Work

Creative Direction

How I Write:
The Secret Lives of Authors

How I Write gives real insight into the lives of contemporary authors, showing and describing their sources of inspiration. The publisher Rizzoli gave me complete creative freedom to express that how I wanted.

Editor: Dan Crowe

OzHarvest

I could talk about this company forever because they’re doing such great things. Whether a client has money or no money, I’m determined to create a successful outcome, even when the odds are against them.

Sydney Dance Company

I worked heavily in the arts in London and I wanted to help an Australian creative organization be better at what they do, so when Sydney Dance Company approached me I jumped at the chance. By playing around with the letters, I made Sydney dance.

Photography Creative Direction: Georges Antoni

The Last Magazine

It was a time when everyone thought print was doomed. Luckily print is still in high demand, but this collection of international indie magazines was a celebration of print. It was my job to put it all together into a coherent publication.

Venice Biennale

As one of five Australian Creative Directors at the 2008 Biennale, we didn’t just do an exhibition we created a brand. We even designed a colour, which was produced by Dulux. When I work on a project, I always think about the bigger picture, the best potential outcome.

Wallpaper Magazine

Wallpaper asked me to do a cover based on a handmade theme. It was a chance to work with my good mate the photographer Giles Revell. We mucked about and shot my hands and got some good results.

Photography: Giles Revell

Zembla

Zembla was a literary magazine that Dan Crowe and I started from scratch. We had no money. We didn’t do it for the money we just wanted to make it happen. Typography was the main vehicle to do justice to the authors and bring the stories to life, so I played with words and typography.
I loved every minute of it.

Editor: Dan Crowe

D&AD Ampersand

D&AD wanted to create a publication to talk to the global creative community. The long and short of it is that I designed it for 13 years, changing the format every year. The cover was always dedicated to ideas and thinking.

London Design Festival

When Sir John Sorrell launched the Festival, I designed the creative foundations. I looked at the clichés of London’s identity, from post boxes to pork pies and there it was – the biggest cliché of them all! The red double-decker bus became the inspiration.

Nan Goldin: The Devil’s Playground

I’m happiest with the cover of this book, the ambiguity and subversive nature of it. It’s beautiful and not overtly sexual, until you see the whole thing. Nan’s not a purist; she was open to using her photographs in unconventional ways. When she saw the cover, she didn’t question it, she just said, “That’s it.”

Big Magazine

I designed Big in my spare time, often late at night. I matched bold photography with gutsy typography, and it worked well. Type and imagery became equal heroes. Producing something single-handedly teaches you a lot about efficiency when you start an agency. It was the start of my career.