Winner Winner Chicken Dinner!

I am so happy to announce that I have been awarded the Applied Arts award for Editorial Design for my work on the Big Book of Bullshit!

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Winner Winner Chicken Dinner!

Sustainability Awards 2018

It’s been a while since I posted as my life has been rather chaotic! I’ve now been in Singapore for 3 months and I’m slowly adapting to this way of life. It’s been a whirlwind of change for both me and my family but so far so good and I am loving the new experiences and creative challenges that Singapore has to offer.

I’ve mostly been working on trying to establish myself as an Assistant Professor and find my academic feet so-to-speak but I have found the time (although I’m not quite sure how!) to create a poster design for the upcoming Sustainability Awards 2018 which will be held during our Final Year Project Show at the National Design Center in May this year.

Since moving to Singapore I have been enthralled by the beauty of the flora and fauna here so much so that my camera has hardly been out of my hand in an attempt to capture this beauty. I wanted to communicate this in my poster design and how sustainable design can play an important role in maintaining or even enhancing this natural environment.

I was concerned that the floral design could end up looking too feminine however, I think the hands I created are somewhat genderless and this coupled with the addition of a rough texture helps to convey a more neutral tone. I wanted to utilise a natural colour pallet but avoid the obvious approach of using¬† green. I therefore chose a more rustic, earthy pallet of browns, oranges and yellows which I’m really pleased with and I think this also helps communicate a less feminine aspect to the poster.

Overall I am pleased with the design and I can’t wait to see what the students come up with for their entries.

Some of my photography of the flora and fauna near my home. The yellow flowers in particular inspired my poster design:


Below is my (almost) final poster design which should soon be on it’s way to print ūüôā

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Sustainability Awards 2018

British Football Academy

I have been working as a creative consultant for The British Football Academy in Kuwait for the past 6 months. The BFA approached me in order to totally rebrand their company with the aim of remaining competitive in a somewhat flooded market in Kuwait.

I approached the project with a number of key objectives in mind:

  • Design and develop client communication materials (overall experience, supporting assets and artefacts, etc.)
  • Support client engagement and internal teams in the exploratory development and iterative processes.
  • Define visual direction for of new offerings and businesses.
  • Lead concept prototyping and evaluative testing of new concepts
  • Support business development and proposals for new client work
  • Contribute to internal research and development projects
  • Provide feedback, support and training for design usage

Working alongside key stakeholders at BFA I established design objectives, key communication objectives and agreed upon a functional and conceptual design brief.

I also conducted a brand value management workshop with several key members of BFA in order to fully establish market positioning, target audiences and core brand values. This subsequently informed the fundamental aspects of the brand identity and allowed me to comprehensively develop a brand guidelines to communicate these concepts effectively.

The project is still ongoing and the new brand identity will be fully launched across social media and print collateral in September 2017. I have shown below a selection of the brand guidelines which will support the launch.  Thank you BFA for your commitment to creative progression!

British Football Academy


I am pleased to be working on an exiting new venture which combines both my passions of design and academia into one beautifully presented package.


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LAM is a bi-annual, multidisciplinary publication which supports international creatives in publishing artwork and scholarly writing, pertaining to their specific fields. Fostering an exchange of interdisciplinary knowledge and encouraging debate on the global, cultural and social aspects of design.

Conceived with the aim to develop and critically examine contemporary discourse in practice-led and scholarly research related to creative practice; Inclusive of history, theory and the applied arts. LAM encourages submissions from individual designers, collectives and/or multidisciplinary projects, with an emphasis on visual essays, professional practice case studies, industry interviews and scholarly reviews.

LAM aspires to bring creative, intellectual minds together to a single platform, in order to share knowledge, creativity and inspiration.

LAM is a global publication that supports and empowers both emerging and established creative practitioners. It is a contemporary creative platform that aims to enhance
people’s lives through knowledge, inspiration and creativity.

LAM was conceived due to the distinct lack of publication opportunities for creatives in the Middle East and offers the opportunity for inclusion in a peer-reviewed publication produced for creatives, by creatives.

Graphic design, in academia, is in it’s infancy and as such there are limited quality academic publications available for the scholar; either in terms of publishing opportunities or knowledge accumulation. Thus LAM aims to address a distinct gap in the market and provide a quality academic, peer reviewed, publication to an international audience.


  • To create an academically focussed creative publication that brings practitioners and scholars to a single platform
  • To publish in Kuwait and internationally by the end of 2017
  • To provide a highly regarded resource for scholars of the applied arts
  • To showcase the best international creativity and scholarly writing, specifically focussing on providing a platform for those in the Middle East

Scholarly articles or creative submissions should demonstrate
the following criteria in order to be accepted for publication:

All submissions should demonstrate a contemporary approach to the investigation of creativity and should remain free from judgement of religion, sexual orientation
colour or gender. However, freedom of creative expression is highly encouraged.

Appropriate academic language should be used throughout any written submission.
All referencing should be submitted using the Harvard referencing system. Visual language should aim to demonstrate a strong conceptual approach and clearly meet the edition’s chosen thematic.

All submissions should be the individual’s own work and any images or references should be appropriately cited and relevant copyright permissions of any third party sources must be provided.

Each LAM edition will have a specific theme and all submissions should aim to specifically address that topic. Appropriateness should also be demonstrated in typographic choices, colour choices and the hierarchical layout of information in order to meet with the industry standards of creative practice.

