Lightscapes takes it’s inspiration both from images of some of the world’s most significant cities shot from a nasa satellite and from seeing cities illuminated. When viewed from a distance, the light emitted by the city flickers as it passes through the atmosphere, like stars in the night sky.

The work is not scientific in its approach, but experiential. As the observer views the cities from different angles, the perspectives change, shifting between the recognisable shapes of the cities, defined by the illumination that they emit and the abstract flickering images which this creates. The impact of human industry is visible; the work captures a contemporary, transient vision of earth which is different from it’s past and will inevitably change.

The work engages with the issue of light pollution, but is intended to be observational, encouraging the viewer to experience the beauty of the lightscape simultaneously with the uncomfortable recognition of the uncertainty of the future.

Twenty-six characters details how Nokia's new typeface, Nokia Pure, was designed and developed by typographer Bruno Maag. It is also design inspiration, a specimen sheet, a rough guide to typography. My contribution lays within the inspiration chapter, playfully exploring usability and versatility of the font.

Working with Nokia's visual communication team, under Bobby Martin and later Ivan Mato, we designed a packaging graphics system which moved away from a fragmented brand towards brand unification, using blue colour-blocking. I was deeply involved in the whole project from concept to design, print testing, consumer testing and global rollout. I also personally managed the relationship between visual communication and the accessories business department.

I was inspired to create this font by those shapes found at the cross-section of a cylindrical roll of paper rolled in different ways. I chose corrugated paper because of its thicker edge, which can be made to form a decorative detail.

A series of photographs to capture imaginations of young photographers and promote Olympus professional SLR cameras. The aim of these images was to represent the play between camera and subject, repositioning the subject in the artificial exhibition space