Skip to main content
FD Frontwards Design
  • Projects
  • Gallery
  • Info

Gallery

Devour this visual smorgasbord of selected imagery from our work across websites, books, branding and illustration

  • This link opens a larger version of the following image in a pop-up lightbox: The Pig's Back logomark on a dusty orange background. The logomark is constructed from two black letters from a literary, decorative, serif typeface: a reversed, uppercase 'P' placed back-to-back with an uppercase 'B'. The letter 'P' has a decorative tail descending from it, and the letters are surrounded by a closely-dashed circular border in white.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The Foundation Vinyl logo, displayed on a white background. The logo consists of the text 'Foundation Vinyl', the two words joined by two thin green, circular lines encircling a vectorised illustration of a black cormorant with its wings spread, head turned to the left, green eye shining and beak agape.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A dusty pink circle, surrounded by a closely-dashed circular border in white, centred on a dusty mint green background. Within the coloured circle is a vectorised illustration of a portrait orientated sign hanging from a decorative cast iron support. The sign has a curved top and bottom and straight sides and reads 'The Glens' in a blackletter typeface. Below these words is a simple illustration of two hills bisected by a river or path, with the left-hand hill overlaid by text reading 'Wines, Spirits' in the same blackletter typeface.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A repeating pattern made up of interlinked purple circles on a golden yellow background, with fragile white threads running over and under the circles throughout.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The homepage of the Robin Silas Christian Photography website, viewed on a smartphone screen. A thick sky blue border runs down the left-hand side and a thick mint green border runs down the right. In the top-left is the site title in a bold Neo-grotesque sans-serif, which sits directly opposite the word 'Info' in the top-right corner. Underneath is a photographic portrait of a person with long, orange-red wavy hair, staring directly into the camera, with a calm, confident expression on their face, with both of their hands raised to their temples, seemingly in the act of pushing back their hair. They are wearing long gloves and a cropped, buttoned, long-sleeved top, both decorated in an intense painted pattern of a medley of bright fruit. Behind them is an array of foliage, punctuated by large pink flowers above their head. Below the image, the text reads 'Eliza Clark'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A repeating pattern of overlapping white circle motifs, containing decorative, white fleur-de-lis motifs on a deep, rich blue background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of the front cover for the book ‘The Lives and Deaths of K. Penza’ by Clare Azzopardi. The background is a light mauve and the text is set in a black, elegant serif font. Four different insets of the same collage—which is made up of several cutout photographic elements intermingling with various other disparate parts, such as newspaper cuttings, cutout numbers and swathes of vivid orange paint—are scattered across the cover, with a wavy white dotted line running beneath. Three of the inset images are rectangular with cutout corners, and have transparent, offset outlined “shadows”, while one is circular and has a keyhole shape cutout in the centre. Text in the bottom right corner below the author’s name reads “translated by Albert Gatt”. The Praspar logo, which is made up of the white outlines of three geometric shapes placed within an outlined white square, is placed in the top-right corner.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A violet-coloured circle, surrounded by a closely-dashed circular border in white, centred on a dusty orange background. Within the coloured circle is a vectorised illustration of a hand, palm down with fingers splayed. The ring finger of the hand is missing.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The Haunting Ashton Court insignia. A gateway or window shape surrounds the letters 'HAC', in a decorative, calligraphic sans-serif font. The 'H' lies on its side, like a roof sheltering the other two letters.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of the front cover of the book 'Haunting Ashton Court, A Creative Handbook for Collective History-Making', edited by Elinor Lower and Jack Young. In the background a hazy gradient goes from a deep violet to a cold sea green. Disparate abstract scraps of photographic, painted and collaged imagery float around the cover, linked by a black chain which snakes its way from top to bottom. Around the perimeter, a graphical motif of a gateway tries to contain these forms, but they spill out beyond the threshold and the edge of the book itself.