RP Ultra Light Type - Commissioned by UNIQLO x It's Nice That — in response to the Ultra Light Down Jacket, we developed a typeface with a stencil lettering tool in mind.
26 Individual letters laser cut from 50 x 70, 8mm perspex, with interlocking furniture for alignment. We also produced a smaller size with all A-Z on one sheet. letters rendered using 25mm acrylic paint markers.

Its Nice That Article

Identity for the Royal College of Arts graduate exhibition, taking place across 3 sites in London. We've designed and developed a tool used to generate the many variations of the word mark. Computer meets calligraphy.

Informa is the annually published architectural journal of the University of Puerto Rico. The journal features peer reviews, interviews, case studies as well as book reviews. Working closely together with editor Regner Ramos, we designed a bespoke typeface for the identity of the journal, used both on the cover and throughout as a headline typeface. The cover is always printed split fountain, mixing colours directly on press, purposely inviting for variation throughout the print run. The journal reads in English and Spanish.

Mary Sibande, I Came Apart at the Seams. On show at Somerset House, Terrace Rooms, until Feb 2020 .

Exhibition design features bespoke headline lettering used across 2 sizes of section wall panels & tombstone captions. Curved Aluminium, with rear plate powder coated to match the coloured theme of works in the room - Blue, Purple, Red

A catalogue for Sheffield Institute of Art's containing student work across the entire school, from Fashion Design to Jewellery and Metalwork. The catalogue heavily features a typeface by Hungarian designer György Olah. We found this typeface in the 1984 catalogue for the (Czech) Brno Biennial.

Identity for the Royal College of Art 2019 Fashion show. The identity featured a bespoke headline type & numerals used for floor vinyl way-finding, and a printed publication.

In Review is a direct mail publication and newsletter offering an uninhibited insight into the creative practice of graphic design studio Regular Practice. Published on no particular occasion.

Tinted Window No.2: Verbivocovisual. On ‘Materializzazione del Linguaggio’, a 1978 Venice Biennale exhibition of language-based artwork made by women.

Tinted Window is a compendious journal that focuses on one person, place or object. Each Issue relishes in the details of its subject, in a moment where detail is very often sold short in favour of opinion and newsbites. Tinted Window is edited by Alex Bennett and Oscar Gaynor, and intrinsically examines the relationship of words and form, exploring and experimenting heavily with the way text is set, and how said interventions influence the experience of reading. The primary headline typeface for Issue 1 is a digitisation of lettering found in the work of Sylvester Houédard.

Identity for the 2018 annual iteration of the Serpentine Gallery Marathon. The annual Serpentine Marathon explores art, architecture, activism, anthropology, literature, music, philosophy, theology and science, through a theme of topical relevance to artists’ practice and the wider contemporary context.

Identity for the Royal College of Art Graduate Exhibition 2018. The identity revolves around a built tool that allows us to populate small elements into given letterforms. Deliverables for the project ranged from large scale vinyl applications on buildings, to printed maps & way-finding.

Its Nice That

Drawing Words is a travelling exhibition of contemporary british children's illustration, organised by the British Council. The exhibition is currently booked to go as far as Iraq, China, Chilé and so on. Prompted by Etcetera Studio Architects, we developed the visual identity in close collaboration with them and Lauren Child, children's laureate and curator of the exhibition. Our main intervention was to carve out a section at the top of most surfaces, leaving most of the surface blank, allowing space for Lauren Childs sketch-like illustrations that were made on the occasion of the exhibition.

An exhibition catalogue & event programme for a conference in Puerto Rico. Open stitch bound in 2 coloured stocks, the handout is 2 books that can be read from reverse orientations. Using our headline lettering originally devised for elsite.xyz

A modular set of furniture on casters — we designed tables, storage and shelving units for the graphics workshop section at the Royal College of Arts Visual Communication campus. Units are built to measurements that accomodate RISO Duplicator ink drums. In use are 3 colours of laminate as well as treated plywood. Units are built employing random combinations of these 4 surfaces, resulting in variation across similar units.

Fabrication by Oliver Davidson

Risky Business 3 invites you to consider Art & Design education and post-graduation through the language of performance. (/italic)
Taking place annually, Risky Business is a multi-day conference that takes place within Sheffield Hallam University, for its art and design staff. At the invitation of its organisers, James Corazzo and Paul Heys, we developed the type driven identity for the 2018 iteration of the conference. For inspiration, we looked quite literally to manuals on how to draw letterforms, illustrated in step by step strokes — these strokes represented as singular stroke forms, shown separate, gave rise to the final letterforms where strokes left unjoined, for example in the lowercase s, y and n.

The Dirty Electronics MUTE 4.0 SYNTH is a synth with inputs, a digital wavetable synthesiser, an analogue noise circuit, and programmable sequencer. Together with Adrian Shaughnessy, we designed the layout of the circuit board and controllable inputs, as well as graphics printed directly onto the board.

Collaboration with Adrian Shaughnessy

El Site is a project examining how mobile technologies are changing and informing queer practices and spaces in San Juan, Puerto Rico. El Site is both a performative writing methodology and a publication output for Regner Ramos research on queerness, technology and spaces. Composed of written fragments published in real-time, El Site becomes a live narrative and record of the research through a series of ongoing essays, musings, photos and conversations.

elsite.xyz

This book forms part of Annabel Frearsons ongoing major project Frankenstein2, which aims to reconfigure the entirety of Mary Shelley’s Frankenstein (1831) using all and only the words from the original into a new expanded novel and associated works. The story is narrated by an underground ‘feelings trader’, and is interspersed with elements of concrete poetry, which serve to reveal the structures of its making (as a form of database narrative).

Meet Me in the Present is call for public spaces, and for public ideas in an age when the commons is increasingly under attack. A collection of essays, this book explores the diverse ways in which documents produced by marginalised groups and traces left by radical political actions have been collected, preserved, and sometimes, displayed.

In Collaboration with Jake Tollady