The Design Resource

Issue no.1                

In this issue I explore the practitioners, studios and projects that have sha-ped my design practice and might just influence yours too. If you're drawn to work that is intricate, decorative, ornamental or rooted in history, or ev-en just curious about one of those ideas, you're in the right place. 

If you're like me and have struggled to connect with modernist design, this might be the place that feels more at home. I’ve featured invaluable resou-rces from renowned designers, a couple of tips, inspiring quotes and my thoughts on some of their projects. 

Annie Atkins is a graphic designer known for her approach to film props, creating historically accurate documents, signs, and ephemera for movies such as The Grand Budapest Hotel and Penny Dreadful. Atk-ins’ work emphasises period authenticity, crafting designs that fit seamlessly into the world of film. Her use of hand lettering, aged textures, and traditional printing methods bring depth and authenticity to her work. This has inspired my practice, where I look to historical references for added storytelling. 

Atkins work for The Grand Budapest Hotel extend-ed beyond simple decoration; each piece contributed to the storytelling, reflecting the film’s 1930s Europ-ean setting with precision. If you look closely at the letters above, the beautiful hand lettering is filled with so much character. It’s all in the smallest of det-ails that the atmosphere is made. I’m in awe of Atk-ins’ ability to add elegant whiplashes that feel warm and authentic, and equally beautiful.

For anyone interested in period-specific design, At-kins’ recommends using Barry’s tea bags for creating aged paper, with three tea bags for each 10 years of age - a very useful tip that I’d personally like to experiment with someday.

Atkins brought Victorian London to life in Showtime’s gothic horror se-ries Penny Dreadful, crafting historically accurate props that seamle-ssly blended with the show’s eerie, atmospheric world. From intricate police reports and aged newspaper clippings to bloodstained letters and arcane manuscripts, Atkins’ work provided an essential layer of authenticity. Every document bore the hallmarks of 19th-century printing techniq-ues, with carefully chosen typography, elaborate embellishments, and period-correct paper stocks lending credibility to the supernatural tale. Her designs played a crucial role in storytelling; whether through delic-ate calling cards exchanged in dimly lit parlors or the chilling medical diagrams used to study the macabre. Atkins’ expertise in period graphi-cs has made her a sought after figure in the industry, proving that the right design can transport audiences to another time, and in Penny Dre-adful’s case, into the dark heart of Victorian horror.

Atkins’ offers a behind-the-scenes look at her craft in Designing Graphic Props for Filmmaking.

Resource
This visually rich book explores the long process of creating authentic, historically accurate graphics that bring fictional worlds to life.

Atkins breaks down the techniques behind her work, combining practical advice with fascinating anecdo-tes from her career. She delves into the importance of typography, printing methods, and material choi-ces, revealing how even the smallest details like a po-lice report’s smudged ink or a crumpled theater tic-ket help shape a film’s narrative. Filled with stunning imagery and hands on tutorials, Graphic Props for Filmmaking serves as both an inspiration and a gui-de for aspiring designers, including myself, who find the world of historical references and print techniq-ues a fascinating realm to explore. Atkins’ does small workshops to help other aspiring designers br-ing th-eir props to life authentically. If this is some-thing you’re interested in, then be sure to visit her website as linked during this article. 

Few filmmakers possess a visual signature as unm-istakable as Wes Anderson. Renowned for his atte-ntion to detail, symmetrical compositions, and pas-tel-hued palettes, Anderson crafts worlds that feel both whimsical and deeply nostalgic. As mention-ed earlier, Anderson has collaborated with Annie Atkins in bringing these worlds to life through his vision and her props. Although my practice isn’t related much to animation or film, the credits and overall feel of Anderson’s films has inspired many of my projects.  

Jessica Hische designed the opening and closing credits of Moonrise Kingdom (2012) and reflects the film’s handcrafted and nostalgic aesthetic.

The lettering, initially based on Edwardian Script, was adapted after Anderson found the original too formal. Hische instead referenced the titles from La Femme Infidèle, producing letterforms with subtle cur-ves and swashes that introduce a sense of warmth and informality. The typography transitions from yellow to a range of pastel colours chosen by Anderson, aligning with the film’s visual palette. For designers like Hische, working with Anderson offers a distinct departure from con-ventional client work, allowing greater emphasis on detail and narrat-ive integration. 

