My first cover for TIME Magazine, from April 2019. I was tasked with visualizing the deconstruction of Europe as part of a deep dive on the forces behind the Brexit process. Once we landed on a concept, the headline was chosen to better reflect the visual.

I have partnered with Squarespace on several occasions, most recently on two mural designs in Shoreditch, East London. I was also profiled as a featured user and prior to that featured in a TV and print campaign from ad agency Anomaly.

I was honoured to create a custom typeface for the 2018 England World Cup kit. Commissioned by Nike, the type was modeled in 3D to feature the St George's cross and create a dynamic, twisting design which features inline, outline and fill weights along with complementary numerals. One for the life CV.

Custom typeface and titles for the Post’s short video series, What’s Next?

Also, The Washington Post's first ever illustrated cover — a provocative piece for a special issue on race and racial slurs in the U.S.

The Meatpacking District of New York City has been a client since early 2017.

Shown here are design and creative direction concepts for their Open Market event in march 2017.

Second, exhibition design and identity for ArTech: Adventures in Art + Technology in collaboration with the Children's Museum of The Arts, NY. This project went on to win in the poster design section of the 2017 Communication Arts awards.

Lastly, a playful, textured identity for 2017's Harvest Fest. Created in collaboration with Jonathan Boffa.
 

Selected projects for Calvin Klein including branding and packaging (CK All, RCKR KICK Jeans, Dark Obsession) custom typefaces (CK Performance) and graphic language / iconography.

Selected projects for Aesop skincare including O'Miami sponsorship; identity for Inward: A Scandinavian Winter Guide in association with Playtime; various store opening invites and Dia: Beacon event sponsorship.

Large scale way-finding mural for a commercial property owned by Two Trees in DUMBO, Brooklyn.

Arrows and the continuing, undulating nature of the design leads tenants up to the roof deck. Installation and photos by Nev at No Entry Design.

Advertising campaign typography for Equinox through W+K, New York

Installation design for the Adobe Remix project, 2015.

Hundreds of lightbulbs and 2000 ft of cable were used to create this 1200cu/ft installation for Adobe. Built with the help of Treatment Studios and photographed by Jonathan Pilkington.

From Spring 2016 to Fall 2017 I acted as SVP Head of Design at Deutsch, New York. In this role I led a team of 12-15 across print, digital, UX and UI. As part of my role I was charged with bringing some points of interest to the office (which we did with various site specific installations) and developing the visual language of Deutsch as an entity.

For the entrance, we 3D printed an astronaut for each employee which was theirs to keep on their departure. 

On two occasions — in 2010 and 2015 — I created the identity and graphics packages for Macy's annual 4th of July Fireworks in New York City.

In 2010 a series of long exposure photographs of light trails were composited into the identity, while in 2015 we approached it using letterpress-inspired typography.

Branding, packaging and design for Xie Xie tea.

Editorial illustrations for IBM Solutions. Created using OpenProcessing and Scriptographer.

Campaign design and art direction.
Agency: Grey, New York
Creative Director: Todd Tilford

Campaign design and typography for Atelier, Leo Burnett London.

Editorial illustrations for WIRED, UK and USA.

Advertising design and typography for Hennessy, through Droga5, New York.

Creative Team:
Alexander Nowak and Felix Richter

Title design for Starbuck's Vanilla Iced latte TV spot and digital campaign.
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Agency: 72andSunny
Animation: Sean Donelly

Watchface design for AndroidWear smartwatches. The application takes date, time and location info in order to cast 'shadows' around the watchface in the manner of sundials.

Design and creative direction: Craig Ward
Agency: B-Reel, NY

In 2009 I created the cover for the Creative Review Annual in collaboration with immunologist Frank Conrad. The A was grown in a laboratory using a variety of types of cell and imaged using a microscope.

In 2010 I created an image for the subscriptions page using fluorescent tape and anamorphic perspective. Photography by Jason Tozer.

For a Christmas 2016 campaign I worked with McCann, New York to create these ads promoting MasterCard's Holiday Lounge in Columbus Circle (NYC).

Time restrictions meant using real shaved ice wasn't an option sadly so instead we used cinema grade VFX fake snow to create an alphabet. 10 versions of each letter were photographed on glass and composited into the final images and animations that you see here.

Autumn / Winter campaign typography and design for Mulberry. Video premiere at NY Fashion Week, 2011.

Reality illustration for Creative Mornings, March 2016.

Long exposure photographs of custom drawn typography on screen were composited to create an ethereal type treatment.

Pan-European campaign for Peugeot 208.
Agency: BETC Euro RSCG, Paris

A custom typeface for the OFFF Festival 2017 in Milan, in collaboration with director Onur Senturk.

Onur approached me with a concept of gothic, net-art deco visuals and asked for my assistance with the type. A bespoke font was developed and integrated into a stunning combination of physical models and CGI landscapes.

Design and art direction for Savages second album, Adore Life.