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Global Goals Project

Project Overview
Global Goals Campaign: SDG 5 – Gender EqualityDeliverables:
Poster
Leaflet
D48 Digital Billboard AnimationTarget Audience:
University students
Young adults
Members of the publicObjective:
Raise awareness of SDG 5
Highlight the approaching 2030 deadline
Encourage audiences to take action towards gender equalityThe Brief:
The brief was to create a multi-platform awareness campaign for one of the United Nations Sustainable Development Goals. My focus was on SDG 5: Gender Equality. The campaign needed to communicate the urgency of the 2030 deadline while encouraging audiences to recognise that meaningful progress can still be achieved through collective action.

Animation Strategy:
The D48 billboard animation expanded the static poster concept into motion. The words HE, SHE, and WE animate together to reinforce the message of collective action. Additional copy referencing the 2030 deadline was introduced to create urgency and encourage audiences to recognise that there is still time to contribute towards achieving the Sustainable Development Goals.

The target audience for this project was university students, so I aimed to make the deliverables striking whilst sticking to brand guidelines.Research Findings:
Research into SDG 5 revealed that gender inequality continues to affect access to education, leadership opportunities, economic resources, safety, and healthcare worldwide. While progress has been made, many targets remain unmet as the 2030 deadline approaches.Campaign Analysis:
I analysed campaigns including Like a Girl, Imagine a Nurse, This Girl Can, and If You Can See It. These campaigns successfully challenged gender stereotypes through clear messaging, audience engagement, and emotionally impactful storytelling. This informed my decision to create a concept centred around inclusive language and collective responsibility.Concept:
My concept focused on the words HE, SHE, and WE. While gender equality is often discussed through differences, my research suggested that progress depends on collective action. By visually combining the words and allowing "WE" to emerge from "HE" and "SHE", the design communicates unity, inclusion, and shared responsibility.Design Development:
Typography:
Large-scale typography, which was created using letterpress, was used to create impact and ensure visibility across both print and digital formats. The overprint of the letterforms reinforce the idea that individuals come together to create change.Colour Palette:
The campaign uses red, blue, and purple. Red and blue combine to create purple, symbolising unity and collaboration. Purple is also historically associated with women's rights, dignity, and justice, making it particularly relevant to SDG 5.Composition:
Diagonal typography creates movement and energy, helping to communicate urgency and progress towards the 2030 deadline.Outcome & Reflection:
This project challenged me to communicate a complex social issue through a simple visual system that could work consistently across multiple formats. Through research, campaign analysis, and iterative design development, I created a cohesive visual identity that raises awareness of SDG 5 while encouraging audiences to consider their role in creating a more equal future.Leaflet:
The leaflet was designed as a four-page extension of the campaign identity, carrying forward the "HE", "SHE", and "WE" typographic concept from the poster to create a cohesive visual system across all deliverables. A diagonal cut on the front cover was introduced to create visual interest and establish a more dynamic composition, partially revealing the SDG 5 logo beneath and encouraging audiences to engage with the leaflet. The internal pages utilise the campaign's red, blue, and purple colour palette, reinforcing the themes of unity, dignity, and equality while maintaining consistency throughout the campaign. Information about SDG 5 and its objectives was organised using a clear hierarchy to ensure accessibility and engagement for a university-aged audience. The final page focuses on practical actions individuals can take to support gender equality, with content adapted from the United Nations Sustainable Development Goals website. By combining informative content with interactive design elements, the leaflet aims to raise awareness of SDG 5 while encouraging audiences to recognise that there is still time to contribute towards achieving the 2030 goals.

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Juthan Chocolate Packaging Redesign

project overview
The aim of this project was to redesign packaging for Juthan, a Surrey-based chocolate company with South African influences. The concept was inspired by traditional South African beadwork, celebrating the brand's cultural heritage through pattern, colour, and visual storytelling. Rather than using a standard wrapper, the chocolate is presented in a constructed box, allowing the intricate beadwork-inspired designs to become a central feature of the packaging. The final outcome combines contemporary aesthetics with cultural authenticity, creating a premium packaging system that reflects Juthan's values of heritage, craftsmanship, and quality while helping the product stand out on the shelf.