Marian Bantjes does not simply design, she emb-ellishes, ornaments, and weaves intricate visual na-rratives that are as much about meaning as they are about form. Her work is a fusion of typography, pattern, and storytelling, with influences spanning from medieval illumination to modern vector preci-sion. What makes Bantjes’ practice stand apart is the deeply personal, almost obsessive attention to detail, elevating graphic design beyond function into an artistic language of symbolism and layered meaning. Both works highlight Bantjes’ ability to transform words into objects of fascination, drawi-ng the viewer into a world where every curve, stro-ke, and embellishment serves a purpose. In an ind-ustry that often prioritises minimalism and clarity, Bantjes revels in excess, proving that ornamentati-on is not just decoration, but a profound design ap-proach. This is something that I really relate to wit-hin my own practice.  

Created for Varoom magazine’s “Well-Being” issue, this piece is an exploration of the relationship between design, emotional health, and human connection. Using repetitive forms, intricate patterns, and alm-ost hypnotic symmetry, Bantjes creates a visual language that embod-ies both calmness and chaos, reflecting the duality of well-being itself. The work invites the viewer to slow down, to engage with the details, and to find moments of peace within the layers of ornamentation. In many ways, it challenges the fast-paced, commercial nature of cont-emporary graphic design, with a more thoughtful and intimate appro-ach. It’s a simple way of sending a bigger message, and I’ve personally looked to Bantjes for inspiration when designing my patterns as a way of communicating complex ideas.  

Maharam Wallpapers: Pattern Plaid (2009
Pattern Plaid is a standout piece, embodying her signature approach to structure, repetition, and de-corative complexity. At first glance, Pattern Plaid appears as a reinterpretation of the traditional Sc-ottish tartan, yet it is far more than a simple plaid print. Bantjes applies her typographic precision and ornamental tendencies, layering fine lines, interse-cting grids, and subtle flourishes that takes it beyo-nd standard textile patterns. The design plays with the rigid structure of plaid while introducing a sen-se of fluidity, almost as if it were hand-woven rath-er than digitally composed. It reminds me of Anni Albers’ use of the loom for artistic expression, reje-cting the grid and identifying with the loom in an entirely new way. If you’re interested in complexity, intricacy and ornamentation, Bantjes’ work is the best place to start looking. 

Louise Fili’s work is synonymous with refined typ-ography, vintage European aesthetics, and attenti-on to detail. Her Grapeseed Oil project displays her ability to merge historical influence with contemp-orary branding, including intricate monograms.

Designed for Chef Jean-Goeges Vongerichten, the design draws inspiration from Italian and French apothecary labels, as seen within The Grape-seed Oil monogram, which embodies the refined essen-ce of vintage branding. Inspired by historical letter-forms and the fluidity of natural elements, the desi-gn weaves together tradition and a sense of luxury through detail. 

The letterforms are interlaced, highlighting the organic nature of the oil while maintaining elegance. Fili masterfully combines graphic ele-ments without overwhelming, much like a carefully composed orches-tra.  This monogram not only serves as an identity mark but also reinf-orces the luxurious, heritage-inspired aesthetic that defines Fil’s work. I love the simple elegance of a monogram; it’s found its way into many of my projects. 

The Packaging
Beyond aesthetics, Fili’s design serves a functional purpose: it elevates grapeseed oil from a simple kitchen staple to a luxury item, reinforcing the idea that packaging can transform perception. The bottle itself, wi-th its tactile details and embossed lettering, invites interaction. The west coast colour palette plays a significant role in this project, with deep olive greens, rich golds, and warm neutrals mirroring the natural hues of the oil itself. The use of a classic serif typeface paired with sub-tle hand-drawn embellishments gives the design an old-world charm, reminiscent of vintage food labels and Belle Époque packaging. Like Bantjes’ work, the design is steeped in excess and rejects modern idea-ls of minimalism. I would argue that the execution isn’t excessive when all of the elements are so complementary and beautiful. 

