Animated geometric alphabet.
Animated geometric letters of the alphabet, appearing one after the other.
Illustrated animated mouse wearing colour changing headphones.
Two books stacked on top of each other viewed at an angle, showcasing the soft pink book cover featuring Miamani Fortura ASCII Art logotype, with an ASCII Art linear geometric illustration.
A version of the Single Hand Clock with a greyboard face, mounted on a white wall. The raw, uncoated material gives the clock a subtle, tactile presence, maintaining its minimalist aesthetic.
Book spread with an image of a building and and image of some outside building’ stairs.
A row of four Single Hand Clock boxes, each representing a different material variation: greyboard, clear red acrylic, clear green acrylic, and clear blue acrylic. The packaging design is clean and minimal, with a structured layout that balances typographic clarity and visual hierarchy. Each box features the product name in a bold, sans-serif typeface on the spine, with a small preview image of the corresponding clock variation below, along with a subtle colour-coded system to indicate material differences.
A laptop screen displaying the Miamani Fortura website, with text and an image of an exhibition space with an abstract installation and two abstract artworks.
A book spread with a full-page abstract artwork on the right and a colour study on the left, exploring depth and spatial perception.
Open booklet viewed at an angle, featuring a spread on sustainability titled "Supporting Sustainability." The left page presents a structured layout with three smaller landscape paintings depicting natural scenes. Below, three paragraphs introduce key sustainability themes, each beginning with a drop cap that, when combined, spells ESG — representing Environment, Social, and Governance — reinforcing Thirdway’s commitment to responsible business practices. The right page features a large, hand-painted landscape of rolling hills and a river under a vast sky, visually anchoring the message of sustainability. The layout balances text and imagery, integrating artistic elements to highlight sustainability as a core value of the company.
Easy Vegan and Easy Sea cookbooks on display shelves.
Numbered table plaques with QR codes.
Front and back flyer about property services.
Record sleeve cover showing a photo of a dog on top of a building.
A wooden mannequin holding a piece of paper saying: ‘A little story about a mannequin’.
A set of printed A5 cards featuring abstract, architectural-inspired artworks, alongside the back of the card with an ASCII Art Miamani Fortura as the title, a hand-written note saying: "Thank you for coming! Let's keep in touch. Mia" and contact details with a QR code at the bottom.
A worm off-white tote bag featuring a minimal, ASCII Art Illustration of an exhibition space in blue.
Book spread with some body text, image of a double-lights lamp post with a light on and another off and another image of a tree grown into some fences.
A stack of two booklets with a deep blue, leather-textured cover. The Thirdway and Audemars Piguet logos are embossed and silver foiled at the top, stacked with an 'X' in between, signifying a collaboration. The bottom of the cover features a discreet tagline and a small emblem, reinforcing the brand’s attention to detail. The minimal cover design reflects a sense of premium craftsmanship and high-end presentation, aligning with the luxurious nature of the brands.
Magazine spread with a minimalist, editorial layout that highlights a powerful quote. The left page is almost entirely black, with a centred white quote in an elegant, elongated typeface that reads: "Cooper is not an imitator; his words come from the people and sting with the impact of truth." The right page features a small, centred black-and-white portrait of Clarence L. Cooper Jr., wearing the same buttoned-up shirt seen in the opening spread, his gaze serious and direct. The restrained, high-contrast layout gives a sense of weight and reverence to Cooper’s literary legacy.
A layout of five photographic prints from the exhibition, each featuring a different product set against bold, colour-blocked backgrounds. The items range from a bottle of hand wash to a can of fish, bag of herbal tea, a skin-care product, and a lighter fluid bottle.
A gallery exhibition wall displaying a series of 20 photographic prints of everyday objects. Each print features a single product centred against a bold, colourful background, accompanied by a written critique below.
A step-by-step instructional spread from the Easy Meat Cookbook. The left-hand page features a close-up of a breaded dish, while the right-hand page shows a lis and pictures of ingredients.
Front-facing view of the G20-16 booklet, featuring a bold yellow cover with large grey and red typography, a list of student names, and a metal binding clip.
A poster design for the "Type & Riso Printing" workshop at the University of East London. It features layered pink, yellow, and green-grey riso-printed letters arranged chaotically over an image of a wristwatch, with workshop details in small blue text at the bottom.
Komorebi Magazine AW21 Issue 01 front cover, featuring a soft pink background with a blurred portrait in a muted, monochromatic palette. The masthead "Komorebi" is set in a clean, modern sans-serif typeface at the top in white, while the issue title "AW21 ISSUE 01" is positioned in black at the bottom.
