As part of an illustrative 'Inventory' brief in first year, I began documenting overheard or self-initiated conversations and at least 10 'Artefacts' on display in the Bristol Museum, we had to create a hand rendered A2 portrait format response. I chose to document the animals from the Africa section and followed around a group of teenagers who mocked and jested at the creatures from which I used their words.

With the typography I wanted to subliminally hint that these animals are endangered and although they are stuffed, we should consider their livelihood as something of a problem in today's world and not a laughing matter.

Drawn onto striking yellow card with a range of fine-liners.

'Arabish' is a stereo-typeface that is intended to mimic that of the Arabic language. The name itself was a mixture of both Arabic and English, including the main backbone of my overall project on terrorism.

I wanted to reflect elements of the stereotype that comes with the use of the word terrorist, and thus the language itself has unfortunately become associated with judgemental negative connotations.

In order to break this Islamophobic taboo, I made the typeface elegant and beautiful in both form and style to reflect the true beauty in the stereotype. Creating decorative patterns with each glyph and using them throughout the specimen.

Over 160 unique ligatures were formed and coded to ensure that each word had its own unique look depending on what sequence of letters were used. This gave every display title and body of text total diversity, reflecting the religion and language itself.

Created using a combination of sketches, FontLab Studio 5, Adobe Illustrator and InDesign.

Printed at Ripe Digital on Uncoated White Eggshell 148gsm paper with a 270gsm cover.

Much like the Qur’an and the Bible are seen as conflicting ideologies, I wanted my two books to be seen as counterparts. To a Western audience, the Bible is mainly seen as a book of good, and since the “War on Terror” has depicted Islam as a religion of evil I decided to flip them both on their heads and create my own holy books, both of which share the same symmetrically physical qualities, but are both in actual fact, asymmetrical in content.

Each book follows a rigorous structure throughout, much like the teachings of each religion – Christianity and Islam – and mirror one another as such. Each consists of the exact same number of pages, meaning the spine widths are exactly the same. Each is printed on the same paper stock, with similar colour schemes and with a linen texture showing through to mimic that of old papyrus paper.

There are no names on the front covers, only the titles, this is to aid the idea that they are holy scriptures and written by no single scholar. Also the order of the pages and the alteration of content per page follows the same structure through each book, making them completely symmetrical. However, the content itself differs and is intended to make the reader question their very own judgement of that particular religion.

Printed at Ripe Digital and presented in an A4 Archival Print Box with a Cotton finish.

As part of my investigation into cognitive dissonance, I came across many quotes that state one thing, with statistics that contradict the statements. I found them so powerful I created a triptych of info-graphic posters displaying the Dissonance of War, Wealth and Weapons.

Printed at Hello Blue on a heavy archival Giclee paper stock.

For my FMP (Final Major Project) at the University of the Creative Arts Epsom, I tried to come up with a concept that could bridge the gap between two diverse subject matters. I had always been a dreamer and loved to try and interpret them so I devised a brief that could merge both info-graphics and dreams.

I began by surveying around my college and online to find out what people had been dreaming about. Then I took a survey to a class of year 7 boys from Glyn Technology School and asked them to draw their most recent dream, this turned out to be rather hilarious and gave me a broad collective of dreams to begin working with.

The first half of my project I created mock scenes of some of the dreams I had collected with miniature figures no taller than a couple of centimeters. Using an SLR camera and macro lens I began shooting and collated a booklet together depicting the specific dreams as I believe they had been told. Along side the booklet I created a Dream Kit with all the figures within so that people could recollect their own dreams and act them out on a smaller scale.

For the second half of the project I wanted to create something slightly more intelligent and began looking into information graphics and ways I could push the boundaries of dreams and what they meant. It didn't take long before I realized I needed to base my research in an orderly fashion, and nothing suited this better than a Periodic Table. So now that I knew how I was going to portray my dreams and their interpretations into this table, I had to go about collecting more dreams. I used Google insights to search what dreams people were searching for and how many had done so. That's how I managed to rank them in order of common, uncommon and rare. Once I had found the dreams I used a number of web sources to work out what the positive and negative connotations were to such dreams. To add categories I worked out whether the dreams would be Shocking or Kinetic, a Sensation or an Encounter, and blended a few.