The book Vintage Graphic Design by Fili and Stev-en Heller is an invaluable resource for tapping into vintage aesthetics. With its detailed exploration of iconic design trends from past decades, it provides practical insight into how to effectively incorporate vintage elements, including the art of crafting dist-inctive monograms, into contemporary projects. This book offers both inspiration and technique for mastering vintage style and the refined art of mo-nogram design. It’s a book that I’m planning on ge-tting at some point!

Riley Cran is a type designer and graphic designer based in Vancouver, British Columbia. He is the fo-under and lead designer at Lettermatic, a type fou-ndry established in 2020, and co-founder of Lost Type, a collaborative digital type foundry launched in 2011. Cran's practice encompasses typeface de-sign, branding, packaging, and illustration. His wo-rk is characterised by a blend of historical influence and contemporary application, aiming to create de-signs that are both functional and characterful. As someone who also combines historical influence with my contemporary projects, I’ve looked to Cran for how he balances the two effectively, as well as taking inspiration from his work with type.

Riley Cran's logo for No-Li Aged Barrel is a strik-ing example of how graphic design can encapsulate the essence of a brand. Riley Cran played a central role in rebranding No-Li Brewhouse, a craft brew-ery based in Spokane, Washington. Originally kno-wn as Northern Lights Brewery, the company so-ught a new identity in early 2012. Cran collaborat-ed with industry veterans Greg Owsley and John Bryant to develop the "No-Li" name and visual id-entity. The primary logo draws inspiration from the Spokane Gondola, a tram system installed for the 1974 World's Fair, symbolising the city's heritage. This design choice connects the brand to its local roots. For No-Li's barrel-aged series, Cran created specialised packaging with a rustic aesthetic. Nota-bly, the "Defacto" label featured custom stencil numerals, with each label uniquely numbered to in-dicate its place in the limited-edition run. I love the subtle asymmetry and texture; it brings an imperf-ect and handcrafted feel, almost as a way of pointi-ng to the dedication behind the labour of making the whiskey and beer blends.  

Cran's comprehensive approach to No-Li's rebranding encompassed logo design, packaging, and promotional materials, contributing to the brewery's distinct identity in the craft beer market. 

Matt Willey is a British graphic designer and art di-rector renowned for his innovative work in typogr-aphy and visual identity. His practice is character-ized by a deep understanding of the power of type, often using it to craft compelling visual narratives that resonate with audiences. Willey's work spans various industries, including publishing, branding, and editorial design, and these are areas that I’ve been interested in pursuing since the start of my university studies. I’m in awe of how Willey can co-mbine function with expression in such a seamless manner throughout his work.  

One of Willey's notable projects is his collaboration on the HBO and BBC One series Rain Dogs, which stars Daisy May Cooper. For this project, Willey and his team designed the show's title sequence and visual identity, including a custom typeface for the title card and end credits. The design drew ins-piration from London's street signage and graffiti, resulting in a bespoke font that reflects the show's gritty and authentic atmosphere. 

The custom typeface features a distressed treatment that adds a layer of grit to an otherwise elegant cursive script, symbolising the class ten-sions central to the series, which is an inspiring use of contrast that I’d like to incorporate within my own practice. The level of craft and thou-ght is why I’m drawn to Willey’s work. The secondary typeface contra-sts with the ornate script of the title card, borrowing its construction from utilitarian letterforms found on receipts and lottery tickets, yet elevating them to feel more expressive. This thoughtful design approa-ch enhances the show's narrative and visual appeal, showcasing Wille-y's ability to create typography that is functional and expressive.

David Carson is an American graphic designer best known for his experimental approach to typograp-hy and layout. He gained prominence in the 1990s as the art director of Ray Gun magazine, where he challenged traditional design conventions and hel-ped define the "grunge" aesthetic. His work often features distressed type, fragmented layouts, and an intuitive, expressive style that emphasises emo-tion over clarity. Carson originally trained as a soci-ologist and was a professional surfer before enteri-ng graphic design. This unconventional backgrou-nd contributed to his instinctive, rule-breaking ap-proach. He often uses type as a visual element rath-er than purely a means of communication, believi-ng that how something looks can be as important as what it says. His practice spans editorial design, advertising, and branding. He has worked with major clients such as Nike, Pepsi, Ray-Ban, Micros-oft, and American Airlines. Despite his commercial success, Carson continues to maintain a hands-on, individualistic process. He emphasises personal ex-pression and often rejects the rigid structure of modernist design.

