Dartmoor National Park Authority
Speculative Rebrand
May 2026
A speculative updated visual identity for The Dartmoor National Park Authority, aiming to ignite pride, care and connection to the landscape for both locals and tourists.
Dartmoor National Park Authority’s current identity was indistinct from the UK’s other national parks, and lacked Dartmoor’s unique character. 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 Dartmoor’s 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.
‘Letterbox’ is a bespoke typeface adapted from the Dartmoor tradition of ‘Letterboxing’, a playful expression of Moorland identity, where stamps are hidden across the moor for visitors to find. 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.
Dartmoor National Park Authority’s current identity was indistinct from the UK’s other national parks, and lacked Dartmoor’s unique character. 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 Dartmoor’s 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.
‘Letterbox’ is a bespoke typeface adapted from the Dartmoor tradition of ‘Letterboxing’, a playful expression of Moorland identity, where stamps are hidden across the moor for visitors to find. 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.
Revolve
Studio Branding
September 2025
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, a sustainability focused design studio which prioritises nature in all areas of the design process.
We created an attention-grabbing campaign to launch our studio. We swapped the boring office headshots for playful portraits, which communicate the interconnection between our studio practice and nature. Our wider visual language uses limited colour, allowing the colours of nature to take centre stage.
The Revolve 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.”
At the start of third year, we were challenged to concept and brand our ideal design studio. We created Revolve, a sustainability focused design studio which prioritises nature in all areas of the design process.
We created an attention-grabbing campaign to launch our studio. We swapped the boring office headshots for playful portraits, which communicate the interconnection between our studio practice and nature. Our wider visual language uses limited colour, allowing the colours of nature to take centre stage.
The Revolve 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.”
The Voice of The Water
Music Video for Surfers Against Sewage
July 2025
Working with Surfers against Sewage to pitch, film and deliver an engaging music video which inspires future ocean activists.
In a live brief with ocean conservation charity 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.
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.
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.
We designed these resources with budget and sustainability in mind, using thin line weights and black ink to minimise printing impact and cost. These resources are hosted on SAS’s website, and can be printed on demand on any home printer.
Created in collaboration with Jem Turner
Check out our video here! (pre-release version)
In a live brief with ocean conservation charity 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.
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.
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.
We designed these resources with budget and sustainability in mind, using thin line weights and black ink to minimise printing impact and cost. These resources are hosted on SAS’s website, and can be printed on demand on any home printer.
Created in collaboration with Jem Turner
Check out our video here! (pre-release version)
London Design on Sustainability
Investigation and Publication Design
March 2025
A collection of conversations on sustainability in Graphic Design: Investigating sustainability’s role in industry practice.
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. We discussed topics such as AI, clients, B-corps, and material choices.
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.
In a 2 day design sprint, I translated my coversations from the week into a short publication. Using stripped back design, with a focus on clarity and accessibility, i aimed to convey the open, honest and transparent conversations I had in London. To further communicate the theme of transparency, I used a low GSM paper throughout this publication.
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. We discussed topics such as AI, clients, B-corps, and material choices.
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.
In a 2 day design sprint, I translated my coversations from the week into a short publication. Using stripped back design, with a focus on clarity and accessibility, i aimed to convey the open, honest and transparent conversations I had in London. To further communicate the theme of transparency, I used a low GSM paper throughout this publication.
BASELINE
Exhibition Design
October 2025
Communicating the abstract phenomenon of Generational Environmental Amnesia through an interactive audio exhibition.
The project aims to tackle Generational Envioronmental Amnesia, a phenomenon where each generation perceives an increasingly depleted state of nature as the norm.
The very nature of this problem means this phenomenon feels abstract, and difficult to comprehend. Through a one week design sprint, we aimed to create a tangible design solution which increases understanding and engagemnent of this issue.
In an interactive audio exhibition at Falmouth University in October 2025, we presented three CD’s, which capture the ‘Baseline’ of nature in the years 1025, 2025 and 2125. These imagined time capsules of nature aim to provide immediate reference points of this rapidly shifting norm, and invite us to question if our distorted perception of what is ‘normal’.
We used the novel format of analogue audio to provide a memorable, interactive experience; the viewers can imagine these CD’s being left for future generations as a reminder of their baseline. The visual language of these CD cases was created using vintage climate imagery. This approach highlighted the timeless feel of these CD’s and the intersection of past, present and future. Take a listen to the CD’s below!
Created in collaboration with Jem Turner
The project aims to tackle Generational Envioronmental Amnesia, a phenomenon where each generation perceives an increasingly depleted state of nature as the norm.
The very nature of this problem means this phenomenon feels abstract, and difficult to comprehend. Through a one week design sprint, we aimed to create a tangible design solution which increases understanding and engagemnent of this issue.