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A composite render of the book ‘Lobsters’ by Wayne Holloway-Smith with an accompanying rectangular print and large circular sticker on the same sickly pink background. The sticker also displays some of the same motifs as the book—the sticker itself is the plate upon which the faint outlines of a knife and fork rest. The print is dark black with a white inset double border and white text. Musical staves running the length of the print become more and more visible towards the bottom of the page and lines in between the staves read 'to talk about the original hunger, was impossible, I ate, all this love, I ate, I ate libraries, tears, I ate, a door'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A pattern comprised of orange and yellow spark-like shapes, floating upwards across a dark brown background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A pattern comprised of light orange and blue spark-like shapes, floating upwards across a dark orange background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The landing page of the ‘Dark Skies Association’ website viewed on a portrait, smartphone screen. Overlaying a gradient background—fading from royal blue at the bottom left to pure black at the top right of the screen—are the words ‘Dark Skies Association’ in tightly-spaced small caps in a condensed white serif font, placed vertically centred and adjacent to a canary yellow outline of a crescent moon.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A dusty orange-coloured circle, surrounded by a closely-dashed circular border in white, centred on a black background. Within the coloured circle is a vectorised illustration of two suckered tentacles rising up from the bottom of the circle.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of the sticker which accompanies the book ‘Hyperlove’ by Naomi Morris. It has a black background with the text Hyperlove repeated around the perimeter of the circle. One of the Hyperloves has teardrop shapes dripping from the 'O', whereas the other has heart shapes emanating upwards like smoke from its 'O'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of the front cover for the book ‘Scintillas: New Maltese Writing 3’. The background is a bright, sunny yellow and the text is black. Six shapes with triple outlines adorn the cover, each resembling an abstract form of a snack—a soda bottle, sweet wrapper, a half-eaten pastizz etc. Each of the outlines is an orangey-red colour. Overlaid partially across the top-left bottle shape is the word ‘Scintillas’ in a decorative, italic serif typeface. In simpler serif italics, the middle shape contains the words ‘New Maltese Writing’, with a number ‘3’ to its right. The bottom-most shape contains the words ‘edited by Jen Calleja & Kat Storace’ in a bold, geometric sans serif.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A page from the ‘Empty When Full’ website, viewed on a smartphone screen. The background colour is a hazy gradient which fades from a misty green, through murky oranges and yellows, and into a sleepy sunset pink. A dashed white border sits above a black diamond-shaped motif alongside the words
  • This link opens a larger version of the following image in a pop-up lightbox: The front cover of the book 'Grief Stitches' by Emily Harrison. Black, serif text sits atop a golden yellow and white pinstriped background. The book's title sits centrally in a huge, bold, spiky black serif font. A purple thread runs from the bottom of the cover to the top, looping under and over the title on its way. In the top left is text that reads 'An extraordinary book of tenderness, devastation and reclamation. Each poem is a prayer, both an ending and a beginning. Beautiful. Joelle Taylor.' In the top right is the Makina Poetry logo, the words sitting within two interlinked circles.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The logo for the exhibition ‘In the mirror’, displayed on a blue background. The logo consists of a digital illustration of several blue angular panels overlaid across each other with differing levels of opacity and inset corners. Spread across the two frontmost panels in a decorative serif typeface are the words ‘In the mirror’ in black, with a semi-opaque mirrored version of these words in a light blue across the two back panels.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The logo for the Shape Arts exhibition 'All Bound Together?'. Displayed on a square-shaped red background, the thick white sans-serif of the logo is surrounded by two intersecting, thread-like, zigzagging lines in a spooling loop, one in black, one in white.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A page from the ‘All Bound Together’ website, viewed on a smartphone screen. At the very top left of the screen, hovering over the content, is a white circle with a red border containing a red and black map pin icon. Behind and below this is a red-bordered rectangular grid with two visible rows. The top row contains the text 'Fibre Optics' and the bottom row contains 'Common Threads'. Protruding from the bottom edge of the grid is a door icon, the kind of which you might see on a floorplan of a building, and spilling out from this is a wavy, zigzagged red line which curves back and forth until it disappears behind a red button with white text that reads 'Back to top' alongside an upward-facing arrow icon. At the very bottom of the page, text reads 'Room Audio Introduction', which sits alongside play, settings and volume icons and the text 0:00 / 1:26.