Cornella Brewery Outliers

Cornella Brewery Specialty and Outlier Beer Labels (2020)

To compliment their core range of beers, Cornella Brewery asked me to create label designs that allowed them to collaborate with others and/or experiment with “outlier” styles that didn’t necessarily sit within their core selections. The labels needed to sit well with the existing designs and branding but also become visually distinct from them. 

The end product utilises the bold colour block “paddocks” from the Brewery identity, as the main visual feature that can adapt to the intended feel of the beer. 

Democracy Typeface and Posters

Democracy Typeface and Posters (2020)

When I was asked to create a poster design to promote my Democracy label designs for Shiraz Republic, I jumped at the chance to expand the initial letterforms that I had created for the type treatment into a complete typeface and font. 

Wanting to delve deeper into the protest nature of the original design I created posters that explored large scale type that altered depending on the variety and bring a feeling of rebellion. 

Tinto de Verano and Calimocho

Tinto de Verano/Calimocho (2019-2020)

When the Shiraz Republic approached me with the idea to make a RTD wine and lemon spritzer I jumped at the chance.

Looking to introduce this delicious drink into the Australian market, they wanted a design that spoke to the fun, playfulness and the summery nature of this bubbly beverage that also contained subtle references to its Spanish origins.

The end result drew from one of my 100 days of spontaneous patterns and mixed it with a bold typographic treatment and each of the vibrant colours tying to certain aspects of the underlying brand message.

The drink was so successful, that a short time after a delicious new Calimocho (shiraz and cola) variety was introduced.

Cornella Brewery

Cornella Brewery Branding and Core Labels (2020)

In late 2019/early 2020, Cornella Brewery approached me to create a new visual identity, branding and core can labels for their growing beer enterprise.

Exploring an adaptive visual style that could work with and incorporate each of the bold colour schemes, names and tailored messages drawn from their vast variety of beers in their growing core collection.

Utilising my variable typeface ‘Clu’ and bold blocks of colour, affectionately known as ‘paddocks’, I set about creating new variants of the font that would effectively respond to the height and width of the cans and titles, along with other products and merchandise.

The result is a bold, typographically focused design that is strikingly simple yet vibrant with a uniquely playful tone and includes cans that stand proudly on the shelf.

Coded Cold Ones

Coded Cold Ones (2019-2020)

In 2019 I got in touch with Clint Weaver, designer of craft beer magazine Froth, to suggest making some typographic puzzles for their magazines ‘fun page’. Clint thought it was a great idea and so Coded Cold Ones was born.

Over the next 7 months I crafted a series of cryptic challenges with a range of difficulties centered around a different craft brewery, beer range and variety.

Try them for yourself!

I got a lot of positive feedback and messages from readers who took up the challenge.

Unfortunately, the series is no longer running, but I definitely hope to make more work like this in the future.

Letter-Form Exhibition

Letter-Form Exhibition (2020)

In early 2020, I was invited to be part of a group exhibition called ‘Letter-Form’ held at Revolver Upstairs in Melbourne, Australia and curated by artist Dr. Dosey. The ‘one night only’ exhibition was put on to celebrate diverse approaches to type design and typography through a whole host of talented individuals and I used it as an excuse to create a whole new typeface called ‘FiveBy’.

The minimal final artwork I created for the show presents the entire typeface in alphabetical order and is bookended by the number ‘5’ and the letter ‘X’, as a stand in for its name.

Printed as a limited edition of 10, artworks ($60 AUD) are still available on request.

Tools of the Trade 2 Exhibition

Tools of the Trade #2 Exhibition (2019)

When Gaston Castagnet and the Melbourne Lettering Club put the call out to be part of the second Tools of the Trade exhibition, I jumped at the chance to explore an alternative area of type creation.

Held in 2019 at Black Car Fitzroy in Fitzroy, Australia, the exhibition featured an awesome variety of work from many MLC members and friends.

With the theme of “brush”, the brief was simple: experiment, have fun, respect the deadline, don’t sweat it and use the A2 poster template provided. So began my path of exploration.