Research:
Research began with an analysis of Juthan's brand identity and company story. As a Surrey-based chocolate company with South African influences, the brand emphasises heritage, craftsmanship, and storytelling. An evaluation of the existing packaging revealed several issues, including muted colour palettes, poor contrast between the gold foiling and background colours, and limited shelf impact, which reduced the product's premium appeal. Initial research explored African sky mythology and constellation-based storytelling; however, further investigation identified traditional South African beadwork as a stronger visual direction. Beadwork has long been used as a form of cultural expression and communication, making it an ideal source of inspiration for a packaging redesign that celebrates Juthan's South African heritage while creating a more distinctive and luxurious brand presence.Market Analysis:
Juthan operates within the premium artisan chocolate market, competing with brands such as Hotel Chocolat, Lindt, and Montezuma's. While these brands benefit from strong market recognition and retail presence, Juthan differentiates itself through its bean-to-bar craftsmanship, ethical sourcing, and small-batch production. Research identified an opportunity to strengthen the brand's visual identity by creating packaging that better communicates its South African heritage and premium positioning.Typography:
A combination of typefaces was selected to balance heritage, luxury, and readability. Cooper Std Black was chosen for flavour names due to its bold, distinctive character and rounded forms, which visually complement the circular patterns found in traditional South African beadwork. Cormorant Garamond was used for the Juthan brand name to create a refined and premium feel while remaining consistent with the existing logo. Supporting information was set in Montserrat Alternates and Inter to ensure clarity and readability across product descriptions and nutritional information.
Foiling:
Gold foiling was used to highlight the flavour names and enhance the premium feel of the packaging. The reflective finish creates visual contrast against the beadwork-inspired graphics, drawing attention to key information while reinforcing the product's luxury positioning. The addition of foil also introduces a tactile quality that complements the handcrafted and high-quality values associated with the Juthan brand.

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Independent Magazine

Bilingual Editorial MagazineA magazine exploring Pakistan's visual identity through culture, architecture, art, memory, and everyday life.

Project overviewMinar is a bilingual editorial magazine designed for both Pakistani and international audiences. Through photography, typography, and editorial storytelling, the publication documents Pakistan's visual culture while celebrating the places, traditions, and histories that shape national identity.ConceptThe magazine acts as both a visual archive and cultural guide, encouraging readers to reconnect with Pakistan's landmarks, artistic traditions, and everyday visual experiences. Combining English and Urdu typography, Minar reflects the country's cultural diversity through a contemporary editorial approach.

Issue 01:
Monuments & Architecture:
Mosques
Museums
Shrines
Gardens
National landmarksIssue 02:
Art:
Calligraphy
Textiles
Painting
Folk crafts
Contemporary visual culture
Issue 03:
Transport & Movement:
Rickshaws
Truck art
Railways
Signage
Public transportTypography:
English and Urdu typography were combined throughout the publication to reflect Pakistan's linguistic and cultural identity as seen in the images. Careful hierarchy and grid systems ensured readability while maintaining a distinctive editorial voice.
Playfair Display — Masthead & Headings
Adobe Garamond Pro — Body Copy
Gulzar — Urdu copy
Mencken Std Head — CaptionsTarget audience:
Minar is aimed at Pakistani and British Pakistani audiences with an interest in culture, design, travel, and identity. The magazine is particularly relevant to diaspora readers, serving as both a cultural archive and a connection to home through its exploration of Pakistan's landmarks, traditions, and visual heritage. Its bilingual English and Urdu format broadens accessibility across generations while also introducing international audiences to Pakistan's architecture, art, and everyday visual culture.Colour:
Colour played an important role in establishing Minar's visual identity. The palette was informed by the architecture, landscapes, and cultural spaces featured throughout the magazine, creating a direct connection between the editorial design and the subject matter. Green was used as a recurring accent colour due to its strong association with Pakistani culture and national identity, while blues and warm sandstone tones were sampled from featured photography to strengthen the relationship between typography and image. The bilingual masthead combined off-white and black tones to create balance and contrast between the English and Urdu lettering. A restrained colour palette was maintained throughout the publication, allowing the photography and typography to remain the primary focus while ensuring a cohesive editorial system across all issues.Layout:
The layout system for Minar was built around a 12-column grid, providing a flexible framework that maintained consistency across the publication while accommodating bilingual content, photography, and a variety of article formats. English and Urdu content were positioned on opposing pages to respect the reading conventions of both languages and create balanced, culturally appropriate spreads. Large-scale photography was used throughout the magazine to establish a strong visual narrative, with feature openers incorporating full-bleed imagery to create impact and variation in pacing. Alternative layout treatments were developed for interviews and listings sections, helping to distinguish different content types while maintaining a cohesive editorial identity. The combination of structured grids, considered image placement, and clear typographic hierarchy resulted in an engaging reading experience that balanced visual storytelling with readability.For the interview page I got the inspiration from this article: Exploring the Symbolism of Minar-e-Pakistan: A Glimpse into Pakistan’s Rich Cultural and Historical Heritage .

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Global Goals Exhibition Design

This project formed part of a compulsory live brief within the Typography & Graphic Communication course. Working collaboratively within a team, I helped design an exhibition that showcased student work from the Global Goals module, creating a visual experience that communicated the themes, outcomes, and impact of the project to visitors.Client: Typography & Graphic Communication Department
Project Type: Exhibition Design
Role: Exhibition Graphics, Branding, Layout Design, Installation
Team Size: 3 students
Deliverables: Exhibition identity, wall graphics,promotional materials (social media posts), Leaflets, and animation.

