April 2026
Dartmoor National Park Authority’s current brand was indistinct from the UK’s other national parks, and failed to capture what makes Dartmoor a unique place to visit, and a special place to live. Through a speculative rebrand, I aimed to create a visual identity which was unmistakably Dartmoor. This rebrand strives to ignite pride, care and connection to the landscape for both locals and tourists.
Dartmoor’s new identity is deeply rooted in place, identity and environment at every touch-point, taking cues from the moor’s diverse tones and rugged granite textures to form it’s visual language. I drew from the past, pulling from Dartmoor’s rich cultural identity and timeless wonder, yet continued to look to the future, using fresh mediums to communicate to new moorland users. Through bold, playful icons and typography, as well as a lighter tone of voice, I challenged ‘stuffy’, authoritative expectations of a National Park Authority.
At the heart of this identity is Dartmoors new logomark, the Tor. Representing the over 160 granite outcrops across Dartmoor, these iconic landmarks are a unifying symbol rich with history, folklore and wildlife.
April 2026
A bespoke typeface for the Dartmoor re-brand. ‘Letterbox’ is a typeface adapted from the Dartmoor tradition of ‘Letterboxing’, a playful expression of Moorland identity, and a visual style crafted directly from Dartmoor’s people. If you visit any Dartmoor Tor and look in the cracks between the rocks, you will likely find a ‘letterbox’- a small sealed tupperware box containing stamps and notebooks. They act as a visitor book for these wild places, an acknowledgement of the individuals who have passed through and experienced these spaces.
Taking a type reference from a blocky, handcrafted stamp, ‘Letterbox’ maintains this spontaneous, organic feel, but is digitised cleanly to be flexible across a variety of use cases, from signage to social media.
Using ‘alternates’ from a diverse pool of letterbox references, Letterbox’s characters can be interchanged with a range of weird and wonderful Dartmoor characters, seamlessly mixing the old, the new and the timeless. Like Dartmoor’s everchanging environment, Letterbox never looks the same!
October 2025
In collaboration with Jem Turner
A speculative set of three CD’s, which capture the ‘baseline’ of nature in 1025, 2025 and 2125. The project aims to tackle Environmental Generational Amnesia, a phenomenon where each generation perceives an increasingly depleted state of nature as the norm. The interactive CD’s provide perspective and reference points to a dangerously and rapidly shifting baseline.
These CD’s were exhbited at Falmouth University in October 2025, alongside a CD player. These tangible capsules of our baselines created an immersive experience, engaging new senses to highlight how our environmental norms are shifting beyond recognition.
Take a listen to the audio exhibition!
In this CD you will hear the baseline of UK nature in the year 1025, when Britain was much more forested, and wild animals like wolves and bears roamed freely.
In this CD you will hear the baseline of UK nature in the year 2025, where Britain is facing a massive loss in biodiversity and is one of the most nature depleted countries on earth.
In this CD you will hear the imagined baseline of UK nature in the year 2125. Over 1 million species have gone extinct, and average global temperatures have risen by 4°C, leading to frequent extreme weather events.
September 2025
In collaboration with Jem Turner
A speculative design Studio created in collaboration with Jem Turner, where we imagined a design practice which puts the natural world at its centre. At the start of third year, we were challenged to concept and brand our ideal design studio. We created ‘Revolve’ and here is our menefesto!
“In the face of climate emergency and nature dis-connectivity, we view design as a revolving, complex ecosystem, with care and respect for the environment primary to all the work we output. We weave natural fibres through every design process, and cultivate organic ideas from soil and sand. Prioritising nature in all areas of the design practice makes a happy client, as well as a happy planet.
We recognise our designs never sit alone, and hold a responsibility in their implications and influence. We won’t grow relationships with clients who don’t share our environmental ethos. You don’t need to be an expert, you just need to care. As outdoors orientated individuals, we keep it grounded. Drawing deep inspiration and admiration from Nature’s intricate systems, designs and patterns, we understand that imperfection is perfection.