After playing around with different brushes, techniques and treatments I ended up following a direction that explored the additional restriction of black and white with two tone letters. Using the gridded page of the template, I created letters that pieced together to use as much of the space as possible like a jigsaw with all horizontal strokes using a grey brush and all vertical strokes using a black one.

The typeface itself is named “Gurty” after being heavily inspired by André Gürtler’s book Experiments with letterform and calligraphy (1997).

Democracy! Wine Series

Democracy! Wine Series (2019)

When the Shiraz Republic approached me to design a typographic treatment and label for their ‘Democracy! Series’ set of wines, I saw it as a great opportunity to implement some of my sign painting skills after being inspired by hand written protest signs. 

With typography and colour designed to be flexible depending on the variety of the wine, the outcome will allow them to continue their experiments with lesser known or international tastes.

Tempranillo Reserve Image Courtesy of Shiraz Republic.

Type. Grid. Play. Exhibition

Type. Grid. Play. Exhibition. (2019)

Held in June, 2019 at LCI Melbourne, my first solo exhibition Type. Grid. Play. detailed my creative approach through the presentation of selected typefaces.

Showcasing key steps in the creation of letterforms that were instigated by my design of custom made grids and patterns, each unique typeface took visitors through my creative process and detailed my determination to apply and adapt to forms that deviate from traditional letter shape expectations.

The exhibition provided glimpses of early sketch work through to interactive stations where visitors could create as well as use and explore each font for themselves.

Upstairs in the student lounge I also created a chalkboard wall mural that invited students to handwrite their name in Sandy while attempting to decipher a secret message.

It was a great undertaking and I thank everyone who came to visit the show.

More images of the show can be found on my Instagram page and via the hashtag #typegridplay

Lumiere Jerseys

Lumiere Cycling Jerseys (2018)

During my exploration with the Moo Printing prototypes, I was approached by Lumiere Cycling to adapt my grids, type design and patterns into a limited edition range of cycling jerseys for their inaugural artist collaboration series.

This was a great project to work on and has luckily been very successful and positively received. Thank you to Lumiere for getting me on board. 

All images by @h35mm.

Moo Prototypes

Moo Card Prototypes (2017)

In 2017 I was approached by Moo Printing for a possible collaboration utilising my #100daysofspontaneous grids and patterns. First on the agenda was to explore they might work on postcards with the future intention of expanding them into other products.

Unfortunately for all, the project was never able to get off the ground due to unforeseen circumstances, however I was left with some very nice (and very limited edition) prototypes.

I am very keen to explore this project further should the opportunity arise.

Speculatype Book

Speculatype: A Transformative Approach to the Perception, Understanding and Creation of Latin Letterforms.

Self-published book of my doctoral thesis completed in 2014.

This book explores my typeface development, methods, processes and practical outcomes over roughly a decade and how they have influenced my perception, creativity, understanding and approach to Latin letterforms.

Format: Hardback (Case Laminate)
Size: 254mm×178mm
Pages: 256
Colour: Black and White
ISBN: 978-0-6480842-0-4
Published: July, 2017

Available now from my shop for shipping within Australia.

Worldwide shipping is available through Books at Manic.

Also available through online retailers and in select bookstores.

Conscript Zine Artwork

Conscript Zine Artwork (2017)

This is an artwork developed for Conscript Zine Volume Two in 2017.

Given free reign to produce whatever I liked, I ended up using my typeface Gyra to create a piece title ‘We Are All Connected’ that explored thoughts of connectedness, disorientation and instability.

Saint Gertrude Artwork

Saint Gertrude Workshop Artwork (2016)

Amy Constable from Saint Gertrude Letterpress was kind enough to ask me to create an artwork for her final workshop of 2016. She was enamoured by my typeface Cora and thought that it would look great letterpressed and a good little challenge for her workshop participants to register when printing. She was correct! That’s why the artwork proudly states that it is a “PRETTY FUCKING LETTER PRESS PRINT”. (Swearing was encouraged)

Thank you Amy!