In an interactive audio exhibition at Falmouth University in October 2025, we presented three CD’s, which capture the ‘Baseline’ of nature in the years 1025, 2025 and 2125. These imagined time capsules of nature aim to provide immediate reference points of this rapidly shifting norm, and invite us to question if our distorted perception of what is ‘normal’.
We used the novel format of analogue audio to provide a memorable, interactive experience; the viewers can imagine these CD’s being left for future generations as a reminder of their baseline. The visual language of these CD cases was created using vintage climate imagery. This approach highlighted the timeless feel of these CD’s and the intersection of past, present and future. Take a listen to the CD’s below!
Created in collaboration with Jem Turner
Wild Camping Forever
Campaign and Publication Design
April 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 project was created in light of the supreme court battle to maintain the right to wild right last April. In response, I created a ‘Manifesto’ of wild camping, which 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 stamps which embody these values.
The design of this campaign re-imagines the ancient visual language and folklore of the moor into a bold graphic identity. In the context of a difficult supreme court battle, the playful copy and illustrations bring the warmth and magic of wild camping back to the forefront of the campaign.
This publication inspired me to further explore Dartmoor’s identity in my speculative rebrand the following year!
This project was created in light of the supreme court battle to maintain the right to wild right last April. In response, I created a ‘Manifesto’ of wild camping, which 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 stamps which embody these values.
The design of this campaign re-imagines the ancient visual language and folklore of the moor into a bold graphic identity. In the context of a difficult supreme court battle, the playful copy and illustrations bring the warmth and magic of wild camping back to the forefront of the campaign.
This publication inspired me to further explore Dartmoor’s identity in my speculative rebrand the following year!
Swarm
Concept and Speculative Branding
November 2024
Shifting young people’s perspectives of thier rural community through a disruptive identity for Swarm youth clubs.
Swarm is a network of community run youth clubs targeted at cut-off, rural areas of Britain, which 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.
Shortlisted for Creative Conscience 2025
Swarm is a network of community run youth clubs targeted at cut-off, rural areas of Britain, which 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.
Shortlisted for Creative Conscience 2025
Fly For Free
Photography and Zine design
November 2025
Celebrating the art of bodysurfing as a playful, accessible pathway to connection with the ocean.
‘Fly for Free’ is a short zine which celebrates the art of Bodysurfing, a style of wave riding which uses no floatation devices or boards. At it’s purest form, the only equipment needed is you and the waves, making this the most accessible way of experiencing the thrill of wave riding. Bodysurfing can be a pathway to connect and ground yourself in nature, inviting you to experience the raw power of the sea.
To communicate this, we chose the format of a short, riso printed zine. We used this lofi printing technique to re-inforce the ‘DIY’ attitude of this activity, and get this zine in as many hands as possible! Using a bold, vibrant colour palette and humour lead copywriting, we translated the exhileration of bodysurfing into a playful visual language that mirrored the feeling of being washed about in the surf!
Our wahed out, up close photography aims to capture the chaos and drama of our gloomy November bodysurf session, from the icy cold sea spray to the deep rumbling waves. To bring the experience of the sea back to the reader experience in every way possible, we also dissolved salt crystals onto the pages, bringing a sea-salty tactility to the zine!
Created in collaboration with Jem Turner
‘Fly for Free’ is a short zine which celebrates the art of Bodysurfing, a style of wave riding which uses no floatation devices or boards. At it’s purest form, the only equipment needed is you and the waves, making this the most accessible way of experiencing the thrill of wave riding. Bodysurfing can be a pathway to connect and ground yourself in nature, inviting you to experience the raw power of the sea.
To communicate this, we chose the format of a short, riso printed zine. We used this lofi printing technique to re-inforce the ‘DIY’ attitude of this activity, and get this zine in as many hands as possible! Using a bold, vibrant colour palette and humour lead copywriting, we translated the exhileration of bodysurfing into a playful visual language that mirrored the feeling of being washed about in the surf!
Our wahed out, up close photography aims to capture the chaos and drama of our gloomy November bodysurf session, from the icy cold sea spray to the deep rumbling waves. To bring the experience of the sea back to the reader experience in every way possible, we also dissolved salt crystals onto the pages, bringing a sea-salty tactility to the zine!
Created in collaboration with Jem Turner
Perspectives
Editorial Design
September 2024
A collaborative publication, which celebrates a collection of graphic design essays from Falmouth University.
In this project, I worked alongside my classmates to develop a cohesive editorial design system for a collaborative publication. We each typeset a unique essay from a Falmouth design student, working within the boundries of our chosen grid systems, colour palette, and typefaces. 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.
In this project, I worked alongside my classmates to develop a cohesive editorial design system for a collaborative publication. We each typeset a unique essay from a Falmouth design student, working within the boundries of our chosen grid systems, colour palette, and typefaces. 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.