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The 'Shows' page from Ellen Renton's website, as viewed on a mobile screen. It has a serene blue-green background and black text. In the top-right corner, sitting in front of the content, is a diamond shape with a black border containing the word Menu in a bold geometric sans-serif. To the left and below is a quote from 'Review Sphere' that reads 'Within Sight is an exceptional piece of spoken word theatre, Renton’s performance is honest, self-aware and has clear intentions.' Sitting below this in the centre of the page is a white diamond motif, and at the very bottom of the page, stretching the full width, is a white banner containing the text 'Colour and text controls' alongside an downwards-pointing arrow icon, which sits above button controls that enable the switching of the theme from light to dark, and the increasing and decreasing of the text size.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of the Expanded Edition of the book ‘Strangers: Essays on the Human and Nonhuman’. Along the top of the cover runs text that reads “Longlisted for the 2021 Rathbones Folio Prize”. In the centre of the cover is an abstract motif of two green leaves, joined by a stalk which winds from the centre to the bottom left of the cover. A black filled circle, outlined with a ring, overlays each leaf, giving the impression the leaves are a pair of eyes staring out at us from the cover. A quote by Max Porter reads “Bursting with intellectual generosity. Deep wide roots and radical shoots”, alongside a quote by Sinéad Gleeson which reads: 'Tamás’ essays are deeply rooted in folklore and the fragility of existence. A stunning work of enquiry and eloquence.' The text is a mixture of black and green in colour and is placed on an unbleached cotton-coloured background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of two interior pages of the book ‘The Lives and Deaths of K. Penza’ by Clare Azzopardi. Both pages have a deep black background, with large white serif text. On the left-hand page, text in the top-left corner reads “Part One”. A horizontal, knotted line that stretches to the far edge of the right-hand page sits alongside this text. Below are two abstract rectangular rectangle outlines, with cutout corners; one is positioned to the right of the page, just below the text and the other is in the bottom left corner, bisected by the page's leftmost edge. On the right-hand page, below the knotted line, is the text “Sounds from beyond death” in tightly-spaced italics.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of The Pig’s Back front cover for Issue 3. The background is a dusty mint green and the text is a dark bluish violet. A thin, white border with inset corners flanks the perimeter of the design, with a large number 3 contained within an unfilled and thinly outlined floral motif in the top right of the cover. Made up of small dark bluish violet dashes, an abstract depiction of Muckish Mountain—The Pig’s Back—horizontally bisects the cover. Below is a list of the writers featured in this issue: Grace Banks, Robert Coakley, Anna Loughran, Alicia McAuley, Megan Nolan and Susanne Stich.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A dusty mint green circle, surrounded by a closely-dashed circular border in white, centred on a dark bluish violet background. Within the coloured circle is a vectorised illustration of an iPhone with its screen displaying the words 'lean into what brings you joy' in large, bold, rounded text. The words are surrounded by sporadically-placed four-pointed stars and are bordered at the top and bottom with black bars. The top bar contains a white symbol for the star sign Virgo, and the bottom bar the word 'next' within a thinly-outlined, rounded button.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A pattern taken from the interior of the Book of Trivialities by Majed Mujed. The pattern is made up of geometric, perpendicular turquoise-blue lines atop a maroon-red background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A violet-coloured circle, surrounded by a closely-dashed circular border in white, centred on a dusty orange background. Within the coloured circle is a vectorised illustration of a ring with a sparkling jewel in an octagonal shape set at its top. Inset in the interior of the lower band in script is the word ‘vášeň’.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The front cover of the Book of Trivialities by Majed Mujed. The background is a pale blue, and an inset red border surrounds the rest of the design. At the bottom centre this border breaks away from itself to form a perpendicular, geometric pattern that travels the height of the cover until it connects with a purple rose motif in the top-right corner. The book title appears in both English and Arabic and the text 'translated by Kareem James Abu Zeid' sits below the author's name.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A dusty mint green circle, surrounded by a closely-dashed circular border in white, centred on a dark bluish violet background. Within the coloured circle is a vectorised illustration of a diving board, with a series of steps leading up to it. Beneath it, we can see the raised edge of a swimming pool and the waves of the water below.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The mobile menu from the Makina Books website, viewed on a smartphone screen. It has a vibrant red background, with white text. In the top-left corner is the Makina Books logo, and in the top-right is a circular 'close' button. Below in a large, bold serif font is a list of links for 'Shop', 'Audio', 'Activity', 'Info', 'Bag' and 'Log in'. At the bottom is a full width thin white line which separates from the rest of the menu some social media icons and a 'Subscribe' link.