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  • BOTP Site Frame 01
    BOTP Site Frame 01

Borderlines of the Present Website

A microsite designed to partner a the publication, Borderlines of the Present, for Grand Union gallery and the University of Birmingham's MA Curating course.

Variable font technology is employed with CSS to create an always changing, never static effect that echoes typographic themes in the book.

More info:
www.curatorinthemaking.com/botp

Borderlines of the Present Website

A microsite designed to partner a the publication, Borderlines of the Present, for Grand Union gallery and the University of Birmingham's MA Curating course.

Variable font technology is employed with CSS to create an always changing, never static effect that echoes typographic themes in the book.

More info:
www.curatorinthemaking.com/botp

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    01

My Kid Could’ve Done That

Exhibition graphics for My Kid Could've Done That, at the Holbourne Gallery, Bath.

The show brings together work by 18 international artists made in collaboration with their young children which celebrates all the mess, joy and exhaustion that comes with caring for kids.

Made in collaboration with Amelia & Harrison Lewarne.

My Kid Could’ve Done That

Exhibition graphics for My Kid Could've Done That, at the Holbourne Gallery, Bath.

The show brings together work by 18 international artists made in collaboration with their young children which celebrates all the mess, joy and exhaustion that comes with caring for kids.

Made in collaboration with Amelia & Harrison Lewarne.

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  • Grow Feral Web Res 0003 04
    Grow Feral Web Res 0003 04

Grow Feral

Risograph printed posters and recipe cards for Sam Francis' Grow Feral project in Weston-super-Mare.

The posters promoted a series of creative workshops and hands-on making and doing sessions, each with an outcome, with and for local communities explore the symbiotic relationship of all of the natural world - humans, creatures, plants, land and earth, as a radical act of gardening and growing together.

Grow Feral is a call to action to engage with the natural world, to reimagine our shared land, and attend to the interconnected nature of things.

Designed in collaboration with Imogen Hunter

More Info:
www.samfrancisco.co.uk/Grow-Feral
Imogen Hunter:
www.impyink.com

Grow Feral

Risograph printed posters and recipe cards for Sam Francis' Grow Feral project in Weston-super-Mare.

The posters promoted a series of creative workshops and hands-on making and doing sessions, each with an outcome, with and for local communities explore the symbiotic relationship of all of the natural world - humans, creatures, plants, land and earth, as a radical act of gardening and growing together.

Grow Feral is a call to action to engage with the natural world, to reimagine our shared land, and attend to the interconnected nature of things.

Designed in collaboration with Imogen Hunter

More Info:
www.samfrancisco.co.uk/Grow-Feral
Imogen Hunter:
www.impyink.com

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  • Tools for Tea 0000 1
    Tools for Tea 0000 1

Tools for Tea

Risographed leaflets for an edition by artist Linda Brothwell, part of Linda’s wider collaborative project working with community gardeners. The leaflet instructs the user to make a tea strainer kit and use it home.

‘Tools for Tea’ began in Autumn 2021 when Linda started meeting with a group of community gardeners in Knowle West, Bristol to investigate what was growing in our common spaces that could be used for making herbal tea from. The group recognised the importance of tea making and drinking in coming together and showing care for each other.

Printed on G.F. Smith Candy Pink Colorplan.

More info:
www.lindabrothwell.com/work/tools-for-tea

Tools for Tea

Risographed leaflets for an edition by artist Linda Brothwell, part of Linda’s wider collaborative project working with community gardeners. The leaflet instructs the user to make a tea strainer kit and use it home.

‘Tools for Tea’ began in Autumn 2021 when Linda started meeting with a group of community gardeners in Knowle West, Bristol to investigate what was growing in our common spaces that could be used for making herbal tea from. The group recognised the importance of tea making and drinking in coming together and showing care for each other.

Printed on G.F. Smith Candy Pink Colorplan.