To book a place for a workshop or find out more information about Amy and Saint Gertrude visit:

Roy Mint Co. Artworks

Roy Mint Co. Artworks (2016)

In 2016, I was commissioned my Roy Mint Co. to become a featured artist in their newly created mint packaging. Intrigued by the concept, I created a few artworks featuring a selection of my typefaces to be used within each tin. RMCo. were looking to promote and embrace local talent, so I was quite happy to take part in such a unique and unusual delivery system and initiative as their first artist.

The featured typefaces included Ono, Amble, Apelo, Lector and Fathom as single letters spelling out the company name over multiple tins, while a select few contained the entire alphabets. There is also a nice little spiel about me and each typeface on the back of the cards.

Thanks Roy Mint Co.!

For more information about Roy Mint Co. and where to find them, visit:

ProtoType Exhibition

ProtoType Exhibition (2016)

These three rejected poster designs were created for the exhibition ‘ProtoType’ held at TypeCon in 2016 that aimed to highlight “speculative typeface design” and “experimental and innovative type designs”.

Looking to provide a range of ideas I selected my typefaces Amble, Cody and Sandy, (having featured in my doctoral thesis on speculative type design) because they each presented a different way of pushing the typographic envelope.

Amble was chosen as a way of showing the potential of letterform shape economy, Cody for his code-like and systematic departure from the Latin letterforms and Sandy for her progressive approach to how letterforms and common letter and word compositions could be created. Check out each of their individual pages for more details.

Ultimately however, they were all unsuccessful and never got to see the light of day until now.

Typism Book Three

Typism Book Three

This piece was designed as a contribution to awesome Typism Book Three which was released in 2016.

The artwork showcases the typeface Edie and incorporates a subtle key to help decipher the message.

Can you figure out what it says without cheating?

100 Days of Spontaneous

100 Days of Spontaneous Grid Booklets

Each of the 100 grids in this booklet series comes from a 100 Day Project that I undertook (initiated by Elle Luna and The Great Discontent) where I chose to develop a new grid/pattern every day for 100 consecutive days based on spontaneity and no forethought.

Using only a black fine liner, a red fine liner and a 17×17 unit working area, I set up the following rules that I had to create by:

• I was not allowed to plan or prepare for any design
• As soon as my pen touched the paper I had to draw whatever came to my mind
• I was not allowed to stop or leave the sketch once I had begun to draw no matter how long it took
• Any and all mistakes had to be incorporated into the overall grid or pattern, no exceptions

A project of endless possibility I wanted to present evidence of the flexibility of a simple square grid and the exploration that could come from randomness coupled with not designing for a particular purpose.

These booklets are the initial steps into making these grids available to the public. Currently a set of five, the intention is to eventually publish the entire 100 sketchbooks, as well as use the grids as a way to collaborate with others.

To see all the progress of the project you can see it here: #100daysofspontaneous


Letterpress Exhibition

I’d Letterpress the Shit Out of That Exhibition (2015)

This letterpress piece was designed for the exhibition ‘I’d Letterpress the Shit Out of That’ held at Work-Shop Melbourne in Fitzroy, Australia in 2015.

The exhibition featured the excellent work of each of the speakers (and organiser) from the Typism Conference held in April of 2015 and was born out of a conversation while we all waited at the Gold Coast airport for our planes home.

Printed in an edition of 100 (all signed) it features my typeface Theo and proudly states that “IF YOU CAN READ THIS YOU FUCKING ROCK”.

I very much enjoyed the crowds of people who gathered around the artwork trying to decipher the letterforms and how elated they were when they figured it out. Well done to all those who did.

The prints themselves (printed by the very talented Saint Gertrude) can be purchased from while stocks last. So be quick!

Images by Carla Hackett and Tim Lucas.


Do What You Love Exhibition

Do What You Love Exhibition (2015)

These three posters were designed for the exhibition ‘Do What You Love’ held at the Academy of Design in Port Melbourne, Australia in 2015.