I was personally drawn to Carson and this project because of it’s printed texture, I have since tried to collage in a similar way and have been unsuccessf-ul. I’m in awe of Carson’s talent for creating comp-ositions and utilising texture in a way that would appear messy, but is so well thought out and beaut-ifully bold / striking,

Rather than adhering to the traditional aesthetic often associated with premium whisky packaging, Carson introduces a more expressive and rebellious style, characterised by his signature grunge and deconstruct-ionist design philosophy. David Carson collaborated with The Macallan on Concept No. 3, the final release in the distillery’s Concept Series. This project combined Carson’s distinctive graphic design style with The Macallan’s whisky-making craftsmanship. Carson visited The Ma-callan’s estate in Speyside, Scotland, to immerse himself in the enviro-nment and collaborate with whisky maker Polly Logan. His design for Concept No. 3 features a hand-crafted collage incorporating elements inspired by the estate, such as the River Spey and sherry-seasoned oak casks. The packaging includes a bold chevron symbol bearing Carson's signature, and the colour palette reflects the natural hues found at the estate, including blues and reds. Carson’s goal was to evoke emotion through every letter and line, with typography acting as both the mess-age and the medium.

Carson’s use of layered textures, vibrant color cont-rasts, and offbeat graphic elements is a true inspir-ation for designers who want to delve into deconst-ructionist design and effective collaging. 

Carson has published several books, including The End of Print (with Lewis Blackwell), which docum-ents his philosophy and visual work. He is freque-ntly cited in academic and professional discussions about postmodern design and continues to influen-ce contemporary designers through both his publ-ished work and lectures.

Note: I find this collaboration between two women really inspiring, and the ethos behind their work echoes where I believe my practice is goin-g; meaningful and emotive. I often see male leads at studios, and so I wanted to not just highlight APFEL itself, but the women behind the craft. I can envision myself wanting to start a business, or a collaborati-ve venture with other women in this way.  

Kirsty Carter & Emma Thomas
Founded in 2003 by Kirsty Carter and Emma Thomas, A Practice for Everyday Life (APFEL) is a London-based multidisciplinary design st-udio renowned for its innovative approach to graphic design, art dire-ction, and type design. Both Carter and Thomas are graduates of the Royal College of Art's MA Communication Art & Design program, wh-ere they met and discovered a shared passion for conceptual art and design. This mutual interest laid the foundation for their collaborative practice, which blends artistic exploration with practical design soluti-ons. APFEL's essence lies in its commitment to creating meaningful and original design work that thoughtfully responds to each project's unique context. 

The studio collaborates with a diverse range of clients, including global brands, cultural institutions, and contemporary artists, engaging in pr-ojects that span art direction, brand identity, editorial design, exhibiti-ons, digital media, and type design. Central to their philosophy is a pro-cess of dialogue and investigation, allowing them to explore and artic-ulate the distinctive values of each project in a sensitive manner.

In 2020, APFEL expanded its creative endeavors by launching the APFEL Type Foundry, a platform dedicated to publishing a growing library of typefaces developed through visual, textual, and experiential research. This initiative reflects the st-udio's deep-rooted interest in typography and its desire to offer bespoke type design services, inclu-ding custom typefaces and logotypes tailored to specific contexts. Through the APFEL Type Foun-dry, Carter and Thomas continue to push the bo-undaries of typographic design, contributing to the broader design community with their distinctive and research-driven typefaces. It’s worth taking a look if you want a distinctive typeface for your projects, or if you want some editorial inspiration from their projects. 

RoAndCo Studio is a New York-based creative age-ncy founded in 2006 by Roanne Adams. RoAndCo is known for its thoughtful and intuitive approach to design, aiming to distill a brand's core essence into compelling visual narratives.