We waste nothing, and choose only the most sustainable materials and mediums. Just how an ecosystem is mutually beneficial for plant and animal life, we strive to design among a balanced system of respect and care.”
March 2026
On a study trip to London, I was lucky to have the opportunity visit and speak to a selection of London design practices. I asked these designers how sustainability if at all influenced their daily practice. I was interested to learn how sustainability fit into the context of a fast paced, competitive London design scene, and whether this differed to the perspectives I hear down in Cornwall.
It is important challenge design’s environmental impact, and seeking new perspectives on sustainability in design has been an important opportunity to discover where design can do better.
July 2026
In a live brief with Surfers against Sewage and Falmouth University, we were challenged to create a music video for Martha Tilston’s song; ‘Voice of The Water’. After a successful pitch, myself and Jem Turner’s concept was selected to be released across SAS’s channels and screened in schools nationwide.
We continued to work with SAS through a 1 week micro-internship. During this time, we developed a range of accessible printed classroom activities to accompany our video. These engaging activities aim to foster connection to the ocean, educate on ocean mistreatment, and ultimately inspire future ocean activists.
Using an adaptive circular motif, our video highlights the interconnection of water at all levels, from the tiniest of organisms, to global currents, to us. This unifying visual frame encourages us to recognise the finely balanced relationship between ourselves and the water.
May 2025
A short publication which aims to celebrate the magical experience of wild camping on Dartmoor and promote a sustainable, enriching practice that can continue for thousands of years to come. This ‘Manifesto’ of wild camping, aims to challenge the narrative that wild camping leads to environmental damage, but to discovery, connection and ultimately care for the moorland we share.
Everyone’s experience of the moor is different. The ethos of this book was crafted with the help of individuals who wild camp on the moor, who kindly shared their words on the value they gain from sleeping on the moors, and what they do to ensure they leave no trace. These words have been re-purposed into a playful publication, accompanied by a set of Dartmoor inspired ‘letterbox stamps’ which embody these values. This project was created in light of the supreme court battle to maintain the right to wild right last April (which was thankfully won).
September 2024
Perspectives is a collaborative publication, which celebrates a collection of graphic design essays from Falmouth University. Each student worked towards type-setting a unique essay, whilst following a cohesive design system for the publication. In the chapter I typeset, ‘Timeless’, I channelled the essay topic of Swiss Style graphic design into my layouts.
I also had the privilege to design the front cover of this publication, which aims to represent the varied and diverse writings of students at Falmouth.
July 2026
In December, I completed my 6000 word dissertation titled ‘Critical Communicators’ - a critical analysis of positive vs negative framing of the climate crisis in visual communication.
Analysing a range of case studies against semiology and psychological responses, my dissertation compares the impact of anxiety educing ‘doom’ narratives against more optimism climate communications. Ultimately, the essay uncovers examples of how good design can catalyse positive, action based solutions to this ‘wicked problem’!
The process of writing this essay will definitely influence how I approach climate related communications in the future, to ensure I am creating responsible and effective work. For my degree show, I translated these words into a physical publication
September 2024
Swarm is a network of community run youth clubs targeted at cut-off, rural areas of Britain. Swarms run recreational, social and sports events weekly in multi-use spaces. Swarm helps communities set up and run their own youth clubs, by providing the appropriate resources to allow them to thrive. Swarm’s identity aims to challenge the ‘boring village’ narrative through disruptive yet playful visual language, which engages and motivates young people to embrace their rural community.
Hi I’m Charlie! I’m a graphic design student currently in my third year at Falmouth University, looking ahead to a career in design and communication.
I believe in harnessing the power of design to catalyse action, solve problems and create positive change. I have a special interest in sustainable design, and my research at university has explored design’s role in communicating the climate crisis.
Across both print and digital platforms, my outcomes explore the realms of conservation, climate action, and community connection.
charliescottdesign@outlook.com
@charliescottdesign
Linked In
Find me in Falmouth, Cornwall or
Totnes, Devon!
Education
Falmouth University
BA Graphic Design
2023-2026