Pennethorne is a slab serif typeface based on the 1980s typography found in Battersea Park.
Abstract w/ Abstract describes the potential of the connections between abstract/surreal imagery and music in music video. Written by animator Maya Remenyi
, features her original abstract stop-motion animation presented in a form of a 360-page flip book (92mm cube). A protective box is covered in paper stock that consists of pieces of old BoE notes, serving as a metaphor of all the money an average art student needs to spend on printing on top of their tuition fees in England.
Visualisation of the research process.
Collection of 101 magnets/images that relate to my practice and my interests in general.
Juliwan Tuwim's nursery rhymes. First book from a series of the biggest Polish writers of children's books.
Manus Sans type specimen featuring
an alphabet stencil and a notebook.
Keepsake is a final show catalogue for FdA Graphic Design and Illustration courses at Camberwell College
of Arts. Designed to encourage interaction between the audience and the exhibition; the visitors could collect separate cards all over the exhibition and either keep them as 'keepsakes' or bind the pre-hole-punched
cards and a set of covers using a metal fastener.
Display typeface inspired by life and legacy of
Ludwig Mies van der Rohe; focusing on the history
of Barcelona Chair—one of the most iconic pieces of furniture. The name 'Curule' originates from Ancient Rome and was 'a style of chair reserved for the use of
the highest government dignitaries and usually made
like a campstool with curved legs. Ordinarily made of ivory, with or without arms, it probably derived its
name from the chariot in which a magistrate was conveyed to a place of judgment.' Encyclopædia Britannica
Furniture and architecture by
the German architect Ludwig Mies van der Rohe.
Designed as a result of my research about the
Bauhaus-style architects taught to be versatile designers.
Six items, Eleven hours, Sixty-seven photographs is a personal project dedicated to my sash window, and to six different items I use on daily basis to help me hold it open. Sixty-seven photographs captured every ten minutes create an unusual content; each of them includes information about certain type of 'holder'—its name, size, value, purpose, usage– and ventilation time.
The interview with Barbara Bloom conducted by Dena Shottenkirk. The title 'Human Meaning' refers to the summary of Bloom's work by Shottenkirk. The design reflects Bloom's installation 'The Gaze'; just like the paintings concealed behind the curtains encourage the audience to peek behind them and explore, pages in the book allow the reader to engage with its content and find different meanings and connections between other pages, words and images. 100gsm Heritage Paper used in the printing highlights the idea of transparency and (in)visibility of Bloom's work and plays with people's curiosity.
A series of letterpressed cards with intentionally wrong proverbs inspired by quotes and sayings which are often misused and misinterpreted by people. Sold as part of
a fundraising event in several colours including gold, neon-orange, green as well as blank embossed version.
Advertising campaign for the play 'Romeo and Juliet'
at Shakespeare's Globe. The design focuses on two main emotions in the play—love and hate. Monumental typography in two variants—shadow and light—shows how close these contradictory emotions are, how they interfere and merge.
‘I compare my work to architecture. I don’t build villas,
Irma Boom →
I build social housing. The books are industrially made and they need to be made very well. I am all for industrial production. I hate one-offs. On one book you can do anything, but if you do a print run, that is a challenge.
It’s never art. never, never, never.’
I'm a typographer and designer based in London.
University of the Arts alumnus, Camberwell 2016.
As a design practitioner I take quite a minimalist approach. I strive to distil my ideas and find their
essence, to strip them from elements which I find unnecessary: my aim is to create simple, considered
and relevant outcomes. I believe in useful design—
helpful rather than manipulative—what explains my particular interest in typography and editorial design.
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