custom typeface designed for the Tokyo Big Sight, having looks of sharp, futuristic and interesting dystopian look to reflect on the building and its purpose in the Tokyo skyline. The typeface also comes in a stroke and fill version representing thin and bold respectively while also having characters from Japanese Katakana in the same stroke and fill versions separately.
SM

Triline
custom typeface designed for the Tokyo Big Sight, having looks of sharp, futuristic and interesting dystopian look to reflect on the building and its purpose in the Tokyo skyline. The typeface also comes in a stroke and fill version representing thin and bold respectively while also having characters from Japanese Katakana in the same stroke and fill versions separately.
SM

Triline
‘When I Rise’ is a visual interpretation of the music piece “Early in the Mornin’” by Alan Lomax. The musics data has been transformed into a screen-print on fabric, crafted into a work-wear jacket. The images represent the sound of the lyrics, not their literal content, with a distorted black layer obscuring the actual words.
JW

When I Rise
‘When I Rise’ is a visual interpretation of the music piece “Early in the Mornin’” by Alan Lomax. The musics data has been transformed into a screen-print on fabric, crafted into a work-wear jacket. The images represent the sound of the lyrics, not their literal content, with a distorted black layer obscuring the actual words.
JW

When I Rise
Typography project
IG

Typography project
Negative and Positive - Perception of Space- A project based on the emotional responses of people when they are within a liminal space. I created typographical outcomes based on the language they used when describing these spaces and what they mean to them, and tried to represent these responses visually. I printed this out and turned it into a physical album cover/photo album style format that acts as a sleeve to all the typographical responses that live inside.
LF

Negative and positive
Negative and Positive - Perception of Space- A project based on the emotional responses of people when they are within a liminal space. I created typographical outcomes based on the language they used when describing these spaces and what they mean to them, and tried to represent these responses visually. I printed this out and turned it into a physical album cover/photo album style format that acts as a sleeve to all the typographical responses that live inside.
LF

Negative and positive
AJ

LP

36 Days of Type
LP

36 Days of Type
LP

36 Days of Type
LP

36 Days of Type
An interactive, immersive web experience for the ISTD brief in GDP1
LN

Realm
LN

Realm
For the ISTD project I used typography to convey the narrative of impermanent structures, focusing on how they fill space during the before, middle, and after. I created a publication using only typography.
IK

ISTD
For the ISTD project I used typography to convey the narrative of impermanent structures, focusing on how they fill space during the before, middle, and after. I created a publication using only typography.
IK

ISTD
For the ISTD project I used typography to convey the narrative of impermanent structures, focusing on how they fill space during the before, middle, and after. I created a publication using only typography.
IK

ISTD
Designed a typeface for CCTV Headquarters in China
BP

Da Kucha
Designed a typeface for CCTV Headquarters in China
BP

Da Kucha
Designed a typeface for CCTV Headquarters in China
BP

Da Kucha
KR

Boug
'The Space Between'. A letterpressed and illustrated fluxus/publication piece dedicated to the love letters sent between my grandparents. The beauty: 'The Beauty Of The Dream...
MV

The Space Between
'The Space Between'. A letterpressed and illustrated fluxus/publication piece dedicated to the love letters sent between my grandparents. The beauty: 'The Beauty Of The Dream...
MV

The Space Between
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
RX

Ardour
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
RX

Ardour
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
RX

Ardour
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
RX

Ardour
‘Ardour’ is my most recent and collaborative project, it is a news publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how, in its nature, Prospect Cottage and its surroundings are a symbol of expressive opposition. When unfolded, the publication is A1 but can be folded down to A6 (pocket size) which keeps it compact and easily transportable. ‘Ardour’ definition: great passion or enthusiasm, feelings of great intensity and warmth, eagerness; zeal (usually in favour of a person or cause).
RX

Ardour
A typeface designed to celebrate the unloved 1970s Richard Dunn Sports Centre in Bradford. Its structure is led by the unusual roof structure and truss arrangements of the building.
BS

Richard Dunn typeface
A typeface designed to celebrate the unloved 1970s Richard Dunn Sports Centre in Bradford. Its structure is led by the unusual roof structure and truss arrangements of the building.
BS

Richard Dunn typeface
Signage at a crossroads with the main map for route 1 of the zoo and the endangered animal route of the zoo.
RT

