specific roster of characters, Ryu, Chun-Li, Dee Jay, E. Honda, Cammy, and Guile, I can construct a focused story world, where each character is chosen not only for their recognisability, but for how they contribute to the overall narrative I want to tell.
Street Fighter’s visual identity traditionally draws from street culture, graffiti, and bold graphic expression. While this influence remains present, I combine it with references to Renaissance and Baroque art to create a hybrid aesthetic. This fusion allows classical ideas of form, drama, and composition to coexist with contemporary street energy. Through 3D character redesigns and poster formats, creativity becomes a space where existing cultural material is reimagined, rather than reproduced. graphicdesigner designer 3dmodellerWW…
EMOTE
EMOTE is a conceptual identity and worldbuilding project that explores emotions as embodied identities through the visual language of fighting games, historical art, and contemporary branding systems.
The project investigates:
• identity as performance
• emotional expression through movement and symbolism
• how character design communicates personality before a single word is spoken
Inspired by:
• fighting game archetypes
• Renaissance and Baroque theatricality
• Art Nouveau ornamentation
• contemporary visual identity systems
EMOTE transforms emotional states into fully realised “character archetypes” with their own:
• visual identities
• symbolism
• typography
• environments
• movement languages
• and narrative presence
Rather than treating emotions as abstract feelings, EMOTE presents them as playable, performative, and embodied states of being. graphicdesigner branding designer…EMOTE is a conceptual identity and worldbuilding project that explores emotions as embodied identities through the visual language of fighting games, historical art, and contemporary branding systems.
The project investigates:
• identity as performance
• emotional expression through movement and symbolism
• how character design communicates personality before a single word is spoken
Inspired by:
• fighting game archetypes
• Renaissance and Baroque theatricality
• Art Nouveau ornamentation
• contemporary visual identity systems
EMOTE transforms emotional states into fully realised “character archetypes” with their own:
• visual identities
• symbolism
• typography
• environments
• movement languages
• and narrative presence
Rather than treating emotions as abstract feelings, EMOTE presents them as playable, performative, and embodied states of being. graphicdesigner branding designerWW…
The Root Archive - Editorial Book Design Concept
This project began with an interest in how plants can exist beyond their biological function, particularly within cultural and spiritual practices such as Hoodoo. Choosing High John the Conqueror root allowed me to explore a plant that holds both botanical and symbolic meaning, which aligned closely with my wider practice of understanding identity as something constructed and layered. Rather than approaching the brief purely as botanical documentation, I developed a hybrid outcome that combines historical manuscript aesthetics with elements of a spiritual archive.
A key part of the process was building a structured system for the book. Each spread was designed to focus on a different aspect of the plan (botanical identity, folklore, spiritual use, medicinal properties, and reflection) allowing the project to function as both an informative and narrative object. This approach helped me move away from isolated visuals and instead think in terms of sequence, hierarchy, and consistency. The use of earthy colour palettes, grain textures, and ornamental motifs was informed by archival references, while still being refined through a contemporary graphic design lens. pdf graphicdesigner designer…This project began with an interest in how plants can exist beyond their biological function, particularly within cultural and spiritual practices such as Hoodoo. Choosing High John the Conqueror root allowed me to explore a plant that holds both botanical and symbolic meaning, which aligned closely with my wider practice of understanding identity as something constructed and layered. Rather than approaching the brief purely as botanical documentation, I developed a hybrid outcome that combines historical manuscript aesthetics with elements of a spiritual archive.
A key part of the process was building a structured system for the book. Each spread was designed to focus on a different aspect of the plan (botanical identity, folklore, spiritual use, medicinal properties, and reflection) allowing the project to function as both an informative and narrative object. This approach helped me move away from isolated visuals and instead think in terms of sequence, hierarchy, and consistency. The use of earthy colour palettes, grain textures, and ornamental motifs was informed by archival references, while still being refined through a contemporary graphic design lens. pdf graphicdesigner designerWW…
Entrancement as The Birth of Venus
I chose the colours pink and white for my reinterpretation of The Birth of Venus, as the pink acts as a visual sugar, framing the scene a seductive tone and a dreamlike presence. The pink evokes a modern perception of femininity, along with a sense of visual romanticism. The white is traditionally a symbol of purity or innocence, but in this case, it also intended to enhance the intoxicating pink, building a contrast between the colours.
The “Emotional Restraint” font was used, sliding across the screen like a visual trance, emitting elegance whilst being woven between the pivotal figures of the painting, to promote the natural beauty of interconnectedness.
