This was a self-initiated project to create a poster to advertise the Creepy Crawlies exhibit in the Natural History Museum. This display is my favourite in London and has been one that I have frequently visited since my childhood. After starting university, I became aware of how, in comparison to the rest of the museum, it was poorly advertised and exhibited. I decided to design a poster that could be used as a preliminary step towards updating the whole exhibition space so that today's children could enjoy it much like I have. I began by looking into bugs and their biology, how their exoskeletons interacted with their limbs and how this affected their colourful exteriors. From here, I recreated many of these using only two sheets of paper, an attempt to simplify these complex creatures and remove some of the creepy factor that can keep patrons away. Drawing from the traditional method of catching insects and then framing them, I stuck a pin through each of the insect silhouettes but not the insects themselves. This was an attempt to convey to the viewer that this exhibition promised a whole new experience and understanding of bugs. This is one of my favourite projects and was my first step into a life long interest in paper and layers.
This was a competition I undertook with a partner to design a piece for the 50th anniversary of Vintage Ladybird. We began by investigating the brand's history and were very interested in how Vintage Ladybird books had been used to teach individuals about so many different topics. We decided we would design the first of a series of books that could be used to teach children or adults about graphic techniques in the 20th century. We started by prototyping four books based on four Adobe programs because, as contemporary designers, we viewed these as some of the essential tools that are used most frequently now. The books were based on the Ladybird’s A B C format; each double page spread containing information on a tool or effect, and advice on how to use it. We spent a lot of time cultivating the right style of image, as each picture in the original books was a hand painted illustration, something we wanted to emulate. In reaction to this, we took each of our photos and put them through image trace in Illustrator and then edited the colours to have a softer and more pastel feel. For the covers, we went for a series of overly happy groups of people of different ages using computers and learning together, a tongue in cheek reference to the traditional Ladybird covers and their gleeful exteriors.
V & A
This was a short project I undertook for the V&A to design a poster for their Alexander McQueen exhibition, Savage Beauty. I began by visiting the show and was particularly impressed by his wooden bust. The exhibition's description of how the piece was an amalgamation of two forms of beauty, nature and the female appearance, I found particularly inspirational. I used an image of the sculpture and increased the threshold on Photoshop to create a stencil. I then moved this into Illustrator to turn it into a vector, and then sent this into a laser cutter to cut it out of brown card. I then took the result and carefully separated the different elements and stuck it down to different cards with bronze, silver and gold finishes. I used these to represent McQueen’s interest in materials and their combinations. Finally, I presented this work to the V&A creative department and received some very positive feedback as to how the images might be used.
This was a project I was involved with whilst interning at Assembly Studios in London. The job we were hired for was to brand a company in Vienna called Vie, a business based on combining work and socialising which had to be reflected in the designs.
My job was to take the multitude of maps we were given by the client and reduce them to three of my own design whilst still incorporating all the information displayed on the others. I began by finding what was essential to involve in my maps and found it was a combination of two factors; the company's location in Austria and the local transport links. So, I first designed three maps which gave a sense of where the company was in Austria, gave a more detailed look where the building was based in Vienna and finally a map which showed where in Vienna the company was based. Finally, I designed a series of transport symbols which fit with the style of the map, and inserted them in the correct locations. This was one of the projects that I worked on at Assembly where I felt very confident in my process and with a bit of advice from my peers I was able to create something to a professional standard which was included in the final presentation and received some great feedback from the clients.
The Museum of Russian Impressionism
This project for John McAslan and Partners, an international architectural consultancy in London, was to prepare a presentational book to accompany the opening of their Museum of Russian Impressionism in Moscow which opened in May 2016. My fundamental role was to design the book and co-ordinate all the graphic material and text which described the project's inception, context, and organisation. In the first instance, this involved simplifying and redrawing plans and elevational graphics to be appropriate for the presentation. These were then integrated into a wider graphic concept for the publication which was focused on the idea of using laser cut paper engineered profiles of the building to illustrate it’s rich layers of facade and volumetric intricacy. The project is a complex narrative and its description involved using a variety of different graphic sources and the challenge was to give a unifying consistency and quality to finished publication.
It was a remarkable opportunity to be given the responsibility to prepare this book both in terms of the graphic design but also the management of the project and its delivery. The book is to be translated into Russian and used as a key promotional catalogue for the Museum.
This was a university project which required us to design a piece, which could be used to educate others about our environment. I started this by looking into pollution and after a bit of research, I was hit by how big most of the statistics used to describe this were. These are figures which are so big or oddly measured, they are nearly impossible for us to comprehend, and after some interviews with members of the public I discovered that because of these figures many find it easier to remain in a state of ignorance due to a lack of understanding. To rectify this I designed a series of posters advertising a new exhibition which would be called “Sometimes The Numbers Are Too Big”, focused on turning these huge figures into relatable quantities. One method I designed to explain a factor of air pollution was to use blowing bubbles to show others how much CO2 we breathe in every minute, transforming statistics into a comprehendible volume. In reaction to this, I worked with a photographer to create a series of high-quality pictures of bubbles, which I used in every one of my posters. This inspired a lot of interest from viewers and lead to them asking more questions about pollution. This reaction was proof that I had created a successful design, which generated an interest in learning more about the environment and created a desire to change.