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The homepage of Jamie Lee Searle’s website, viewed on a portrait, smartphone screen. The background is a sandy parchment colour. In the top-left corner is the site’s title alongside a linear pendulum / lightbulb motif in pastel red, and in the top-right corner is a pastel red 'Menu' button. Below is a grid of graphical book outlines, each with a block coloured panel behind it with rounded inset borders, offset at an angle to the book. The first contains a pair of glasses above a dark lilac background, with the word ‘Editing’ below. The second book contains a globe above a pastel red background, with the word ‘Translation’ below. The third contains a pair of hands above a green background, with the word ‘Mentoring’ below. The fourth contains a pen above a dusty plum background, with the word ‘Writing’ below.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A page from the ‘Empty When Full’ website, viewed on a portrait smartphone screen, which has black text and a background made up of a hazy gradient which fades, from left-to-right, from a misty green, through murky oranges and yellows, and into a sleepy sunset pink. At the very top centre of the screen are the words 'Exhibition', 'Information' and 'Process' in a line. Underneath, in the very centre of the screen, are the words 'In Times Like These—Li Yilei' in a large, serif font, and enclosed by two circles, one inside the other, both outlined in thin white wavy lines.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The front cover of the book 'On Trampolining' by Rebecca Perry. It has a hot pink background and white serif text. In the centre is an abstract, vectorised illustration depicting a person in a pink leotard, upside-down in mid-somersault, holding their knees tight to their body. Concentric circles span outward from this figure to the edge of the cover and beyond. The Makina Books logo sits within a circle in the top-right corner, followed by a second, linked circle containing the text 'Non-Fiction'. Two review quotation sit centrally at the top and bottom; the top one from Max Porter reads 'A taut masterclass in poetic memoir' and the bottom one from Inua Ellams reads 'A jewel of an essay'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The Look & Listen page of the ‘Dark Skies Association’ website viewed on a portrait, smartphone screen. The background is black with a blue gradient spanning the top left corner of the screen, upon which the site name is displayed in a condensed, small caps white serif font, with a double-line border below and a yellow star to its right. In the top right corner is the word ‘Menu’ in white, overlaid on a glossy blue, pill-like shape. The rest of the page is filled with a grid of rectangular, blue-outlined blocks in portrait orientation, each containing a song title in white in the very centre, and a different yellow icon in the top-left and bottom-right, in the style of playing cards.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A vectorised illustration of a Plaubel Makina W67 camera, made up of simplified yellow outlines upon a sky blue background. A slight drop-shadow behind the camera gives it a slight 3D illusion.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A pattern of snaking, plant stems in a double-line graphical style, in black, pink and white, intertwine with one another on an emerald green background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: An interior spread from the book 'What will it take for me to leave' by Loranne Vella. The left-hand page contains the text 'mill-bieb 'il gewwa', and an outlined illustration of a key, which has a dotted black thread attached to its base, which travels a wavy path from the top of the page to the bottom. The opposite page is an indexed list of the works contained within.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The homepage of Ashley Hickson-Lovence's website. His name is in the top-left corner in a condensed, tightly spaced black sans-serif, sitting on top of a diagonal gradient that fades from sky blue to white. In the top right hand corner is the word 'Menu'. Below is a full-width image of Ashley and the text 'Dr. Ashley Hickson-Lovence is a novelist, poet, literary critic and Lecturer of Creative Writing' in an oversized yet elegant serif font.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The homepage of Jen Calleja's website, viewed on a smartphone screen. The background is white and the text is mostly black. Jen's name sits in the top-left corner in a chunky, characterful serif font. Below this is an oversized paragraph of text where some of the key words (e.g., 'Author, 'Literary Translator', 'Publisher') are highlighted by use of font-weight, colour and text underlines. At the very bottom of the page is a menu banner containing links to 'About', 'Contact' and 'Work'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The inside cover spread from the book Hyperlove by Naomi Morris. The left-hand page is made up of a repeated pattern of overlapping circle motifs, alternately containing heart and tear icons, white on a misty blue background, which is mostly obscured by the woozy red-pink coloured flap of the book's front cover, which contains a paragraph of text underneath the heading 'About Hyperlove'. The right hand page has a black background and the white text of the title spread across the page in an arch or rainbow shape, tears dripping from the 'O'. Bordering the page is an abstracted smartphone screen interface, with tear, moon and heart icons in place of the expected wifi, battery and network icons.