Logie is an uppercase typeface based on the carved lettering found in the graveyard surrounding ‘Logie Old Kirk’. The oldest memorials at the Kirk are two Hogback stones estimated to be from the 12th century, so an enormous history can be witnessed in physical form through the variety of letterforms and their eroding state. The typeface is not informed by a singular memorial, it is being pulled in different directions by conflicting styles, time periods and the hands of varying letter-cutters. Logie celebrates the evolving vernacular lettering used throughout the history of the Kirk. The memorials are inexorably bound to a physical space by the body that lies beneath them, and to a moment in time when they were carved. Logie however, is not bound to space or time, it attempts to sythesize the entirety of the Kirk’s past, becoming something else which floats above the time periods and physical spaces which the original letterforms inhabit.

Things in Places is a publication which approaches objects in the periphery of hospitality establishments and attempts to portray the experience of interacting with these objects through typographic layout and image. The topic of Issue 1 is ‘Chairs in places to have coffee that serve water without request’. The publication presents a series of transcribed conversations which represent our findings, these are divided by a series of found essays related to the topic. We are absolutely not experts in this field so the publication adopts a satirical tone of voice and visual language.

‘Moving Brands’ set me the task of designing an identity for a collectivist natural wine bar.

I created ‘Bits’, the name highlighting one of the things about natural wine that many people hate; the sediment found in the bottom of the bottle due to its unfiltered production. To a natural wine lover the sediment is a great part of the flavour profile however to a traditionalist it is disgusting. The name ‘Bits’ also indicates that it is part of a collection, a bit of a larger whole.

A wine shop is a collection of varying wine suppliers, and in ‘Bits’ the aim is to bring every bottle onto a level playing field by hosting concept wine tastings, where all the wine labels are removed and are replaced with the same ‘Bits’ label.

This design direction is based on a  rejection of decoration and ornamentation, typical in traditionalist wine label design, and aimed to be minimal and functional with collectivism being introduced through the functionality of the bar and shop.

Bits creates unlikely connections, allowing different parts of the bar to interact with the design, as well as unlikely connections between people.

The introduction to the menu is as follows:

“So… Yes… Bits is a natural wine bar and bottle shop. We sell lots of wines with the bits still in them, not exclusively, but they tend to be in the majority. Due to natural wines unfiltered  state, they often have a bit of sediment settled at the bottom of the bottle, we think that it can be part of their charm as a natural wine so we celebrate it. Don’t be alarmed if you get a bit of sediment, just keep drinking until you stop noticing it. This seems to work for us.

Inspired by collectivism, we aim to dismantle hierarchy between wine producers and highlight the small and the obscure. Bits is a place for making connections, and this is what has motivated the unconventional menu which you have been presented with. Throughout the menu you will notice pages which have been physically edited through hole punching from  past guests and we invite you to inform your decisions based on their reviews. we want you to feel like a little bit of a larger collective.

Despite its unconventionality, we aim to present information with accessibility at the front of our minds. We hate menus that lack a good system, when you can’t distinguish a region from a producer or a grape from a wine title. We try to make all of this easy to digest so that everyone who visits us knows what’s gong on in the menu regardless of experience.”