More info:
www.lindabrothwell.com/work/tools-for-tea

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  • Close up of a bottle of Aval Dor vodka. Bottle design by City Edition Studio for Colwith Farm Distillery
    Close up of a bottle of Aval Dor vodka. Bottle design by City Edition Studio for Colwith Farm Distillery

Colwith Farm Distillery

Bottle and packaging design for Colwith Farm Distillery. The craft distillery is the first to work plough to bottle in Cornwall; growing the potatoes which they craft into award winning spirits on the farm using water from the aquifer under the distillery. The packaging needed to better reflect the international award winning spirits they contain. Photography by John Hersey Studio.

www.colwithfarmdistillery.co.uk

Colwith Farm Distillery

Bottle and packaging design for Colwith Farm Distillery. The craft distillery is the first to work plough to bottle in Cornwall; growing the potatoes which they craft into award winning spirits on the farm using water from the aquifer under the distillery. The packaging needed to better reflect the international award winning spirits they contain. Photography by John Hersey Studio.

www.colwithfarmdistillery.co.uk

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  • GS logo for Goss Structural designed by City Edition Studio
    GS logo for Goss Structural designed by City Edition Studio

Goss Structural

An identity and website for Goss Structural, a RIBA award winning small practice of structural engineers in Bristol. The identity is shaped by a grid system as a supporting structure and utilises a monospaced font.

www.goss-structural.com

Goss Structural

An identity and website for Goss Structural, a RIBA award winning small practice of structural engineers in Bristol. The identity is shaped by a grid system as a supporting structure and utilises a monospaced font.

www.goss-structural.com

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  • River Echoes poster, designed by City Edition Studio
    River Echoes poster, designed by City Edition Studio

River Echoes

Posters and A6 flyers for Kathy Hinde’s River Echoes project. Designed in collaboration with Imogen Hunter. Riso printed. Line drawing by Dawn Giles.

More info: www.submergedsounds.co.uk
Imogen Hunter: www.impyink.com

River Echoes

Posters and A6 flyers for Kathy Hinde’s River Echoes project. Designed in collaboration with Imogen Hunter. Riso printed. Line drawing by Dawn Giles.

More info: www.submergedsounds.co.uk
Imogen Hunter: www.impyink.com

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  • Front cover of Desert Island, a personal project by City Edition Studio depicting images of Spike Island studios
    Front cover of Desert Island, a personal project by City Edition Studio depicting images of Spike Island studios

Desert Island

Desert Island, a self-initiated publication of photographs taken at Spike Island during the first national lockdown. The building is usually lit by motion activated lights which due to the emptiness of the building were not on. This revealed an abundance of largely unnoticed skylights, illuminating the darkened spaces in an unfamiliar manner and thereby giving a new appreciation of the space. Hardback, 48 pages.

Desert Island

Desert Island, a self-initiated publication of photographs taken at Spike Island during the first national lockdown. The building is usually lit by motion activated lights which due to the emptiness of the building were not on. This revealed an abundance of largely unnoticed skylights, illuminating the darkened spaces in an unfamiliar manner and thereby giving a new appreciation of the space. Hardback, 48 pages.

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  • Cover of Borderlines of the Present, a publication designed for Grand Union art gallery and The University of Birmingham's MA Curating course by City Edition Studio, a graphic design studio in Bristol. The publication is made up of 4 sections of different widths.
    Cover of Borderlines of the Present, a publication designed for Grand Union art gallery and The University of Birmingham's MA Curating course by City Edition Studio, a graphic design studio in Bristol. The publication is made up of 4 sections of different widths.

Borderlines of the Present

A publication for Grand Union and the Univeristy of Birmingham's MA Curating course. The design emphasises the dynamism and flux of the book through interventions in the format, typography and materiality, informed by the work of two featured artists who explore themes of resistance to polarisation or binary perceptions as well as existing 'in between'. Each section of the book has a different page size, resisting the notion of a singular size and revealing the structure of the book, suggesting the possibility of the book as gallery or architectural space. The book cover has been embossed to give a tactile feel in the hand which references the materiality of the artists' work, silk in the case of Farwa Moledina and concrete surface texture in the case of Nick Jordan.

Variable font technology allows traditional font weights of regular, bold or italic to be bypassed in favour of sliding scales that incrementally adjust the font's width, weight or italicisation (amongst other metrics). This technology is employed throughout the book's headings, where each letter gets progressively wider along the line through the use of scripting.

More information:
www.curatorinthemaking.com

Borderlines of the Present

A publication for Grand Union and the Univeristy of Birmingham's MA Curating course. The design emphasises the dynamism and flux of the book through interventions in the format, typography and materiality, informed by the work of two featured artists who explore themes of resistance to polarisation or binary perceptions as well as existing 'in between'. Each section of the book has a different page size, resisting the notion of a singular size and revealing the structure of the book, suggesting the possibility of the book as gallery or architectural space. The book cover has been embossed to give a tactile feel in the hand which references the materiality of the artists' work, silk in the case of Farwa Moledina and concrete surface texture in the case of Nick Jordan.

