Designed to evoke the charm of classic paperback novels, this compact publication offers an intimate reading experience. Printed on a light off-white uncoated paper stock, the contents elegantly overlay the adjacent pages. 




The cover features an exposed content page, foiled in black onto ColorPlan Bright Red.

Typefaces: Times Now & Helvetica Now.







The series is a celebration of words, a scattered arrangement of key phrases from each poets work. 




The project extended out into flags, banners animation and ground vinyl, immersing the precinct in colour and poetry.

Typefaces: Romie & Neue Haas Grotesk










The comprehensive 464 page publication houses a 130,000 word essay accompanied by 440 high-quality reproductions. The cover features a detail of Te Whiti, one of Walters most renowned works, with blind de-bossed text onto a rich black. The palette remains monotoned as to not detract from the richness of colour within Walters works, whilst referencing his prominent contrasting black & white pieces.

The grid system is based on the structure of a work by the artist, providing a robust balanced layout, created by the artist himself. The essay is set in Signifier & with Untitled Sans set for footnotes and captions. The section opener typesetting references modernist mid-century design, prominent during Walters career.

Typefaces: Signifier & Untitled Sans










The P symbol is an evolution of the long standing envelope icon, representing transportation & connection from one place to another. A royal dark blue was introduced into the palette, whilst retaining the well established red of NZ Post. The new palette takes its reference from historical identities of NZ Post branding & evocative of the New Zealand flag.

A custom typeface was developed inhouse by Alistair McCready, in junction with the new wordmark, to bring a strong brand presence across all communications. A lined pattern system based on the P symbol was introduced. Highly adaptable, the graphic is used to create instant brand recognition across a wide range of touch points.

Typefaces: NZ Post Sans










The design system needed to be flexible to be used across a wide range of physical & digital outputs. The poster series was accompanied by digital billboards, display country-wide, and a social media marketing campaign, with animated versions of the posters.

The dual black & white monotoned approach enhanced the prominence of each products colour and texture within the street environment backdrop.

Typefaces: Helvetica Now Text







Printed on to Munkin Pure 80gsm, the inverted fold allows the poster artwork on the reverse to show through on the cover. 




A digital invite animation was created, to give a preview of the works on show.

Typefaces: Signifier







This idea sits at the core of The Hotel Britomart’s logo suite. It is represented through an array of squares that relate to the nine blocks’ diversity, the hotel’s brick exterior, and the irregular constellation of windows scattered across it. The logo mark is the most visible element of The Hotel Britomart visual identity. It is a universal signature across all brand touchpoints. It is a versatile graphic element that can be used in various ways; an image mask, a housing device for images, a housing for abstract graphics, and a visual metaphor. 




The identity is far-reaching and embedded into the building, from wayfinding signage systems to branded pencils and notebooks. The hotel collateral features a mix of hi-fi and lo-fi materials, a signature feature of the Britomart precinct. Foil finishes on raw boxboard, one colour letterpress printing on luxurious coloured stocks. The identity is purposefully understated with attention to details that symbolically embody the hotel’s standards, quality, and future goals.







In approaching the rebranding, the aim was to refresh their image. A softer palette was introduced, with tones referencing some of their most prominent projects. The wordmark was set in Söhne, a modern take on Akzidenz-Grotesk, and slightly altered. It’s dominant prominence juxtaposes the soft colour palette.




With a focus on showcasing their team and process, the website was meticulously crafted to spotlight their portfolio, providing visitors with a seamless journey through their diverse range of projects. Video stills & high-quality images and engaging case studies were strategically incorporated to offer a deeper understanding of their practice.

Typefaces: Söhne







It is richly illustrated with Hackshaw’s plans, McCahon’s drawings, letters and journal entries, and photography by Bridget Hacksaw of the surviving buildings, artworks and sculptures. 




This 240pp publication has singer-sewn sections on a coated stock and buckram blunt-cut hardcover with matt black foil.