I feel that one of the aspects of the design I could’ve curated differently was the typography, because whilst it is informative, it can also come across as disruptive, as the text is woven between the figures and some of the areas being low contrast, so the viewer might not have an immediate grasp of the text’s intention. One other aspect I feel could have been improved was the use of space, as whilst the pink frames adds a sense of softness and sensuality, it takes away from the rest of the atmosphere in the original painting. graphicdesigner designer frasurbane…I chose the colours pink and white for my reinterpretation of The Birth of Venus, as the pink acts as a visual sugar, framing the scene a seductive tone and a dreamlike presence. The pink evokes a modern perception of femininity, along with a sense of visual romanticism. The white is traditionally a symbol of purity or innocence, but in this case, it also intended to enhance the intoxicating pink, building a contrast between the colours.
The “Emotional Restraint” font was used, sliding across the screen like a visual trance, emitting elegance whilst being woven between the pivotal figures of the painting, to promote the natural beauty of interconnectedness.
I feel that one of the aspects of the design I could’ve curated differently was the typography, because whilst it is informative, it can also come across as disruptive, as the text is woven between the figures and some of the areas being low contrast, so the viewer might not have an immediate grasp of the text’s intention. One other aspect I feel could have been improved was the use of space, as whilst the pink frames adds a sense of softness and sensuality, it takes away from the rest of the atmosphere in the original painting. graphicdesigner designer frasurbaneWW…
Conflict as Intervention of the Sabine Women
For this brutalist acid design, my aim was to harness the moment of tension and collision coming to a halt, which ended the cycle of violence and war, and I did this with the intentional use of colour and structuring, highlighting the three central figures, and this was done with the colours of red and black. As mentioned in my previous arts, the deep red symbolises the blood that’s been shed by war, and fire fuelled by rage, violence, or hate born from a want for retribution. The black framing was chosen to amplify the scene, and the tension of the father fighting for his daughter’s freedom, the husband fighting for his wife’s love and his empire’s protection, and the daughter, being the catalyst behind the war between them and sharing love for them both, inserting herself between them.
The acid texturing of the art piece adds visual aggression, which aligns with brutalist graphic language. This visual aggression overcomes the classical calm and perfection, which conceptually mirrors how war corrupts morals and ideals. The typography was intentionally positioned behind the three central figures, amplifying their impact on the scene, with glimpses of the war ongoing behind the type. The “FONT” was used for this, with its tall, vertical distortion resembling pillars, which were prominent in Ancient Roman architecture. They also could resemble bars, with entrapment being a theme that sparked the climatic event in the first place.
I am satisfied with how this reinterpretation of David’s neoclassicism painting turned out, but I feel some aspects I could’ve presented better, such as the black framing, whilst being effectful in highlighting the three central figures, it does also take away from the overall scene, with most of the environment being restricted behind bars and cropped out of the scene, giving the painting an unintentional claustrophobic feel. graphicdesigner designer brutalism frasurbane…For this brutalist acid design, my aim was to harness the moment of tension and collision coming to a halt, which ended the cycle of violence and war, and I did this with the intentional use of colour and structuring, highlighting the three central figures, and this was done with the colours of red and black. As mentioned in my previous arts, the deep red symbolises the blood that’s been shed by war, and fire fuelled by rage, violence, or hate born from a want for retribution. The black framing was chosen to amplify the scene, and the tension of the father fighting for his daughter’s freedom, the husband fighting for his wife’s love and his empire’s protection, and the daughter, being the catalyst behind the war between them and sharing love for them both, inserting herself between them.
The acid texturing of the art piece adds visual aggression, which aligns with brutalist graphic language. This visual aggression overcomes the classical calm and perfection, which conceptually mirrors how war corrupts morals and ideals. The typography was intentionally positioned behind the three central figures, amplifying their impact on the scene, with glimpses of the war ongoing behind the type. The “FONT” was used for this, with its tall, vertical distortion resembling pillars, which were prominent in Ancient Roman architecture. They also could resemble bars, with entrapment being a theme that sparked the climatic event in the first place.
I am satisfied with how this reinterpretation of David’s neoclassicism painting turned out, but I feel some aspects I could’ve presented better, such as the black framing, whilst being effectful in highlighting the three central figures, it does also take away from the overall scene, with most of the environment being restricted behind bars and cropped out of the scene, giving the painting an unintentional claustrophobic feel. graphicdesigner designer brutalism frasurbaneWW…
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