Various logos for various things. Purely experimentation with typography.
At Zalando I oversee the ongoing development of our visual language on the web. I work on a variety of short, medium and long term projects that require creating better experiences for our customers. These projects include creating UI for new and existing sections of the Zalando website across all regions. Other responsibilities include managing a close relationship between design and development as well as mentoring members of the team.
Cross-platform visual design for UK fashion retailers ASOS. The role required me to oversee and develop the visual language of the ASOS brand across a variety of digital platforms, working on various aspects of the user experience.
My role was to oversee all digital content from Topshop.com on all platforms for multiple regions. I was required to continuously develop the look and feel of Topshop online and improve the overall functionality of the desktop site, apps and mobile site. My main focus was UI and UX design.
I ran numerous campaigns, including the award-winning London Fashion Week campaign where we created the world's first Virtual Reality Catwalk. Customers could enter the Topshop flagship store and view the live show in real time through the use of Oculus Rift technology. This nabbed us the winners spot at the BT RetailWeek Technology Awards 2014.
In my time at Topshop I made it my responsibility to bring the brand up to speed with modern digital design principles whilst simultaneously promoting forward-thinking processes. I encouraged the highest standards of design and ensured the team I mentored did the same.
My role as Art Director on photoshoots required me to work with photographers, writers and the production team to capture the necessary content for the theme of the season. Typically a shoot would firstly require a site reccy to document and determine shoot locations. Once this was decided we would work with the Production team to plan our days out and work with the photographers and models to shoot the full clothing range.
Seasonal catalogue design required me to work in a small team to turn around the design and production in only a few weeks. I worked on concept through to execution, which consisted of art direction on photoshoots, commissioning writers and illustrators for additional material, creating bespoke illustration and typography and working with the printers to ensure the catalogues were good to print.
A typical catalogue would see me reviewing several thousands of photographs in order to select the appropriate ones for use. I would then need to retouch and colour correct to maintain a consistency throughout.
After receiving the editorial content I would work on creating a catalogue plan by laying out spreads to get a feel for the flow of content.
Once the base was there it was a case of building up the material and creating designs, shifting content around as necessary until we reached a final result.
Seasonal catalogue print runs would typically be around 40,000 prints.
Logo design, branding and editorial design for sports-luxe brand Lexie. I created the identity as well as all printed and digital material for the last 2 years since the brand’s inception.
The name ‘Lexie’ is from the Greek Goddess Alexandra, meaning to ward off and protect. Therefore it felt suitable to create a marque that represented a shield but also retain an ‘edge’ that the British-born brand represented.
The logo needed to be bold, strong and edgy. So I went about creating a series of marques taking influence from some of the geometric shapes found in the garment prints, eventually resulting in the Lexie logo you see today.
This approach was also applied to the logo name where parts of the characters are sliced off at angles, enforcing the brand image.
My brother approached me during his final year degree show to create the identity to his project – the Welsh Space Campaign.
The idea was to promote astronomical ambition for the people of Wales by harnessing the natural materials and engineering talents that Wales is home to.
My brief was to create an emblem that represented space travel and the country of Wales. Taking inspiration from traditional space mission patches I sketched a series of ideas when I discovered the representation of a space shuttle in the tail of the Welsh Dragon.
This emblem was applied to a variety of material for his show as well as featuring in an article alongside my brother’s project in Wired Magazine.
I created the identity to Bristol-based clothing brand LSF.
"Inspired by dreamers and the beauty of simplicity, LSF takes its notes from the laid back styles of Bristol and Melbourne, Australia, to create clothing that embodies creativity, love and opportunity."
Harmoniously reflecting swans create a symbol of love and unity – a unique marque that captures the essence of the label. This marque was also developed as a repeat pattern for additional products in their range.
See more at lsfclothing.com
Design and direction for ski brand, Planks Clothing. I primarily created original illustrations for apparel but also worked on hardware packaging and product design for subsequent ranges.
See more at planksclothing.com
Photography courtesy of Planks Clothing.
Yellow is an ongoing series that will see 52 artists illustrate 52 weeks of news. For their Kickstarter campaign I worked with the creators to put together a promotional video to show what the project is about and encourage people to back the project and make it a reality. Over a period of a few weeks we filmed a series of renowned illustrators such as Jean Jullien, Malika Favre, Supermundane, Martin Rowson, Charlotte Mei & Sofia Niazi, and asked them about their approach to illustration and what interested them in a Yellow project.
Role: Art Direction, DOP and Editing for Yellow's Kickstarter campaign.
Here is a selection of posters I’ve created for personal and commissioned projects. I create these in my personal time as I’m always keen to experiment with illustration and typography. And being a huge film and music buff, it allows me to bring my thoughts to life.
As a side project, I collaborated with Pickles Magazine and Nike to produce an illustration for a football patch to promote the release of Nike’s Ordem football during the beginning of the 2014 football World Cup.
I was asked to create a typographic piece based on the history of English football. My focus became the World Cup of ‘66. So I went about to recreate the back of the England football jersey of that era and give it a twist by using the number 66. The typeface mimics the one used and I also applied cotton textures to the red background to further enhance the replication. Finally, some grit was added to represent the hard earned title fought that day.
This illustrated patch was displayed alongside several other artists in Nike’s Supernatural Showcase in Central London.