Variable font technology allows traditional font weights of regular, bold or italic to be bypassed in favour of sliding scales that incrementally adjust the font's width, weight or italicisation (amongst other metrics). This technology is employed throughout the book's headings, where each letter gets progressively wider along the line through the use of scripting.

More information:
www.curatorinthemaking.com

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  • A photograph of a wall featuring a graphic installation at The Edge at the University of Bath designed by City Edition Studio as part of Smith and Lewarne
    A photograph of a wall featuring a graphic installation at The Edge at the University of Bath designed by City Edition Studio as part of Smith and Lewarne

Art, Research & Adventure

A permanent, building-wide installation for the The Edge at the University of Bath. Designed with Neasden Control Centre as Smith and Lewarne. The Edge is an arts and creativity hub informed by the history, context and research of the university. It encourages collaborations between the arts and research, providing a place where artists, audiences, researchers and academics can find new perspectives and fertile ground to showcase new thinking and ideas. The Edge commissioned Smith & Lewarne because they wanted to represent these collaborations visually.

The project started with a phase of in-depth research of some of the oldest books in the archives assisted by the archivists in the university library. The images, along with scans from long-superseded textbooks dealing with the university's core subjects, were put through various analogue and digital processes to create the visuals used across the installation. Two unique books played a key role in the visual development of the installation: the initial manual for the university's branding and signage and the visioning document produced by the architects during the first phase of building the campus.

Art, Research & Adventure

A permanent, building-wide installation for the The Edge at the University of Bath. Designed with Neasden Control Centre as Smith and Lewarne. The Edge is an arts and creativity hub informed by the history, context and research of the university. It encourages collaborations between the arts and research, providing a place where artists, audiences, researchers and academics can find new perspectives and fertile ground to showcase new thinking and ideas. The Edge commissioned Smith & Lewarne because they wanted to represent these collaborations visually.

The project started with a phase of in-depth research of some of the oldest books in the archives assisted by the archivists in the university library. The images, along with scans from long-superseded textbooks dealing with the university's core subjects, were put through various analogue and digital processes to create the visuals used across the installation. Two unique books played a key role in the visual development of the installation: the initial manual for the university's branding and signage and the visioning document produced by the architects during the first phase of building the campus.

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  • Typographic poster for the festival of Saint John of Posto designed by City Edition Studio
    Typographic poster for the festival of Saint John of Posto designed by City Edition Studio

Festa de São João Poster

A poster for the Festa de São João do Porto at Underfall Yard in Bristol for Port O' Bristol and Pickle. Port O' Bristol's wines are brought from Portugal by traditional cargo ships without engines. No fossil fuels are used on their voyage. The festival celebrates this rediscovery of traditional, ethical trade links.

Festa de São João Poster

A poster for the Festa de São João do Porto at Underfall Yard in Bristol for Port O' Bristol and Pickle. Port O' Bristol's wines are brought from Portugal by traditional cargo ships without engines. No fossil fuels are used on their voyage. The festival celebrates this rediscovery of traditional, ethical trade links.

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  • A typographic poster called Time Machine Talk to the Future designed by City Edition Studio
    A typographic poster called Time Machine Talk to the Future designed by City Edition Studio

Time Machine Talk to the Future

A0 poster for Davis & Jones as part of their residency at the Grange Hospital in Wales. The poster encouraged employees and visitors to think of the future and imagine speaking to staff, patients and visitors.

The far reaching messages have expressed encouragement and a huge gratitude to NHS staff, wishing them well; they have connected with patients who may find themselves at the hospital and shared stories of what it was like to build the hospital.

More info: www.gofalugrange.co.uk

Time Machine Talk to the Future

A0 poster for Davis & Jones as part of their residency at the Grange Hospital in Wales. The poster encouraged employees and visitors to think of the future and imagine speaking to staff, patients and visitors.

The far reaching messages have expressed encouragement and a huge gratitude to NHS staff, wishing them well; they have connected with patients who may find themselves at the hospital and shared stories of what it was like to build the hospital.

More info: www.gofalugrange.co.uk

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  • Front cover of Go Go Go, a programme of films about women in experimental animation for BEEF (Bristol Experiment & Expended Film), designed by City Edition Studio
    Front cover of Go Go Go, a programme of films about women in experimental animation for BEEF (Bristol Experiment & Expended Film), designed by City Edition Studio

Go, Go, Go!

A flyer and programme booklet for the Go, Go, Go! film festival at The Cube Cinema which celebrated the work of experimental female animators.

Since the days of early cinema and through to the present, animated film has attracted female practitioners who have been finding their own methods for working with the medium whilst contributing to its development.