Typefaces: Neue Haas Unica Pro and Pitch







The Hotel Britomart’s luxury suites named after Bay of Islands resortThe Landing required a promotional publication to give guests as a gift at both venues. The book needed to establish that the two properties are linked and tell the stories from both. A place steeped in cultural significance, The Bay of Islands was one of the first regions in New Zealand settled by early Māori voyagers from Polynesia. Whilst Britomart and the hotel are a prominent feature, the book’s primary focus is The Landing; its history, its taonga, and the residences and winery there today. 




Mixed stocks were used, and the look and feel of the publication relate closely to the visual identity of the hotel; the colour palette, the typefaces and the array of square pictures emulating The Hotel Britomart logo and the constellation of windows that appear on the buildings façade.

Typefaces: Sailec and Heldane







A craft stock is used on the cover, with exposed binding referencing the wooded backs of Albrecht’s handmade canvases. A gatefold is utilised to allow the four artworks to be shown at a large scale without interference from the gutter. 




The gatefold falls in the middle of the semicircular artworks, followed by a close-up detail to scale on the following page. The design of the book has an intentional rawness.

Typefaces: Heldane and Söhne







The study includes a 130,000-word text and 200 illustrations in colour, with a generous selection of reproductions of Apple’s works plus other illustrative material. The cover features front and rearview portraits from original transparencies used in an iconic 1963 artwork and acknowledges a design construct from a series of previous Apple publications. 




A single-column grid is utilised for an easy reading experience and images and marginalia are dispersed throughout the essay. Extensive footnotes are also included on the page where referenced, adding a vital layer of information for the reader. Red and green title pages demarcate transitional periods in Billy's career.

Typefaces: Futura and Untitled Sans







The identity is a graphical abstraction of the wines initials, with two large semi-circles in contrasting colours that fully wrap around the bottle. The full wrap design encourages one to interrogate the bottle. Each variety runs a pastel background colour and a key colour, carefully considered to reflect the taste and undertone notes present in the wines.




The design aimed to reflect the values of the winemakers, to create ecologically conscious wine making processes that are truly sustainable.

Typeface: Theinhardt

The award is given annually, along with the publication, to commemorate the architects achievements. The publication documents key projects from Salmond's career in an interview format and a plate section with photography by Patrick Reynolds.

Typefaces: Graphic & Plantin.

The design is an ever evolving process, each issue responding to its content and pushing the visual language of the magazine format. Colour and typography is used playfully, responding to the themes and the houses within the issue.

Typefaces: Messina Sans & Messina Serif

Voyager Media Awards 2020
Best Cover Design
Best Magazine Design

Voyager Media Awards 2019
Best Magazine Design

Magazine Publishers Association 2019
Best Cover Design

Stille was designed in ink, at a consistent 30° and translated into a digital typeface, remaining true to the gestures left by the hand. The junction between the serif and the steam is created by the calligraphic nib, a feature unique to Stille. The family contains the basic roman glyph of 90 glyphs, set in six weights; light, regular and bold with oblique variants.

Translation from German: Stille ~ silence, silent.

DINZ Best Awards 2016
Gold in Student Category

AGDA Awards 2016
Distinction in Student Category

Verste was created entirely through digital processes. Each letterform was crafted by hand with a digital stylus and developed into a functional typeface within Glyphs. Verste is characterised by the refined raw features of the calligraphic form set within the rigid monospace system. Each stroke of the letterform was handcrafted at a consistent 40° angle with a digital stylus, keeping true to the movement of their production. The 'line of the artist' reproduced in digital form.

The font contains 336 glyphs and is available in two weights: regular and oblique. Verste was designed to emphasise the calligraphic form within a digital setting. Verste was presented in a limited edition run of 26 riso printed type specimen booklets, each containing an individualised process glyph insert. Designed to display the typeface on a neutral platform in various contexts, the specimens showcase its usability and distinguishing features.

This practice-based research project explores how calligraphy, an art that has always existed among the comforts of the physical plane, can be reimagined for the digital age. The research aimed to reinforce the significance of calligraphy in written communication and examines the relationship between authority and the calligraphic form.

The design of the publication was influenced by Karel Matens Printed Matter. Six editions were hand made, with french fold binding, on Zeta Natural 80gsm paper, used for calligraphy.

Typeface: Universe Bold Extended 63