Whilst in San Francisco over the summer of 2014 I was offered a temporary design job at elizabethW - a boutique fragrance and home solutions store selling artisanal scents, sewn goods and fine letterpress. There I helped create email and print adverts to send out to customers and for magazines, helped edit images for their website, create business cards and stationary.

One of my jobs was to mimic the illustrative style of their latest collection for 5 separate hand creams, and create the package design. The challenge here was keeping the feel similar to the rest of the range which were all glass candles and perfume diffusers, but with an opaque hand cream.

The major project which spanned most of my time was the creation of their latest 2014/15 catalogue. Here I had to re-imagine the way the company wanted to present themselves to both their typical buyers and also their wholesale retailers. Since selling a smell is impossible to capture on paper we had to stylize each collection and make them visually appealing to the audience. This meant directing the photography and layouts of each fragrance, helping to articulate the copy to reflect the products and rework the layout of the tables for easy navigation of each item and its information.

Here you will find all of my personal doodles, ongoing projects and one off pieces that don't fit into any set briefs.

During my first year at UWE we explored typography and creating a font from a single word. The word I chose was "Saintly" and began documenting the features of church architecture as the inspiration for my typeface. Once discovering the forms and characteristics of these saintly buildings we had to use FontStruct to create our typeface. The limitations of this program were crucial in developing my understanding of typography.

The pixel building block style gave my font a distinct feel and the end result was complex. Since finishing university I wanted to return to my original "Saintly" typeface and revive it using FontLab Studio 5, a more professional program.

I give you "Kingdom", a display font that can also be used as bodied text or just as the initial character at the start of a chapter.

First typeface created using FontStruct. Second revision using FontLab Studio 5.

My cousin Giorgio Auletta and friend Sam Pilkington began their own clothing brand and asked me to create a logo for them. After sending some ideas I soon joined the team and drew up illustrations and type for the brand. My main aims with the illustrations were to try to personify wildlife as a reflection of today’s youth, fitting them with piercings and clothing.

Facebook Page:

facebook.com/KUSHLondonClothing

Twitter Page:

twitter.com/Kushldnclothing

Online Store:

kushlondon.bigcartel.com

A family monogram for my grandmother Megan Gwyneth Howell, capturing her beauty and love for art, as well as her complexity and flourished personality. Final image was embroidered into a linen handkerchief by machine.

In celebration of 150 years of the London Underground, I screen-printed this poster for an exhibition showcasing Poster Art from the past. Only 2 colours were used, with varied blending to create the different shades. Screen-printed at UWE, Bristol.

Branding  for Relate Records, a collaborative L.A. record label. The client wanted to portray connectivity and relationships as well as incorporating the Onshin symbol and a headphone jack. My final design was a monogram with appropriate type.

A chronological film documenting the time my girlfriend and I spent working in San Francisco for two months.

Filmed on a Nikon D5100, edited on After Effects and Final Cut Pro.

Music Credits: Mydas - Believe Me, Movement - Ivory, Bonobo - Jets

Terreō seemed to be the perfect title for this publication as it is a Latin word for “I frighten”. By using a Latin verb as the title, and paired with the cross/dagger (†) glyph – traditionally a Christian symbol – I was able to subliminally create a sense that it was a holy book, but with a negative connotation that promotes fear and the idea of sinful behaviour requires repent and admission to God. Throughout the book I used the cross as a pattern to reflect that of a confession booth found in a church, thus reinforcing the notion of the book itself and how the religion has many hidden secrets.

The main aim for this particular book was to highlight all the different terminology used to describe terrorists; revolutionary, freedom fighter and militant to name a few. Showing the reader that terrorism isn’t a narrowly used term to describe a Muslim rebel with an AK-47, but in actual fact a widely descriptive term that could (and should) be used to describe a wider spectrum of cases.

The pages followed a rigorous order, each terrorist term followed by an article or short body of text relating to the topic of the book. Each one titled accordingly and accompanied by an image related to the text. Incorporating the cross in the images was also an important decision, trying to keep with the theme that religion is part of a much wider spectrum than just a belief system.

Printed at Ripe Digital on Uncoated White Eggshell 148gsm paper with a 270gsm cover.

