Nonformat

Shepley Bulfinch
Visuelt – Formula for Gold
The Chap – We Are The Best
Rick Owens – LIMO F/W 11
Merlin Carpenter – The Opening
Visuelt print
Visuelt (Drop Matrix) idents
The Sanahunt Times
Sanahunt Cultural Initiative
Black Devil Disco Club – Circus
Nokia Pure
Hatchback – Zeus & Apollo
Ben Butler & Mousepad
The Music’s All That Matters
+81 cover
Magnetic Man
David Bowie poster set
Seeland – How To Live
UK? OK!! poster/t-shirt
Milky Disco Three
Even Your Friend video
The Chap – Well Done Europe
Delphic
Dracula
Iida
Otto font
K-Swiss
IBM Smarter Planet
Gap (RED)
Peroxide
Computer Arts
Cent
LoAF – 01–12
LG
Greg Lynn FORM
Nike Football
Moog Acid
The Economist

Nike Basketball
Nike SPARQ Training
Varoom
Coke
Orange
The Wire
Planet of the Apes
Very ELLE
NY Times Style Magazine
Print
Yale University Art Gallery
Black Devil Disco Club
Stateless
Look At This
I’m New Here t-shirt
Healing Haiti t-shirt
Three Lions t-shirt
Browsing Copy
Make A Fuss
Merlin Carpenter – Relax
Hatchback – Colors Of The Sun
Cursor Miner – Danceflaw
Hellovon at Espeis
Fader
Kharma t-shirt
Vowels – The Pattern Prism
Omo – The White Album
Red Snapper – A Pale Blue Dot
Red Snapper
The Chap
Felt-Tip
Venice Biennale – Pompei
Back To Black
Hanne Hukkelberg
Norway One Hundred
Fjord Focus
Milky Globe
Asa-Chang & Junray
Barry 7’s Connectors
Love Song

Internship
Employment
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Design for Music
Typography & Fonts
History of Non-Format
Art Direction & Design
Design & Illustration
How did you get to work for the music industry?
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How do you develop your ideas for the different music packaging projects?
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Can you tell us about the LoAF CD packaging series; how did you originate this design?
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What is the future of CD and vinyl packaging, as everything goes digital?
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Can you give some advice to designers who want to get into the creative packaging industry?
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We started out with just a couple of independent music label clients who were generous enough to grant us almost complete creative freedom with the projects they gave us. As a result we became known as record sleeve designers, which in turn encouraged other labels and artists to approach us, so it was fairly accidental to a certain extent.
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We take great joy in the processes involved in designing music packaging, so this has almost certainly helped us along too. The journey from when we receive the music for a new release from the record label to seeing the finished product in the shop is seldom dull and, even though we now have a much wider range of clients, we still work for one of the original record labels – Lo Recordings – to this day, and use it as a springboard for creative expression and experimentation.
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