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A dusty pink circle, surrounded by a closely-dashed circular border in white, centred on a dusty mint green background. Within the coloured circle is a vectorised illustration of an old, black rotary telephone, with its spiral cord half-truncated by the edge of the circular background. Barring the number 1, each number from 1 to 0 around the rotary dial has a set of three letters in smaller type above it—2 has ABC, 3 has DEF and so on until the number 9. Beneath the number 0 is the word 'Operator' in small, uppercase text. In the circular centre of the rotary dial are the words 'wait for dial tone' in a script typeface.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The front cover for the Forward Book of Poetry 2022. On top of an orangey-red background, two large, geometric hand motifs point in opposite directions. The top hand is a vivid sky blue, and each finger contains a word from the title. The bottom hand is a darker forest green, and the text 'The Best Poems from the Forward Prizes' runs along its index finger.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A page from the One Beat PR website, viewed on a mobile screen. In the top-left corner is the site's logo, in a pastel red, which consists of a cartoony illustration of the head of a person, with eyes closed, rosy cheeks and pigtails, wearing headphones. Behind and underneath is the truncated bottom of an image and the text 'Emergence Collective—Redundant Span Records'. Below this is a square photograph of the band 'En Attendant Ana' sitting against a pure white background, all entangled with each other and staring into the camera. Below their photo is their name and the words 'Trouble in Mind'. The top of a third image is just about visible before being cut off by the image's crop. In the bottom-right corner is a red circle with a white border and slight drop-shadow, which contains the word 'Menu'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A pattern comprised of pink and yellow spark-like shapes, floating upwards across a lime-green background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The logo for 'The Glasgow School'. On a black angular frame, full of inset borders, a bold mid-century serif in off-white displays the words 'The Glasgow School' with the 'T' of 'The' meeting the 'l' of 'Glasgow' and the same word's second 'g' connected to the first 'o' of 'School'. This 'o' form the top of a simple bell motif, that appears as if it is hanging from the 'g' above. The 'l' of 'School' is elongated to the extent in meets the edge of the frame.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: An interior spread from the third edition of Scintillas. The left-hand page has a sun-yellow background, with a red-outlined tomato illustration in the bottom-left corner, and the words 'Sweet + Salty' in charismatic, calligraphic and italicised large brown text. The opposite page is almost a mirror image of its predecessor, in both colour and layout, with the only difference being the text reads, in Maltese, 'Helu-Mielah'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The logo for the Shape Arts exhibition 'Empty When Full', a visual, inverted representation of the half-empty, half-full proverb. The words ’empty when’ appear in the gravitationally impossible full part of the top of the glass, which is depicted by a black background with white bubbles floating near the top, whereas the word ‘full’ in black appears within the empty, white bottom of the glass.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of a spread from the book 'Glass' by Emily Cooper. The left-hand page contains the same abstract Georgian archway, made up of ornate, swirling moulding, as the back cover. The right hand page contains an index listing the poems contained.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The inside cover spread from the book ‘Lobsters’ by Wayne Holloway-Smith. The left-hand page is made up of a repeated pattern of overlapping button motifs, light-pink on a darker pink background and is mostly obscured by the light pink-coloured flap of the book's front cover, which contains a paragraph of text as well us some more button motifs, seemingly spilling over from the other side. The right-hand page contains two musical staves at both the top and bottom, in between which is a graphical illustration of a dinner plate placed in between a knife and form. The plate's edge is encircled by a repeating pattern consisting of the following motifs: an open lipstick, a treble clef, a cigarette, four buttons.