The inner cover endpaper of the Easy Vegan Cookbook features a green background with hand-drawn white illustrations of fruits and vegetables, such as mushrooms, strawberries, artichokes, onion, etc.
A stack of three hardcover cookbooks. The top book, Easy Sea Cookbook, is fully visible, showcasing a design that merges clean typography with striking food imagery. A photograph of a pile of fresh clams is placed over the two ‘Os’ in "Book," visually interacting with the text.
A smartphone screen displaying an Instagram story with various black and white versions of the Megazine logo in circular sticker designs.
A neatly stacked pile of multiple issues of Megazine, with their bold yellow covers, white hand-drawn logo prominently displayed, and a list of Instagram handles and links.
A small off-white canvas tote bag printed with the Valerio logo and grass pattern.
Magazine spread with a striking, grainy close-up image and text-heavy layout. The top portion of the spread features an extreme close-up of a man's eye, cropped horizontally across both pages in a rough halftone treatment. Below, a dense two-column text layout unfolds the article, beginning with an oversized drop cap on the left page. The stark black-and-white colour scheme, heavy text flow, and grainy textures enhance the spread’s archival and documentary-like aesthetic.
Three posters designed for Clutch’s special events. One features a detailed sketch of a microphone, another a vibrant multi-coloured lion illustration, and the third a splattered paint design with a vinyl record.
An open spread from the Easy Vegan Cookbook The left-hand page features a full-page photograph of a vegetable-based dish, while the right-hand page presents the recipe with structured typography, green accents, and numbered steps for easy readability.
A white van featuring the Valerio gardening service logo, accompanied by a scattered grass pattern.
Magazine spread featuring a bold, high-contrast opening for an article on Clarence L. Cooper Jr. On the left page, the title, The Rebellious Literature of Clarence L. Cooper Jr., is rendered in an elongated, condensed typeface in white against a black background, with custom ligatures subtly interwoven into the typography. This typographic treatment is inspired by the cover of Black, one of Cooper’s seminal novels, where the "LA" in Black forms a distinctive ligature. The right page features a grainy, halftone black-and-white photograph of a man in a buttoned-up work shirt, his hand resting on his lap. The raw, archival texture of the image complements the typography, creating a spread that visually embodies Cooper’s defiant literary voice.
Poster with text saying: There are so many of us, yet we are all the same.
A flat lay of multiple open issues of Megazine, displaying a variety of artwork including illustrations, paintings, and digital designs from different artists.
A set of four Megazine issues casually arranged on a black surface, each with a distinct pastel-coloured covers — pink (Winter 2024), blue (Spring 2023), green (Summer 2022), and yellow (Spring 2021). The covers feature the bold, hand-drawn Megazine logo in white, along with a list of contributing artists' Instagram handles and links.
An open copy of "Komorebi" AW21 Issue 01 sitting on a black leather sofa, displaying one of its contents page. The page design features large, bold, modern typography on a pastel pink background.
A single ripe banana with a few brown spots rests on a wooden surface against a textured, off-white wall.
A behind-the-scenes shot of the G20-16 cover in production, showing the printing process with cutting tools and paper rolls, featuring the G20-16 publication cover in bright yellow with bold grey and red typography, placed on a cutting mat alongside a paper cutter and rolled-up sheets of paper.
Magazine spread featuring another performance shot. The left page includes a smaller inset image of a stand-up comedian on stage, bathed in warm red lighting. The right page carries more of the article’s body text, with a pull quote in red emphasising the connection between humour and social bonding.
A monochromatic magazine spread featuring a dramatic black-and-white close-up portrait of Theodor Black crouching, dressed in a leather coat and layered accessories. His gaze is direct, exuding intensity and depth. The left-hand page contains a structured text block with a highlighted pull quote that reads: “A lot of people won’t be able to see that Virgil Abloh fucks with skating heavy and is doing so much to support the skate community.” The combination of photography and typography reflects the article’s discussion of skate culture’s impact on fashion, music, and identity.
Black and white photo of a modern, angular building viewed from below, with staggered windows creating a dynamic, geometric pattern.
Popster showing the use of the geometric alphabet design.
Popster showing the use of the geometric alphabet design.
Shadow of a street light pole on a patterned side of a building.
A large outdoor billboard on a brick wall, displaying a colorful geometric pattern made of repeating semi-circular shapes in red, yellow, green, blue, and black. The mural-style design mirrors the visual identity of Masticus Slavave.
A scattered arrangement of business cards for Masticus Slavave, featuring bold geometric designs in vibrant colours like red, yellow, green, blue, and black. Each card displays a unique variation of semi-circular patterns, paired with minimal contact information.