Chester Zoo wayfinding
RT

T26 Museum
A font I design to be a physical memoir for a trip to Copenhagen.
CC

København Typeface
A font I design to be a physical memoir for a trip to Copenhagen.
CC

København Typeface
Typeface based on the up curved balconies of Preston Bus Station.
MC

Arup
AE

Greta Thunberg Animation
Turia type specimen
VN

Turia typeface
Turia type specimen
VN

Turia typeface
My personal response to the 36 Days of Type project, set by Treintayseis Studio. My concept was inspired by a common activity graphic design education will do, where u make a letterform with your body and photograph it. I then decided to emphasise the characters to create funny stories in each piece of type. This project was successful on social media and really helped me develop a personal style in design.
JD

36 days of type
Art-Deco architecture inspired typeface based on the Littlewoods Pools building in Liverpool
FB

EDGE
FB

EDGE
Book cover series
FB

Book covers
'Trapped in Sewage' series.
AA

Trapped in Sewage
'Cherry' a typeface and publication challenging the stigma of a vulva. The publication is printed on G.F smith Plike paper (which has a skin-like texture).
AD

Cherry
GrenTrack
ML

GrenTrack
Quietly Boastful
HQ

Quietly Boastful
Quietly Boastful
HQ

Quietly Boastful
Quietly Boastful
HQ

Quietly Boastful
East Float typeface
HQ

East Float typeface
East Float typeface
HQ

East Float typeface
My project draws inspiration from Cula Izvoranu Geblescu’s architecture, a notable building in Romania. Its sturdy yet welcoming presence intrigued me—the blend of robust structure and comforting ambiance. My typeface design aims to encapsulate these unique qualities, reflecting both the building's strength and its inviting feel. I wanted the letters to echo the Cula's history and significance, crafting a narrative that celebrates its distinct character. The brief was in collaboration with Dalton Maag so the whole project was a really great experience.
TB

Cule
My project draws inspiration from Cula Izvoranu Geblescu’s architecture, a notable building in Romania. Its sturdy yet welcoming presence intrigued me—the blend of robust structure and comforting ambiance. My typeface design aims to encapsulate these unique qualities, reflecting both the building's strength and its inviting feel. I wanted the letters to echo the Cula's history and significance, crafting a narrative that celebrates its distinct character. The brief was in collaboration with Dalton Maag so the whole project was a really great experience.
TB

Cule
My project draws inspiration from Cula Izvoranu Geblescu’s architecture, a notable building in Romania. Its sturdy yet welcoming presence intrigued me—the blend of robust structure and comforting ambiance. My typeface design aims to encapsulate these unique qualities, reflecting both the building's strength and its inviting feel. I wanted the letters to echo the Cula's history and significance, crafting a narrative that celebrates its distinct character. The brief was in collaboration with Dalton Maag so the whole project was a really great experience.
TB

Cule
Mind The Gap
JP

Mind The Gap
A type exploration using the phrase 'F is for Fungi' to produce an design inspired by 70's psychedelic culture.
CO

Letterspace
'Metropol' typographic specimen.
CO

Metropol
'Metropol' typographic specimen.
CO

Metropol
EP

EP

EP

EP

EP

EP

EP

EP

Book 15
AP

Book 15
Book 19
AP

Book 19
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
BB

Ardour
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
BB

Ardour
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
BB

Ardour
(594 x 841, double-sided screenprint) Collaborative project by Bibi Lewin-Sanderson and Roxanna Luke. Ardour is a publication on the topic of protest. Issue 1 is a guide through Derek Jarman’s garden, each chapter inspired by different sections of his Dungeness home. The curated selection of articles is a reflection on how in it’s nature, Prospect Cottage and it’s surroundings, is a symbol of expressive opposition. When unfolded the publication is A1, but can be folded down to A6 - pocket size - which keeps it compact and easily transportable.
BB

Ardour
A5 risograph prints bound with silver links. Bringing the digital into the physical by formatting text using Google's result typeface 'Open Sans' in the distinct dark blue colour of a hyperlink. Words from myself, Ken Hollings and William Gibson.
BB

Hyperlink
A5 risograph prints bound with silver links. Bringing the digital into the physical by formatting text using Google's result typeface 'Open Sans' in the distinct dark blue colour of a hyperlink. Words from myself, Ken Hollings and William Gibson.
BB