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The front cover of the book 'The Yak Dilemma' by Supriya Kaur Dhaliwal. A portion of the contours of a country as visible from space sit on top of a hot pink background, its contours traced by In the top right is the Makina Poetry logo, the words sitting within two interlinked circles. In the top-left corner, a review extract by Sean Hewitt reads 'These are songs of belonging and of movement, of fluid identity, carefully crafted and always grateful.'This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A terrazzo-style pattern, made up of black, grey and yellow specks, scattered over a white background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A repeated pattern of overlapping circle motifs, alternately containing heart and tear icons, white on an ethereal, misty blue background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The mobile menu from Jarred McGinnis's website, viewed on a smartphone-sized screen. The menu has a rich orange background with black text. Jarred's name sits in the top-left corner in a large, characterful, bold, sans-serif font, and opposite in the top-right corner is a rectangular black button with white text reading 'Close'. Below the menu links are: 'The Coward, Published Works, Live Works and Biography'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A repeating pattern consisting of vertical, knotted lines, alternately white and black, on top of a mauve background.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A product page from the Foundation Vinyl website, viewed on a smartphone screen. In the top-left corner is a simplified form of the site's logo, which consists of the text 'Foundation Vinyl', alongside a vectorised illustration of a black cormorant's head, turned to the left, green eye shining and beak agape. Directly opposite the logo on the right-hand side is the word 'menu' alongside 3 horizontal green lines, a.k.a. a
  • This link opens a larger version of the following image in a pop-up lightbox: A page from the ‘Empty When Full’ website, viewed on a portrait smartphone screen, which has a light sky-blue background and black text. At the very top centre of the screen are the words 'Exhibition', 'Information' and 'Process' in a line. Underneath, the main portion of the page consists of a very gentle gradient background, getting gradually lighter as it traverses from top to bottom, before it is bisected by a darker, vaguely triangular shape which appears from the bottom of the screen and gives the impression of a surface disappearing into the distance until its vanishing point on the horizon. In the centre of the screen are the words 'Vagus—MH Sarkis' in a very large, thin uppercase sans-serif font, a semi-opaque mirror image of which appears below as if reflected in a pool of water.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The front cover of the book 'Dust Sucker' by Jen Calleja. Black, serif text sits atop an ethereal, grainy background, full of hazy gradients of pinks, blues, yellows and oranges. Scattered around the cover are circular particles in various colours. The book's title sits centrally in a huge, bold, expressive, black serif font. Beneath, text reads 'Longings dwell here, as wondrous and abundant as dust—Doireann Ni Ghriofa, author of A Ghost in the Throat' In the top right is the Makina Poetry logo, the words sitting within two interlinked circles.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render composite of the book 'Glass' by Emily Cooper, with accompanying sticker and card.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The 'Published Works' page from Jarred McGinnis's website, as viewed on a smartphone-sized screen. The page has a dusty, off-white background with black text. Jarred's name sits in the top-left corner in a large, characterful, bold, sans-serif font. Alongside is a rectangular white button with a black border and the text 'Menu'. Below this is the page title in a huge font, followed by the text 'Words I have written that meant enough to someone else to capture between a page or two. Enjoy!'. The word 'Recent' then appears in white on top of a black, flag-like banner. Underneath this is the top of a book cover, which is mostly truncated by the crop of the image. The visible text reads 'You won't find a more uplifting read in these dark times—Irvine Welsh'.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A render of the front and back of a Maltese Alphabet card. The front has a deep turquoise background and black text. The words 'L-Alfabett Malti' sit at the top in a charismatic, calligraphic, italicised font and then lists the alphabet, example words and their translations. The back of the card is a terrazo-inspired pattern—yellow, red and blue specks are scattered over a light, green-blue background—and the Praspar Press logo and the text 'New Maltese Writing' sits in the bottom-left corner.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: The Tender Buttons logo. The wordmark, in a spiky, wedged, black serif font encircles the central motif, which depicts two abstract, grainy, flesh-red segments of fruit arranged in a button-like, circular shape.This link opens a larger version of the image in a pop-up lightbox.
  • This link opens a larger version of the following image in a pop-up lightbox: A dusty pink circle, surrounded by a closely-dashed circular border in white, centred on a dusty mint green background. Within the coloured circle is a vectorised illustration of a lit cigarette, positioned horizontally, with the word 'Camel' spanning its body adjacent to the filter. From its end, a bloom of curling smoke disappears off the edge of the circular backgroundThis link opens a larger version of the image in a pop-up lightbox.
Page Top

© Frontwards Design 2025. All rights reserved.