A collaborative blog post documenting the concept development, exhibition design process, and final installation was published on Typography Network and can be viewed online.
HOPE: Designing for the Future – Global Goals Exhibition

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Word & Image Booklet

Project overview
This project explored the relationship between words and images within editorial design and visual storytelling. Through the creation of a booklet focused on Palestine, I investigated how typography, photography, and sequencing can work together to communicate meaning, emotion, and narrative. The project considered how text and image can support, contrast, or reinforce one another, creating a reading experience that encourages reflection and engagement with the subject matter.concept:
The concept was developed from the poem's repeated definitions of Palestine as “a country”, “a home”, “a land”, “a flag”, and “a cause”. Rather than presenting Palestine as a single place, the poem gradually expands its meaning to encompass memory, identity, and collective belonging. This progression informed the structure of the booklet, with imagery and typography working together to reinforce the emotional weight of each section and build a narrative that becomes increasingly personal and immediate as the reader progresses through the publication.

Narrative:
The booklet explores how narrative can be constructed through the relationship between word and image. The poem's recurring phrases act as anchors for the visual sequence, while the supporting text expands on each theme. As the pages progress, imagery of children moving towards the viewer creates a growing sense of connection and emotional engagement, reinforcing the poem's themes of identity, belonging, and hope. Arabic typography plays an important role in reinforcing the publication's cultural context, while a flowing keffiyeh motif links the opening and closing spreads to create a cyclical structure that symbolises continuity, identity, and resilience. Together, the sequencing of text and imagery guides the reader through the narrative while encouraging reflection on the poem's message.

A video documenting the wishes of Palestinian children served as the primary inspiration for the booklet's narrative. The contrast between the aspirations expressed by children in Palestine and those of children elsewhere created a powerful emotional impact, highlighting themes of hope, resilience, and the desire for basic freedoms. This directly informed the visual sequence of the publication, which follows children moving progressively closer to the viewer as the poem unfolds. The Arabic text incorporated throughout the booklet was derived from the children's spoken wishes, allowing their voices to become an integral part of the narrative.Cover design:
The cover image was selected for its ability to communicate themes of identity, resilience, and community. Featuring children alongside the Palestinian flag, the photograph creates an immediate emotional connection while emphasising cultural heritage and hope. The image extends across both the front and back covers, unfolding as the booklet is handled. This progression reinforces the publication's themes of continuity and belonging while establishing a strong visual connection to the narrative explored throughout the interior spreads.Typography:
The interior spreads use a combination of Bebas Neue Pro Bold and American Typewriter to create contrast between the poem's key statements and supporting text. Bebas Neue Pro Bold was selected for recurring phrases such as “a country”, “a home”, “a land”, “a flag”, and “a cause” due to its strong, structured appearance and ability to establish a clear visual hierarchy. American Typewriter was used for the accompanying text to introduce a more personal and reflective tone, reinforcing the emotional nature of the poem. Following feedback, the supporting text was refined to a lighter weight, creating greater distinction between the two typographic voices and allowing the key phrases to remain the dominant elements within the narrative. Arabic typography plays an important role in reinforcing the booklet's cultural context and authenticity. As the primary language of Palestine, its inclusion strengthens the connection between the content and the subject matter while introducing an additional visual layer to the narrative. Following feedback, handwritten Arabic text was refined using a professional Arabic typeface to achieve greater consistency with the Latin typography. The Arabic content presents the wishes expressed by the children featured in the source material, strengthening the relationship between language, identity, and visual communication.Colour:
The colour palette was informed by the Palestinian flag, with red, green, black, and white used throughout the publication as recurring visual motifs. Red and green overlays were applied to imagery to strengthen the connection between the poem and Palestinian identity, while white typography was used to improve readability and contrast. The restrained use of colour creates visual consistency across the booklet while supporting the emotional tone of the narrative.Production:
Careful consideration was given to the material and binding choices to ensure they supported the booklet's narrative and tactile experience. Following a series of print tests, Olin 100gsm paper was selected due to its quality and smooth page-turning experience. The booklet was hand-bound using a five-hole saddle-stitch technique with red sewing thread, chosen for its connection to the Palestinian flag and its visual contrast against the paper stock. This produced a refined finish that complemented the delicate and personal nature of the publication.Reflection:
This project provided an opportunity to explore the relationship between words and images while responding to a subject that I feel strongly about. Through the combination of typography, photography, sequencing, and bilingual content, I developed a narrative that communicates themes of identity, resilience, and hope. The project strengthened my understanding of editorial storytelling and increased my confidence in using design to communicate meaningful social and cultural narratives through a carefully considered visual language.

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Restaurant logo

Project overview
A client-supplied mockup was refined into a polished, vector-based logo for restaurant signage. The brief enforced a strict blue and yellow colour palette and an existing typeface, requiring careful attention to consistency and alignment. The design was rebuilt to improve clarity and scalability, resulting in a professional identity suitable for prominent real-world signage and brand use.

Challenges:
The main challenge was translating a rough concept into a clean, scalable vector while maintaining the client’s original vision. The design was developed within strict brand constraints, including a fixed blue and yellow palette and a pre-selected typeface provided by the client, which was a custom typeface that was not available to use, which meant tracing over the typeface. This was a lot more time consuming and took longer to produce to the clients complete satisfaction.Outcome:
The final result is a clean, scalable logo suitable for both physical restaurant signage and digital brand applications.

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