As one of the final outcomes of my MA research, I made a pocket-size academic reader on the dual subjects of demonology and networked technology, inspired by the new media academic publishing of Onomatopee, Valiz and the Sternberg Press. The format was 105mm x 168mm, small enough to be portable, but not so small that page matter or text size would be overly limited by space restraints. I used GT America for body text so the publication would feel approachable, the sort of book one could dip into. Since the aim of the publication was to widely disseminate information, this was an important concern in the design. I used BB-Brutal for header text, because it melded the contemporary and the arcane - typifying the two subjects I was dealing with in the reader.

As an understated but unusual design intervention, in line with those of many new media academic publications, I used a system where page matter was set vertically, except on the image pages that concluded each essay. This also served the utility purpose of maximising available space for essay text. Hyphenation was used liberally thoughout, even in the left aligned body text, as a visual metaphor for the intermingling and enlarging of ideas, a key intention of the publication.

Since the book was over 200 pages long, it made sense to use a print on demand service rather than printing and binding it myself, but I printed my own cover on the LCC risograph, using grey ink on dark blue 160gsm paper.

This was the second outcome of my MA research. It had the intention of disseminating the issues I had been researching regarding demonology, networked technology and Sigmund Freud's theory of projection. Since it was directed specifically towards an arts and technology audience, people who might read Triple Canopy, E-Flux and Rhizome, it followed that the outcome should take a form which could be shown in a gallery and also disseminated over the internet.

I was also keen that the form itself would engage with ideas of virtuality, so 3D rendered graphic film was the chosen media. I used the device of the glass mask, presented in rendered and unrendered form, as a totemic symbol of selfhood in discourse and conflict with the digital. The video is an attempt to engage directly with the ways in which projection is shaping our lives in 21st century society, hopefully speaking clearly enough that it has a clear utility function, yet poetically enough that it is able to engage in some way with the new media art approach of 3D artists like Ed Atkins.

As part of a discontinued strand of my MA research, I designed and printed this short newspaper exploring the Buddhist concept of Anatta, or 'not self'. It was a speculative work, published by a fictional organisation called CLUE (The Coalition of Liberated Undisclosed Entities). The newspaper experimented with materialising abstract concepts into concrete physical representations, engaging with the relationship between anonymity and selfhood.

The graphic system I devised for the publication involved scanning in hand drawn marker pen illustrations and digitally manipulating them, engaging with the production methods of historical activist zine publishers, but updating them for a more modern context. I used a newspaper format so that the publication could be produced widely and cheaply, in line with contemporary activist papers such as Strike! Magazine.

Included here are a number of logos I created for a range of organisations. Most feature significant though subtle alterations to idividual glyphs, and each is optimised for its particular usage in specific scenarios e.g. print/labels/social media. Though many of the final designs use bright and varied colours and textures, they are presented here in greyscale as undecorated shapes.

For the Work In Progress Show during my graphic design MA at the London College of Communication, I devised a large interactive multimedia installation for display in one of the LCC galleries.

It focused on themes of surveillance and paranoia, and was called “Target Practice: Redirecting Scrutiny”. The intention was to reconfigure the notion of the gaze, prompting subjects to engage more practically with the ways in which their own image was generated and propagated across digital media and networks.

It consisted of a large 3D rendered video, a Unity 3D Videogame, a Python Twitter application, four typographic videos, and one found video, along with a sonic composition that I made myself.

Viewers could navigate the videogame with a playstation controller, and while walking around the environment would encounter their own image on different advertising hoardings and screens inside the virtual world, updated from the laptop's webcam. The twitter app took viewers through a series of interactive questions before publishing their image, name and mood on a Twitter feed without their permission. The large screen played a looping 3D rendered video that I’d made in Cinema 4D, and the four Dell monitors played different animated typographic compositions in shifting patterns. The small laptop underneath played a video sourced from Youtube of the lawyer Myron May, a moving two hour diatribe against perceived surveillance.

You can access a video I took of my interactions with the exhibit here.

I was part of the design team who devised the promotional materials for the MA Graphic Media Design work in progress show at London College of Communication.

I designed the physical poster and animated the .gif image (it moves slowly). Alessia Muscas did the typography, and we riso printed and distributed the a3 poster around the university.

We were aiming to explore ideas of transparency and opacity, which in the end resulted in a poster that forced viewers to engage with it for an extended amount of time in order to extract the information required. This felt fitting for a poster distributed around a university of visually literate arts students, and the skeuomorphic design aimed to express the physicality of the visual research on show.

When I was hired as the sole marketing executive for an enterprise technology company called MidVision, I hadn't anticipated that I'd also be heading up all web and graphic design for the company. Before he left, the previous marketing executive filled me in on the basics of how to use Hubspot, our CMS, and I quickly learned HTML, CSS and Javascript from online tutorials and Stack Overflow.

Since the product MidVision vend is fairly techy and obscure, the approach with the site was to simplify the user experience as much as possible, using clean diagrams and plain language to clearly convey features and benefits. I also devised a graphic system for emails and ebooks, wrote content, and managed marketing automation and analytics. Customers included Lloyds Banking Group, RBS, GlaxoSmithKline and Domestic & General.

The site has recently had a complete overhaul, but I have kept examples of the pages I designed.

My Friend Jess was completing her MA in Curatorial Practice at the Glasgow School of Art. For her final project, she curated a website gathering written and visual works on political ecology, and she asked me to design it.

I created a minimalist graphic system for displaying works, based around an animated constellation on the homepage. Visual works were displayed using a horizontal scroll format so as to maximise their size and impact on screen, while written works used a standard vertical scroll, in line with the way that written content is usually consumed online. I edited written content and devised a system for displaying poems with complex indents and spacing. I also learned the basics of PHP for this project, implementing a pared-back forum and image upload functionality from scratch with a MySQL database.

You can view the site here.