I entered the 2017 Graphic Design Festival Scotland Poster Competition with the images shown here, a few of the posters I'd designed as personal projects in response to various events in 2017.

The pink and black one with the car, called "Modern Man" was chosen to go through to the next round. It was supplied with the following description: "I wanted to question and subvert modern masculinity, and its basis in media ideology. I conducted this through the lens of automotive advertising, something that has traditionally been aimed at men, and generally promotes archetypically 'masculine' values."

I made a duotone screenprint of it, using an even more louche shade of pink than the digital version, to send off for the next round's physical submission. Unfortunately, having never screenprinted anything as large as A0 before, the results were a bit iffy and didn't make it through to the final selection. There's always next year...

I spent a few weeks in awe of Hito Steyerl’s essay In Defense of the Poor Image, and decided to give this fascinating piece of writing, which exists within E-Flux’s carefully controlled graphic identity, a new form.

My main graphic interventions were based around Jim Marcus’ rather obscure font Digital Waste, with degraded bitmap images of each chapter’s glyphs used as artwork, to engage with the essay’s subject matter - low resolution images. I gave each chapter its own title page to increase the urgency and impact of the publication, and this was supported by use of a large, bold extended font and vertical typograpy.

I used unusual paragraph formatting in line with other new media/design publishing, to stress that this work was talking to and about design, and a simple colour scheme so as not to distract from careful reading.

I got quite into historical Dutch still life paintings, and made a number of 3D renders in Cinema 4D exploring similar ideas of temporality in a modern context. They used different styles and approaches to consider different aspects of this.

I started a Berlin Techno club night in Bristol with a friend. I designed a simple logo using Fabian Fohrer's edged sans serif Fabrik, to portray a brand that was friendly and welcoming but subtly unusual - it's fairly rare to hear Berlin Techno in Bristol.

Since our budget was basically nil and nobody knew about us, we needed to get maximum impact at minimum cost, so I designed a crisp, basic single colour poster and photocopied it onto cheap neon A3 paper. It stood out against all the other club posters on the streets, in that we'd used pink paper, rather than green or yellow, and the modernist-influenced design was eye catching in its restraint, against a sea of posters using 100% width bold caps.

We then pasted 100 of the posters up all around the centre of Bristol. Things went well in the end, the tiny club filled up and everyone had a good night.

Since we couldn't afford fancy lights, I thought a projected backdrop would add some interest to the techno night I set up with a friend. We borrowed a projector and I grabbed loads of video material from the internet. I combined the footage and processed it heavily to create a surreal half hour projection which was looped throughout the night.