The films within the programme deployed modes of humour, irony, absurdity, the grotesque, mystery, beauty and defiance where qualities of shape, colour, texture, light, materiality and movement and questions of process itself are given priority.

The programme was curated by Vicky Smith with input from Marcy Saude and Sam Francis and made possible by the support of Arts Council England.

Go, Go, Go!

A flyer and programme booklet for the Go, Go, Go! film festival at The Cube Cinema which celebrated the work of experimental female animators.

Since the days of early cinema and through to the present, animated film has attracted female practitioners who have been finding their own methods for working with the medium whilst contributing to its development.

The films within the programme deployed modes of humour, irony, absurdity, the grotesque, mystery, beauty and defiance where qualities of shape, colour, texture, light, materiality and movement and questions of process itself are given priority.

The programme was curated by Vicky Smith with input from Marcy Saude and Sam Francis and made possible by the support of Arts Council England.

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  • Drawing Review publication cover. Publication designed by City Edition Studio.
    Drawing Review publication cover. Publication designed by City Edition Studio.

Drawing Review

First edition of a journal produced by UWE Drawing Research group, as part of an exhibition surveying the current role of drawing in UWE staff practices

This exhibition aimed to represent the diversity of drawing practice across the Schools of Art and Design, and Film and Journalism and to see the role it takes within technical and academic staff’s practices.

The exhibition also allowed all members of the university to understand the centrality of drawing to all creative practices, whether in preparatory, idea-forming ways, or as finished outcomes.

Drawing Review

First edition of a journal produced by UWE Drawing Research group, as part of an exhibition surveying the current role of drawing in UWE staff practices

This exhibition aimed to represent the diversity of drawing practice across the Schools of Art and Design, and Film and Journalism and to see the role it takes within technical and academic staff’s practices.

The exhibition also allowed all members of the university to understand the centrality of drawing to all creative practices, whether in preparatory, idea-forming ways, or as finished outcomes.

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  • Cover of a publication called Explain Yourself, documenting a community art project by artist Deborah Aguirre Jones, designed by City Edition Studio.. The cover features a printed band made using ink derived from mud from the Severn Estuary
    Cover of a publication called Explain Yourself, documenting a community art project by artist Deborah Aguirre Jones, designed by City Edition Studio.. The cover features a printed band made using ink derived from mud from the Severn Estuary

Explain Yourself

A publication for Deborah Aguirre Jones to document her Explain Yourself project, a long-term art work in collaboration with Caroline Stealey and the residents, art groups, families and individuals located in the Severn Beach area and its surrounding villages. This special edition of the book features a hand-printed cover using ink made from mud taken from Severn Beach. Indigo printed text pages, saddle stitched, hand-printed cover.

Explain Yourself

A publication for Deborah Aguirre Jones to document her Explain Yourself project, a long-term art work in collaboration with Caroline Stealey and the residents, art groups, families and individuals located in the Severn Beach area and its surrounding villages. This special edition of the book features a hand-printed cover using ink made from mud taken from Severn Beach. Indigo printed text pages, saddle stitched, hand-printed cover.

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  • Cover of a book called Indifferent Cresses design by City Edition Studio for Holly Corfield Carr and the National Trust
    Cover of a book called Indifferent Cresses design by City Edition Studio for Holly Corfield Carr and the National Trust

Indifferent Cresses

Indifferent Cresses is a book of pressings, poems and pockets, taking its title from Hannah More’s (1745–1833) complaint that women’s writing has long been dismissed as unwitting, the product of overnight accident or someone else’s good gardening and garnering as much praise as a salad. Commissioned in partnership with Trust New Art as part of the National Trust’s Women and Power programme, this bright and strange herbarium of various ‘cresses’ – from the Hairy Bittercress to the haunting scream of the Wood Ear – is the culmination of Holly Corfield-Carr's residency in the Tyntesfield plantation and records all the brilliance and violence of spring, inviting the reader to add to the compost and make the book their own.

Gold foiled cover on Colourplan Purple with leather embossing, text pages french folded on Cyclus Offset with 1 Pantone spot colour. Printed by Taylor Brothers Ltd Bristol. Awarded 'Best Brochure' in the Antalis Review 2018.

Indifferent Cresses

Indifferent Cresses is a book of pressings, poems and pockets, taking its title from Hannah More’s (1745–1833) complaint that women’s writing has long been dismissed as unwitting, the product of overnight accident or someone else’s good gardening and garnering as much praise as a salad. Commissioned in partnership with Trust New Art as part of the National Trust’s Women and Power programme, this bright and strange herbarium of various ‘cresses’ – from the Hairy Bittercress to the haunting scream of the Wood Ear – is the culmination of Holly Corfield-Carr's residency in the Tyntesfield plantation and records all the brilliance and violence of spring, inviting the reader to add to the compost and make the book their own.

