The visual approach draws on the contrast between the order of British Gothic architecture and the eclectic character of ancient Somerset landmarks — vaulted cathedrals, immersive stone ruins, and nearby Roman baths — balancing beauty with functionality.
My role within the brand focuses on packaging and graphic design. I work across primary and secondary packaging, packaging construction, artwork development, and visual strategy, while maintaining consistency through established brand guidelines and the continuous improvement of materials and structural solutions.
This project involved the design and development of a full Latin uppercase and lowercase character set, alongside a printed type specimen and a series of typographic posters.
The type specimen not only presents the letterforms in use, but also tells a visual narrative about the growth and formation of shells, providing context for the inspiration behind the typeface.
The posters were produced using photographic lithography and printed with silver ink.
The second part examines the emotional and lived experiences of passengers waiting at bus stops. It includes a theoretical exploration of Marc Augé’s concept of the “non-place,” references to Christopher Herwig’s photographic project Soviet Bus Stops, observations of passenger behaviour, and representations of bus stops in cinema.
The aim of the project was to investigate an everyday object that often goes unnoticed, approaching it from multiple perspectives and angles. By doing so, the project seeks to give identity to the transient, anonymous “non-place” of public transport and the experiences connected to it.
Designed as an insert for the Between Stops publication, the booklet expands on a closely connected aspect of public transport culture, exploring the graphic and material qualities of everyday transit objects.
The books I selected were:
- Table Leaks Its Object by Tertia Longmire — a collection of words and phrases inscribed by students onto school desks.
- Approximate Increments by David Bellingham — a collection of broken ruler fragments.
- Lost Property by Neil Cummings and Marysia Lewandowska — a selection of items recovered in a single day by the London Transport Lost Property Office.
Artworks presented in the images were designed, printed, and bound by me in response to the selected publications.
A series of typographic posters was produced in the relief print workshop, with the letterforms laser-cut from lino. The colour palette combines the iconic blue associated with Portuguese tiles with warm clay and terracotta tones, creating a rustic, vintage atmosphere.
The typeface merges the historical Cyrillic writing styles of Ustav and Poluustav with decorative forms inspired by cross-stitch embroidery, combining traditional craft with contemporary typographic design.
The project encouraged experimentation by challenging students to respond to shapes, light and shadow, and silhouettes, without directly recreating the architecture of the campus.
On the final day of the project, we collaboratively organised and installed a small exhibition in one of the college galleries.