With the theme focused on “doing what you love” I set about presenting the often unseen elements of my typeface designs by presenting the grids from which I derived three of my typefaces Kit, Theo and Parker. In addition to this, I invited exhibition visitors to explore the grids for themselves by providing fine liner pens for them to draw directly on to the artwork. This also allowed for unique interaction and engagement with my audience.

Included alongside the posters was the following statement:

“Doing what I love means to simply find a place to create and explore letterforms. The kind of experimental or speculative typefaces that I design more often than not come into existence through the use of a variety of grid structures that I create.

Inspiration for these can come from anywhere, for instance the grid for ‘Theo’ (cyan grid) is derived from the windows of the Forum Theatre, the grid for ‘Parker’ (magenta grid) being inspired by parquetry brick work, while ‘Kit’ (yellow grid) was created from a grid made of geometric cat heads.

With this piece I invite you to explore these grids for yourself and create your own letterforms with the materials provided.”

Typism Book Two

Typism Book Two

This piece was designed as a contribution to Typism Book Two which was released in 2015 as part of the Typism Conference held in Queensland, Australia.

The artwork showcases the typeface Lector and the grid structure that was used to create it.


Tone of Voice Exhibition

Tone of Voice Exhibition

These three 200 x 200 mm pieces were designed for the exhibition ‘Tone of Voice’ held at the CATC Design School in Melbourne, Australia in 2014.

With a theme focused around the ‘Festival of Change’ taking place at the time, each of the typefaces relates to ‘change’ through the experimental and speculative exploration of letterforms and the potential transformative effect this has on creativity, perception and understanding.

Scintilla’ examines the removal of detail, ‘Fathom’ looks at the reorganisation of the existing Latin letterform components and ‘Hiero’ speculates alternative approaches to the letterforms themselves.

More pieces can be found at

What I Know Now Exhibition

What I Know Now Exhibition

These three posters were designed for the exhibition ‘What I Know Now’ held at the Academy of Design in Port Melbourne, Australia in 2014.

Themed around the concept of expanding knowledge, I set each poster in a different typeface that aimed to progressively push the observer’s perception. Typeset on each poster is a quote that explores perception and experimentation from Herbert Spencer, Donald Schön and Gerard Unger.

Included alongside was the following statement:

“When thinking about the theme ‘What I know Now’, my mind unsurprisingly gravitates towards my approach to the creation of letterforms. When I started making letters I was bound to the expectations of each letter shape and how they should be created. However, slowly but surely through many experiments, conducted over a several years, where I removed, added and rearranging details and components, before finally I speculated with completely new shapes and elements. I found that it was not just my designs that were transforming; my perception of what a letterform is, or could be, was as well.

What I know now is that through this process I have removed many of the preconceived expectations that I used to have when thinking about what a letter should look like. In turn, this has allowed me the freedom to create from a place of openness and a willingness to explore which has led to the creation of many letterforms and typefaces that I would have otherwise shied away from in order to remain in safer, more expected, territory. When I design a typeface, I know that the Latin letterforms will always exist, however I also know there is no harm in playing in the realm of ‘What If?’, just to see what happens when I do.”

Typograph Journal Volume 2

Typograph.Journal Volume 2

This artwork was created as a visual response for Typograph.Journal Volume 2 and accompanies a short interview.

Tasked with listening to the song ‘Glare’ by Sheep Dog Wolf and creating a piece of typographic design, the outcome references time, light, shadow, emotion and hidden meaning.

When asked what it was about the song that resonated with me, my response was as follows.

“When listening to the song (which I did a lot), I always made a deliberate attempt to do so while outside. This was usually while walking my dog and it meant that I was both listening and not listening to the song at the same time, due to still needing to pay attention to my surroundings. I found that this allowed me to absorb different parts of the lyrics, compositions etc. each time and without necessarily forcing any creative aspects or expectations to “react” visually in the early stages.

