The branding reflects this sensitivity: understated typography, muted tones, and tactile materials. The identity system extends across packaging, print, and digital touchpoints, capturing the studio’s balance between design intention and natural irregularity. 




A bespoke monogram mark was created, intertwining the FSF characters into a single, balanced form. The design draws on the natural structure of a plant stem, slender, organic, and quietly expressive, reflecting the studio’s connection to flora and the natural world.







The typography references classic film title typesetting, blending lowercase and uppercase letterforms with centred and justified layouts, all harmoniously balanced to evoke the nostalgic aesthetic of French cinema. Each box features a film-frame still, reenacting an iconic scene from the film. 




The packaging was designed create a seductive tactile experience, striping back layers to reveal the product. Upon unveiling the top layer, an immersive red, pigmented textured paper is revealed, juxtaposed by the silky glass vessel and rich oil tones.







Though indented to be reused, the packaing uses fully ecofriendly materials, with aluminium vessel and recyclable lids. The design touch is light to envoke a calming restorative bathing ritual. 




The outer packaging uses an off-white texture stock, with subtle embossing details for a premium feel and finish.







The poetic typesetting is an adaptive system, with highly crafted detailing. Using only two typefaces, Gaisyr Book and Mono, the graphic language provides a understated yet distinctly bespoke platform for the gallery to showcase their collection of works. 




An inky monogram, referencing traditional makers marks is stamped onto printed assets. Transparent materials were used to create soft layering, combining text layers with artwork imagery.







Vol. I is comprised of all four short stories: The Rebound by Natasha Stagg, Holds by Julia Armfield, House of the Sleeping Beauty by Emily Wells and Les Mains Négatives by Susanna Davies-Crook. Featuring illustrations by Emma Rose Schwartz. 




A belly band was created to tie the collection together, with the volume title on the front and table of content on the reverse.







Each touchpoint embraces imperfection, from the tactile, textured finishes down to the nuances of the typesetting. The graphic system is intentionally crafted, reflective of the brand’s ethos. Tradtional materials and printing methods are embrassed, bringing a human touch through letterpressed printed assets, handwoven yarn and handpainted signage. 




A bespoke makers mark, inspired by a potter's marks, was created with the letterforms HCM, interlaced with an adaptive typographic lockup.







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 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. 













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.







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.







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.







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.







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.







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.







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.







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.

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.

The publication was printed on an off-white uncoated stock, with a coated plate section, featuring photography by Patrick Reynolds.

The design was an ever evolving process, responsive to the content of each issue; from colour, layout and typography to the paper stock selection.

The short life span of a magazine allowed for playful design exploration, within the restraints of the established visual identity of HOME.

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.

Translation from German: Stille ~ silence, silent.
The family contains the basic roman glyph of 90 glyphs, set in six weights; light, regular and bold with oblique variants.

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.