Awareness of contemporary issues and debates within the relevant creative field should be demonstrated, whether that be via a visual investigation or a traditional scholarly approach. Research should aim to generate significant interest from within both local and global creative communities.

Lam aims to push boundaries and explore creativity. All submissions should aim to create conversation and invoke curiosity.

Inspiration comes from many sources. Lam intends to provide a platform to address how design can inspire, promote and encourage. All submissions should respond to this directive.

Lam understands that in this throw-away society, the next new thing is always just on the horizon. Therefore Lam aims to create a platform for creatives where people will come back for more. All submissions should enable Lam to be remembered.

Authenticity and integrity are key aspects of Lam’s creative ethos and successful submissions will evidence an appropriate emotional response.

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A list of lies

We judge others by their appearance, whether we admit to it or not, it’s something we have all been guilty of. It’s an unconscious and therefore uncontrollable reaction. But how accurate are our judgements? We often make rash assessments based on physical appearance alone and get it oh so very wrong.

Attractiveness plays a major role in shaping positive emotion towards a person , although according to Andrews et al (2013 p.62) we genuinely believe this not to be the case. However, research demonstrates that not only do we favour physically attractive people; we also identify beauty with an intrinsic goodness,¬†developing what is know as a ‚Äėhalo effect‚Äô. A¬†form of cognitive bias, which attributes positive qualities created in one area to influence opinion in another area. Ergo, we see attractive people as being far more trustworthy than those who do not possess¬†(Andrews et al, 2013, P.65)¬†protypical features, facial symmetry and/or sexual dimorphism.

I wanted to explore this visually but rather than utilise a model displaying all the aforementioned attractiveness traits I wanted to do the opposite, by using an image of someone who society would not deem as physically attractive in the conventional sense at least. I searched online for images at : ¬†A free photo archive ‚Äúfor creatives, by creatives.‚ÄĚ

I use this website frequently, as it grants access to quality, free stock photography and has provided me with some excellent images in the past. Here, I searched for male portraits in the hope that I would find a suitable image and I was in no way disappointed.

I came across a series of images of homeless men which were of excellent quality, both aesthetically well composed and technically fantastic. The fact that the images portrayed homeless men added to the message I wanted to convey. How quickly would we judge these people? Would we trust them or would their outward appearance and circumstance taint our perception of their person? I would hazard a guess that the halo effect would work recto-verso in this instance and their outward appearance would ensure that they would be considered most untrustworthy indeed.

In my book of bullshit, at the beginning of the chapter on trust, I listed a collection of words which represented the positive feeling associated with trust. I wanted to do the opposite here, so I began to compile and alphabetise a list of words associated with lies and deceit. My idea was to create a contrasting spread with the image on one side and the judgemental words of the other, thus forcing into question our perceptions of truth and trust. Below are several of my attempts at layout and composition for this piece.

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Fig 1
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Fig 2
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Fig 3
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Fig 4

After careful consideration I decided that the image in Fig 1 would be the most suitable for this composition, however I also concluded that a black and white shot presented¬†a more meaningful outcome and that the typography and layout wasn’t working how I wanted. The typography needed to balance more with the image and communicate¬†a clearer message to the viewer. I therefore decided to add the word trust in to the composition to contradict¬†with the list of deceitful words and the imagery presented, thus forcing¬†a visual dialogue of questioning. I also rotated the image of the homeless man, offering the viewer a new perspective or not facing the issue head on, again presenting another level of ambiguity to the piece.

Lastly I dismantled the word trust. Has the trust been totally broken or Is there some trust held together? The type also could be read as R РU РST. Posing the question Are you Street? Are you aware of what is going on in the street? Are you turing a blind eye to the homeless? There are many layers to this social problem and many layers to the personal feelings of trust which I hope I raised awareness of in the visual narrative to this piece.

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Fig 8

The final layout shown Above (fig 8) is one of my favourite pieces in terms of the balance of negative and positive space and use of colour. The striking red against the black and white is incredibly powerful. Ideally I would have liked to take my own photography but time and location were against me. Although there are many, many very poor people here in Kuwait I am unaware of any homeless people. Accessing these poor communities in 50 degree heat would have also been a very changeling and time consuming task; a whole project in itself. Maybe this is something for me to consider as a future project. But for now I am more than happy with this composition and believe it conveys an oxymoronic message which leads the viewer to question their own preconceived ideas on the notion of trust.


Andrews, M., Van Leeuwen, M. and Baaren, R. (2013). Hidden persuasion. Amsterdam: BIS Publishers. (2016). free stock photos. [online] Available at: [Accessed 8 Aug. 2016].


All layout designed by Lisa Winstanley 2016 Images used as follows:

Fig 1/5/7/8: Chilombiano, (2007). Smoking man. [image] Available at: [Accessed 1 Aug. 2016].

Fig 2/6: BBoomerinDenial, (2012). Homeless man in hat. [image] Available at: [Accessed 25 Jul. 2016].

Fig 3: BBoomerinDenial, (2014). Homeless man. [image] Available at: [Accessed 25 Jul. 2016].

Fig 4: BBoomerinDenial, (2009). Homeless man profile mustache. [image] Available at: [Accessed 25 Jul. 2016].

A list of lies