What resonated with me was the variance within the song, as I would find that on any given play through I would find myself focussing on different parts independent of each other. This meant that each listen led to a different reaction or interpretation. After a while I gravitated to the words “Am I the only one who sees?” and I went from there.”

Visit Typograph.Journal for more information.

Poster Poster Club: Threat

Poster Poster Club: Threat (2014)

A poster designed as part of Poster Poster Club. Each month we select a new word and design a poster around it.

This poster was designed in response to the word ‘Threat’ and looks at compiling separate elements into one so as to create meaning. In this case the texture of the revolver grip, the bullet chamber and finally the quote directing you to Harry Callahan’s famous threat from the film Sudden Impact. The word ‘Threat’ is also hidden in the bullets.

Poster Poster Club: Hangover

Poster Poster Club: Hangover (2013)

A poster designed as part of Poster Poster Club. Each month we select a new word and design a poster around it.

These posters were designed in response to the word ‘Hangover’ and explore how we might feel in this situation, playing with the feelings of confusion, disjointedness and loss of focus.

Poster Poster Club: Double

Poster Poster Club: Double (2013)

A poster designed as part of Poster Poster Club. Each month we select a new word and design a poster around it.

This poster was designed in response to the word ‘Double’ and plays with double meanings. Within this poster we have the illustration of the double helix relating to the theme, but also the hidden message of the word ‘double’ being represented with the help of the arrows.

Poster Poster Club: Restriction

Poster Poster Club: Restriction (2013)

A poster designed as part of Poster Poster Club. Each month we select a new word and design a poster around it.

This poster was designed in response to the word ‘Restriction’ and conveys the concept of having the ability to use all the space of the poster and every colour in the spectrum, but restricting ourselves to limited space, colour and options.

Typism Book One

Typism Book One

This piece was designed as a contribution to Typism Book One which was released in 2013 as part of the first Typism Conreference held in Queensland, Australia.

The artwork showcases the typeface Amblewith a little help from Herbert for decipherment.



Darkon (2007)

Darkon is an architectural lighting design company based in Melbourne, Australia. Created as a sister company for Dean Phillips Architectural Lighting and Design, when designing the identity I wanted to create something that reflected the refined and often angular nature of the high-quality lighting that Darkon provides. I was later commissioned to create an entire typeface based on the letterforms of the identity.


Missing (2006)

Missing is an experimental typeface designed in 2006. It is based on the idea of removing detail from each letter until they become fractions of their former selves. After this, the aim was to then question whether what remained of each letter could still be understood as a letterform.

As one of the first typefaces designed under the ‘How far can letterforms’ notion, it stood as a benchmark that embodied the idea of removing detail from the recognised forms of the Latin alphabet and set itself as a foundation from which to build and continue to interpret the idea over the following years.


Spiral (2006)

Spiral seeks to apply the additional detail in a way that is intended to provide added function to each letterform. These letterforms are designed to increase the level of flexibility of their use by allowing a reader to view and apply the shapes on four alternate axes.


Flip (2006)

Designed on a simple grid and part of a family of gradual departures from the existing letterforms, Flip was the culmination of these experiments. The outcome was achieved by applying a horizontal break through a rough centre point, a couple of units below the x-height, and proceeding to invert all the detail and content above and below that point.


Blank (2006)

The letterforms of the Blank show how the context of a word (or organized group of letters) aids in the understanding, interpretation and perception of letterforms.

Designed in 2006, Blank was the first typeface with which I attempted to challenge how we might understand letterforms specifically devoid of recognisable characteristics. Inspiration to create this typeface came after hearing the theory that we don’t read by looking at each letter, but by recognising the shapes of the words that the letters create.

Cornella Ridge Estate

Cornella Ridge Estate (2005)

As a young vineyard in the prominent Shiraz region of Heathcote, Australia, Cornella Ridge Estate came to me looking to create an identity that they could help them stand up and present themselves and their wine with pride.

Drawing inspiration from hand painted details found on the many pieces of old machinery situated on the property, this identity speaks to both the professionalism and quality of the wine, but also the wonderful personalities of the wine makers.