The events of 9/11 gave way to justify "The War on Terror" and the subsequent invasion and occupation of Afghanistan. Two years later Iraq was occupied due to fears of Weapons of Mass Destruction. Thirteen years on, how has the longest conflict in US history altered Terrorism, or is it just using the term to justify an injustice equally as "Terrorish" as its foes. Drones, Guantanamo Bay, black gold, testimonials of Veterans and the accounts of the victims themselves.

The content of the book itself was an culmination of everything I considered “terrorish” with the war in the Middle East. I ensured that each chapter had meaning and wasn’t lost in the sea of information, I tried to write as many of the chapters from my own perspective (although some were written by others and have been stated accordingly), and above all I wanted it to have an impact with the audience who read it. Making them rethink the war and the reasons for war. Who we are really fighting? Who we are actually killing? And who are the real winners in this fabricated “War on Terror”? What is terror? WHO is terror? The occupied, or the occupation?

A challenge I had to overcome first of all was the order the publication was to run in, what was the narrative I wanted tot portray? So the first thing I wanted the reader to come across before even turning a page was the intro, neatly embedded on the front, instead of on the back like the blurb of a book. For this, there was no back. Just like there is no blurb to the war itself, no summary of what happened or of what’s still happening. So the narrative starts before you even turn a page.

Printed at Pureprint on Glossy White 100gsm paper with an Unltra-Glossy cover.

Ever wondered if your whole life is just a huge reality television show?  With cameras placed in every home, down ever street, in every car. Where everyone you know, everyone you pass in the street, are really nothing more than actors specially hired to keep your perfect dream a reality - and a public one at that?

Within this book we examine the Truman Show dilemma and some of the fears he faces in order to cease him from seeking the truth about the world around him, and the world around ourselves. Everything from George Orwell’s prediction of 1984 and the Hermit Kingdom of North Korea, to the current bills passed by the U.S. Senate including C.I.S.P.A, S.O.P.A and the ever more controversial N.D.A.A. martial law act.

Throughout the book I have used a lot of old 1950's/60's advertising and manipulated it accordingly to show the true meanings behind these corporate powerhouses and show the audience just how simple it can be to manipulate someone's perspective.

Hopefully I can encourage you to realize, as I have myself, that this reality bubble we live in, and the reality shows we watch so religiously are nothing more than an act. To captivate us from seeking truth about our own mundane lives. This is The True Truman Nation, forget any idea you had about TRUTH.

Printed at Ripe Digital on Uncoated White Eggshell 148gsm paper with a 270gsm cover.

A short series of awareness posters for World Trade Center 7, the third building to collapse on the day of 9/11. Most people don't know about WTC7, but it is something anyone with doubt in their minds over the original story portrayed that fateful day should research.

The posters are typographic and feature quotes from George W. Bush and the first responder fire fighters who recall hearing explosions at the ground levels just before collapse.

Printed at Hello Blue on a heavy archival Giclee paper stock.

For an ISTD brief, I chose to focus my topic on Protest and the constant battle between human rights and police brutality.  In doing so I began to draw a comparison between "Aggression & Oppression" and this became my underlying theme throughout the publication. Representing protest I chose a red against the blue of the powers and those meant to protect us. The book splits down the middle so that each case could be represented fairly.

Within the book I cover everything from freedom of speech, anonymous and the history of the Molotov cocktail, all the way through to police body cams, Taiwan's new military gear and police brutality statistics.

You hear a lot of people talking about waking up these days. And it's true, we do need to wake up. There's a lot going on that we are just simply not paying attention to. But there's multiple layers to waking up. In each layer you're presented with an opportunity to go back to sleep. Sometimes you don't even know it. Sometimes you just do. Part of the waking up process is staying awake. Staying active and informed. Keeping resilient and inquisitive. Questioning the strength of the people. The motives of the higher powers. And the powers of those who are supposed to protect. We Are Aware. We Are Awake.

"The seeds of dissent soon grow into the trees of resistance which form the wilderness of revolution, so start planting."

- Charles Shaw

Printed at Ripe Digital on Gloss White 110gsm paper with a Matte White 240gsm cover.

Since I never have much time to draw portraits any more, I started a small project of drawing a range of women I find to be wonderful, and deserve a place on this site. Drawn with graphite and charcoal.