studio platitude



i. Self-Directed

  1. Berlin Trees no.1 
  2. Berlin Trees no.2 
  3. Some Chicken Shops on the Uxbridge Road
  4. Kiez
  5. Permacomputing
  6. Fable Typeface
  7. 28 Point 
  8. STRUCT
  9. L.I.E.

ii. Commissioned

  1. UW
  2. Boden 
  3. How to Become a Member of Team GB
  4. The Bower
  5. Message Journal





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Message Journal University of Plymouth



Message Journal 

Univeristy of Plymouth 2022 onwards

Message Journal is a publication based at the University of Plymouth, dedicated to graphic design, visual culture, and independent publishing. 
As Co-Editor, I have since 2022 helped shape its editorial direction — commissioning and developing content, working closely with contributors, and steering the conversations the journal opens up around design practice and pedagogy.
Universal Works 




Universal Works 


2016 – 2017
Fashion, Branding, Art Direction


Worked as Associate Graphic Designer working on S/S 17 campaign exploring various inspirations from mid-century Cuba, revolution, the influence of the anti-establishment Beat movement in the USA and the graphic design work of Saul Bass. The key feeling of the collection has been drawn from a collection of photographs taken by Magnum photographer Burt Glinn that captured the turning point of 
Cuba’s revolution. 




BodenEditorial Design

Boden

2016
Fashion, branding, editorial

Worked as freelance designer on catalogue layout and general dsign






28 PointType Design 






28 Point (2026)

Type Design 

Designed as part of the 28X28 Ritual  a day , A display type system built from a closed set of 28 modular shapes — circles, rounded rectangles, and their boolean unions — combined parametrically to construct each letterform. Rather than drawing each character by hand, 28 Point works like a constructive geometry problem: overlapping the base shapes generates the counters, terminals, and joins as emergent byproducts of the underlying grid, producing the sharp, star-pointed counterforms visible wherever two curves intersect (as in the O, R, or the 28-point mark itself).

The system spans a bold rounded Display cut for headline and numeral-scale use, alongside a dotted Reference weight that reduces the same 28-shape vocabulary to its most minimal expression — legible down to a pixel-level grid while staying structurally consistent with the display cut. Because every character is derived from the same finite shape set and combination logic, the typeface holds a consistent geometric identity across scales, from single display glyphs at 1000pt+ to full paragraph-setting at 28pt and below.
KiezType Design 

Kiez Family
(2023-2026)
 
Inspired by the heavy lifer of typefaces that is DIN, Kiez is the Berlin word for ‘neighbourhood’ and has been designed for the Berlin Trees project. 

In a grotesque style, its uniqueness - simplistic  and concise (with a few flourishes) - comes from its geometic and practical design. 
STRUCTType Design 



STRUCT
Type Design

2023 A geometric sans with just enough give. Struct’suppercase holds to a strict architectural grid — square counters, consistent stroke weights, a confident constructed logic — while its corners soften into gentle curves that keep the whole thing from feeling cold. Drop into the lowercase and the personality opens up: looping terminals on the a, f, g, and j add a handwritten, almost calligraphic warmth that plays against the rigor of the caps above.

It's a typeface built on contrast — machine-precise structure paired with human curves — which makes it equally at home on a brutalist exhibition poster or a soft, editorial spread. Full numeral set, punctuation, and ff/fl ligatures included, so it's ready to work at both display and text-adjacent sizes.

Best used large, as a display typeface where the tension between geometry and roundness can really breathe.
Library of Indepedent Exchange (L.I.E.)Archive



Library of Independent Exchange 


2011 – 2015
Archive, project space, studio, Publisher

L.I.E archive website: www.l-i-e-booksetc.blogspot.com


L.I.E (Library of Independent Exchange) was a unique arts reference library. Founded in Plymouth in 2011 by Christopher P Green and Mark James, it has appeared in various guises over the years: pop-up library,
exhibition, library-in-residence, design school, publisher and designer of books, and director/producer of films. Past projects have involved Spike Island & Arnolfini, Bristol, The NewBridge Project, Newcastle,
Hannah Barry Gallery, London, Plymouth College of Art, 0fr, Paris, and V&A, London. 
The mission  was to provide public access to lesser known works that exist beyond institutions. L.I.E holds pieces by independent arts publishers based all over the world, comprising artists books, monographs, catalogues, journals, zines and print editions, featuring visual art, poetry, and art writing. 
FableType Design






Fable 
Typeface
(2025)
Fable is a contemporary grotesque that pulls together the best instincts of recent grotesque design, redrawn from scratch with a sharper, slightly condensed edge.

The default strips back to the essentials — the leanest, most recognizable skeleton of the archetypal modern grotesque. Alternate loosens things up with more curve and more feeling.

The Italics are where Fable does something genuinely its own: every terminal on every horizontal bar is cut 100% vertical — no taper, no softening, just a clean, deliberate edge.

7 weights. 7 italics


Berlin Trees No.2                                                                                                                                        Publication

Berlin Trees no.2
Folio: Photobook and essay
Edition of 50. 
Berlin Trees No.2 is an ongoing photographic and publishing project that explores the tree as both historical marker and subject of repetition, observation, and memory within the urban landscape of Berlin. Through a process of walking, documenting, and collecting, the publication examines how trees function as living witnesses to the city's continual transformation, recording traces of political, social, and environmental change across time.

Drawing on ideas of memory and place, this edition considers the tree as both image and monument, occupying a space between nature and the built environment. The publication presents a visual survey of Berlin's urban canopy, reflecting on the ways trees shape the character of the city while quietly bearing witness to its layered histories. Through photography, sequencing, and typographic intervention, Berlin Trees No.2 offers a meditation on continuity, change, and the enduring presence of nature within an ever-evolving urban fabric.
Berlin Trees no.1Publication Design

Berlin Trees no.1
2023 (photographed in 2016)


289 x 380mm, 
22 pages, 
45gsm salmon newsprint.


The Berlin trees project serves as both a historical marker and as subjects of as an exercise in repetition and memory. As an ongoing project, this first iteration as publication delves into the multifaceted role trees play in the city's identity, offering a nuanced reflection on their place within Berlin’s urban fabric and the broader socio-political and environmental shifts that have shaped the city's landscape. 

This edition explores the beauty and symbolism of trees as they stand as living monuments to Berlin’s changing landscape, offering both a visual and historical narrative of nature's enduring role in the urban environment of this ever changing space.

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