My practice is driven by an interest in typography, book design, and materiality in the digital age. Often inspired by concepts of nostalgia, hauntology and non-linearity, my work typically revolves around reinterpreting and retracing lost and anachronistic communicative forms through a contemporary perspective.
Following a period of research and experimentation with traditional Celtic and Roman typographic forms, I developed a variable typeface which shifts between optical weights along its axis. The typeface’s name – Dolmen – is borrowed from a type of megalithic stone structure used in ancient passage rituals. This act is mirrored in the typeface’s transition and interpolation between two states, allowing for increased optimisation and usability of the typeface in contemporary, digital design contexts.
In my dissertation, Acid-Futurism: Design Politics & Interstitial Corrosion, I built upon the core concepts and themes explored within the late Mark Fisher’s unfinished book, Acid-Communism. By retracing the lineage of these ideas and reapplying them to the context of design politics, I looked to propose ways in which designers could form non-hierarchical, collaborative platforms which look to ‘corrode’ our relationships to capitalism through politically engaged design practices.
Following a period of research and experimentation with traditional Celtic and Roman typographic forms, I developed a variable typeface which shifts between optical weights along its axis. The typeface’s name – Dolmen – is borrowed from a type of megalithic stone structure used in ancient passage rituals. This act is mirrored in the typeface’s transition and interpolation between two states, allowing for increased optimisation and usability of the typeface in contemporary, digital design contexts.
In my dissertation, Acid-Futurism: Design Politics & Interstitial Corrosion, I built upon the core concepts and themes explored within the late Mark Fisher’s unfinished book, Acid-Communism. By retracing the lineage of these ideas and reapplying them to the context of design politics, I looked to propose ways in which designers could form non-hierarchical, collaborative platforms which look to ‘corrode’ our relationships to capitalism through politically engaged design practices.
