︎︎︎︎︎︎︎︎︎︎︎︎
Bastardville Zine
Risograph Type Specimen 
2017—01

︎The specimen book is printed using a riso-graph printer on 80gsm paper this decision was made to contrast conventional specimen books that showcases the type in a more refined manner. Instead created to look like a D.I.Y zine developing on the element of it being a type created from a destroyed Baskerville that has a very rough quality to it. Printed in Studio OR.


︎︎︎︎︎︎︎︎︎︎︎︎
Before I Knew What Was Next
Posters & Zines  
12/06/2018—13/06/2018
︎Editorial/ poster and illustration of Zine of Poetry of Rosa Jones and Photographer Donal Talbot


︎︎︎︎︎︎︎︎︎︎︎︎
Bastardville Type
Bastardville Type Design

2017—︎

︎Bastardville is a font which is designed on the most broken down forms of Baskerville.
        ︎In 2013 Errol Morris ran a study with the New York Times with 45,000 unknowing participants to find what typeface is considered to be the most believable, under the guise of a test to measure readers optimism. Baskerville was overwhelmingly considered the most reliable typeface. 
        ︎But if the truth began to decay and become irrelevant in a Post-Truth age, what use will the most truthful typeface have in a world. Bastardville is a response to this. Broken down until only the remnants of the typeface remain to reflect the truth being eroded in the Post-Truth era. 
        ︎Baskerville was repeatedly scanned at a low dpi, printed and scanned again until the most broken down form of the type remained. Then tracing over the letter forms in Adobe Illustrator and transferring them into Glyphs, creating Batardville as usable type. 
︎Bastardville is not made to be easily legible, it is made so that the viewer struggle to read the content.

︎︎︎︎︎︎︎︎︎︎︎︎
Invisible Forces
A Very Evil Book
2017—02

︎Finalist British Book Design & Production Awards 
︎I.S.T.D awarded membership

    ︎
︎Invisible forces is a celebration and documentation of the Occult, Spiritualist and Mesmerism movements of the 19th century. Beginning in the occult revival in 19th century France, this book documents the rise and reaction to the movements, expanding to present day with the church of satanism and the use of the occult in heavy metal.
        ︎The book is designed to the ratio of pentagram, the most recognisable symbol of the occult. When the reader opens the book, it holds the dimension of the pentagram.Using the typeface Portrait designed by Berton Hasebe to give the contents of the book a dangerous and ominous feel to it. Printed entirely on 130gsm red paper and fully case bound in Duffy’s bookbinders, Dublin.

︎︎︎︎︎︎︎︎︎︎︎︎
A Post-Truth Manifesto
Vital Literature 
2017—02

︎IDI Shortlisted Use Of Typography/
︎IDI Shortlisted Printed Material (other than Book)

    ︎
︎A Post-Truth Manifesto is a broadsheet publication that features a collection of essays and articles from a variety of experts, journalists and historians dealing with the topic of Post-Truth. The publication also includes my self written manifesto on how to deal with living in the Post-Truth age.
        ︎The Manifesto is written encouraging the reader to throw away any worry and doubt of what the truth is and to embrace the certainty in uncertainty, if you believe its true its true. The broadsheet newspaper was used as it is the most recognisable symbol of news and current events. Because Post-Truth has such a loose definition of what exactly it is and whether it exists at all, the layout has chaotic visual quality to it.
        ︎Through out the publication, uses of an abstracted version of Bastardville my self made font, created on the most broken down forms of Baskerville. Forming words on each page reflecting an element of Post-Truth. I have also created images to accompany each article and is reactive to each piece.