Los Angeles-based jewellery designer Irene Neuw-irth collaborated with creative agency RoAndCo to reimagine her brand's online presence, and I love the bright typography that mimics all of their jewe-ls. Very simple, yet very beautiful and evocative of Neuwirth’s vibrant collection. 

Central to the project was the creation of a visual narrative that mirrors the whimsical yet sophisticated nature of Neuwirth's jewellery. RoAnd-Co's art direction featured pieces adorned with vibrant gemstones, art-fully arranged against surreal, hand-painted backdrops. 

To commemorate a special campaign featuring professional equestrian Jessica Springsteen, RoAndCo designed a hardcover collection book. This limited-edition publication combines poetic elements with striki-ng campaign imagery, serving as a tangible embodiment of the brand's creative spirit. The stitching down the side, with each section being re-miniscent of each of Neuwirth’s jewels, is a simple yet highly effective touch. I would love to distil a brand into print in this kind of way. 

The partnership between Irene Neuwirth and RoA-ndCo exemplifies how thoughtful design and strat-egic creativity can elevate a brand's presence across digital and physical landscapes. By capturing the essence of Neuwirth's imaginative jewellery, the project not only enhances the customer experience but also reinforces the brand's position in the lux-ury market. 

In addition to client work, RoAndCo publishes the Romance Journal, a publication exploring themes of purpose and creativity through interviews with women leaders. 

The studio is also committed to environmental and social responsibility, operating as a certified carbon neutral business and supporting mentorship progr-ams for purpose-driven enterprises. 

Alan Kitching’s design practice stands as a celebr-ation of traditional letterpress techniques and the tactile beauty of print. With a career spanning over five decades, Kitching has become synonymous wi-th the revival and innovation of letterpress, elevati-ng it from a craft to an art form. His work is chara-cterised by bold, expressive typography, often set in dynamic compositions and vivid colours.

The Cinema Museum
One of Kitching’s standout print pieces is his work for the Cinema Mu-seum, a project that perfectly encapsulates his approach to letterpress design. The piece, a promotional poster for the London-based museum dedicated to preserving the history of cinema, showcases Kitching’s ta-lent for creating vibrant, textural designs that are both visually stunni-ng and conceptually rich.

In Cinema Museum, Kitching employs his signature bold typography, blending sharp angles and curves to create a sense of movement and excitement, perfectly reflecting the dynamic nature of film itself. The poster features a strong colour palette, with contrasting hues that add depth and energy, capturing the essence of cinema’s vibrant history. The use of letterpress here is not just a tool for print but a central part of the design’s energy, lending a tangible, textured feel to the words, making them jump off the page. What sets Cinema Museum apart is how Kitching combines his mastery of letterpress with his deep unde-rstanding of visual storytelling. The print piece evokes nostalgia, moti-on, and the magic of the movies, all through the careful balance of type, colour, and texture. I feel drawn to letterpress, especially that of Kitching, and I always look for opportunities to include it - like in this newspaper - the texture feels authentic and is a fresh deviation from the plain digital type online. 

The A-Z of letterpress is co-authored by Alan Kit-ching and Ray Nichols, and is a comprehensive gu-ide to the essentials of letterpress printing, providi-ng insights into the techniques, materials, and hist-ory behind the craft. I have been recommended this book myself, and I am yet to make the invaluable purchase... 

This book is a must-have for anyone looking to un-derstand letterpress printing on a deeper level, fr-om its history to its contemporary uses!

The Counter Press, an acclaimed letterpress wor-kshop based in the UK, has become a go-to destin-ation for those looking to explore the rich, tactile world of letterpress printing. Offering hands-on workshops, the studio blends traditional techniqu-es with contemporary design practices, making it an essential resource for aspiring printmakers, des-igners, and anyone interested in typography.

The Counter Studio, sister to the renowned Co-unter Press, offers a more commercially focused ap-proach to the art of letterpress printing. While Co-unter Press is dedicated to teaching the craft and reviving the traditional techniques through works-hops, The Counter Studio takes it a step further by incorporating letterpress into commercial design projects, combining the beauty of print with mode-rn branding and marketing.