Hyperlink
U for Utopia - Letterspace project
VH

U for Utopia
Maritime is an industrial, Neo gothic style typeface inspired by the architectural features of the Liverpool Victoria Tower, as well as the surrounding docklands. The typeface takes its inspiration from the dimensions of the towers measurements and the rounded corners of the towers embrasures and castellated parapets. The type also takes inspiration from the curvature and passageways of surrounding docklands, canals and basins that encompass the towers environment.
AM

Maritime typeface
Maritime is an industrial, Neo gothic style typeface inspired by the architectural features of the Liverpool Victoria Tower, as well as the surrounding docklands. The typeface takes its inspiration from the dimensions of the towers measurements and the rounded corners of the towers embrasures and castellated parapets. The type also takes inspiration from the curvature and passageways of surrounding docklands, canals and basins that encompass the towers environment.
AM

Maritime typeface
Maritime is an industrial, Neo gothic style typeface inspired by the architectural features of the Liverpool Victoria Tower, as well as the surrounding docklands. The typeface takes its inspiration from the dimensions of the towers measurements and the rounded corners of the towers embrasures and castellated parapets. The type also takes inspiration from the curvature and passageways of surrounding docklands, canals and basins that encompass the towers environment.
AM

Maritime typeface
Life death and permanence is a publication I created exploring the imagery and themes that surround the liminal spaces of graveyards and cemeteries, formulating these themes into 3 specific aspects: Life, death and permanence. Each theme embodies the imagery and layout of each particular theme. Through each chapter the reader is subject to changes in the layout of type, colour and visual imagery.
AM

Life, death, and permanence
Life death and permanence is a publication I created exploring the imagery and themes that surround the liminal spaces of graveyards and cemeteries, formulating these themes into 3 specific aspects: Life, death and permanence. Each theme embodies the imagery and layout of each particular theme. Through each chapter the reader is subject to changes in the layout of type, colour and visual imagery.
AM

Life, death, and permanence
MW

Interactive water type
MW

Road type
Abstract type piece
MW

Abstract type piece
Dalton Maag's challenged us to design a typeface inspired by a buildings architecture of our choice, I decided on Farnsworth House, famous for its modernist architecture by Mies Van Der Rohe. Drawing from its transparent exterior and the era it represents, I crafted a typeface emphasising transparency and modernism. I used horizontal lines to represent transparency as they allow backgrounds to shine through the letters, when these transparent geometric shapes intersect they become solid black shapes. This design mirrors the architectural language of the Farnsworth House, embodying modernist aesthetics with a nod to its iconic structure.
CP

Mies Mod
Dalton Maag's challenged us to design a typeface inspired by a buildings architecture of our choice, I decided on Farnsworth House, famous for its modernist architecture by Mies Van Der Rohe. Drawing from its transparent exterior and the era it represents, I crafted a typeface emphasising transparency and modernism. I used horizontal lines to represent transparency as they allow backgrounds to shine through the letters, when these transparent geometric shapes intersect they become solid black shapes. This design mirrors the architectural language of the Farnsworth House, embodying modernist aesthetics with a nod to its iconic structure.
CP

Mies Mod
Dalton Maag's challenged us to design a typeface inspired by a buildings architecture of our choice, I decided on Farnsworth House, famous for its modernist architecture by Mies Van Der Rohe. Drawing from its transparent exterior and the era it represents, I crafted a typeface emphasising transparency and modernism. I used horizontal lines to represent transparency as they allow backgrounds to shine through the letters, when these transparent geometric shapes intersect they become solid black shapes. This design mirrors the architectural language of the Farnsworth House, embodying modernist aesthetics with a nod to its iconic structure.
CP

Mies Mod
Dalton Maag's challenged us to design a typeface inspired by a buildings architecture of our choice, I decided on Farnsworth House, famous for its modernist architecture by Mies Van Der Rohe. Drawing from its transparent exterior and the era it represents, I crafted a typeface emphasising transparency and modernism. I used horizontal lines to represent transparency as they allow backgrounds to shine through the letters, when these transparent geometric shapes intersect they become solid black shapes. This design mirrors the architectural language of the Farnsworth House, embodying modernist aesthetics with a nod to its iconic structure.
CP

The Moderns