Gold foiled cover on Colourplan Purple with leather embossing, text pages french folded on Cyclus Offset with 1 Pantone spot colour. Printed by Taylor Brothers Ltd Bristol. Awarded 'Best Brochure' in the Antalis Review 2018.

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  • Cover of a publication called Materials of Resistance by Clare Thornton, designed by City Edition Studio for Thornton's exhitibition of the same name at Plymouth Arts Centre
    Cover of a publication called Materials of Resistance by Clare Thornton, designed by City Edition Studio for Thornton's exhitibition of the same name at Plymouth Arts Centre

Materials of Resistance

Exhibition Catalogue for Clare Thornton’s Materials of Resistance, at Plymouth Arts Centre. The exhibition of Clare Thornton’s work explored her longstanding interest in folding and falling and its new means of expression through ceramics and print.

Thornton produced a sculptural installation comprising works that adorned the interior spaces of Plymouth Arts Centre, employing coiled, extruded clay and draped, printed pieces to explore time and pressure upon materials teetering on the edge of collapse. The curious, repetitive forms and motifs refer back to the body, a body seeking to be strong yet flexible in uncertain times.

The book reflects notions of transformation and transition that are present in her work with ceramics. High quality paper stocks hand-over to inexpensive, utility stocks throughout the book, and gradients and colour bars are in flux throughout the publication.

Materials of Resistance

Exhibition Catalogue for Clare Thornton’s Materials of Resistance, at Plymouth Arts Centre. The exhibition of Clare Thornton’s work explored her longstanding interest in folding and falling and its new means of expression through ceramics and print.

Thornton produced a sculptural installation comprising works that adorned the interior spaces of Plymouth Arts Centre, employing coiled, extruded clay and draped, printed pieces to explore time and pressure upon materials teetering on the edge of collapse. The curious, repetitive forms and motifs refer back to the body, a body seeking to be strong yet flexible in uncertain times.

The book reflects notions of transformation and transition that are present in her work with ceramics. High quality paper stocks hand-over to inexpensive, utility stocks throughout the book, and gradients and colour bars are in flux throughout the publication.

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  • Front cover of Being Here and Being There, a publication by Philippa Lawrence, designed by City Edition Studio
    Front cover of Being Here and Being There, a publication by Philippa Lawrence, designed by City Edition Studio

Being Here & Being There

An short publication for Phillippa Lawrence to accompany her exhibition at Hestercombe House in 2018. The publication brings together different formats, materials, stocks and formats into a singular publication that tells the story of Lawrence’s artworks at Hestercombe. The format suggests a case-file or study that is incomplete, encouraging the reader to continue the formation a narrative that is only beginning in the publication. Indigo printed gloss text pages, letterpressed gatefold cover on Arboreta Woodland Wove board with singer sewn binding, plus photographs, a tracing paper insert and a fragmented poster. Designed in collaboration with Eliza Bishop.

Being Here & Being There

An short publication for Phillippa Lawrence to accompany her exhibition at Hestercombe House in 2018. The publication brings together different formats, materials, stocks and formats into a singular publication that tells the story of Lawrence’s artworks at Hestercombe. The format suggests a case-file or study that is incomplete, encouraging the reader to continue the formation a narrative that is only beginning in the publication. Indigo printed gloss text pages, letterpressed gatefold cover on Arboreta Woodland Wove board with singer sewn binding, plus photographs, a tracing paper insert and a fragmented poster. Designed in collaboration with Eliza Bishop.

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  • Something More Permanent Then Concrete, a folded leaflet publication featuring phrases designed as fruit sticker labels. Designed by City Edition Studio
    Something More Permanent Then Concrete, a folded leaflet publication featuring phrases designed as fruit sticker labels. Designed by City Edition Studio

Something More Permanent Than Concrete

A seed pack and badge making kit designed for Ellen Wilkinson as part of her Orchard Engagement Programme Spring/Summer 2017, a long-term public art project originally created by British artist David Thorpe as part of the Future Perfect public art programme. The illustrations employ the visual language and form of fruit stickers, but reimagined with prompts and ideas in place of brand names. Designed in collaboration with Neasden Control Centre.

Something More Permanent Than Concrete

A seed pack and badge making kit designed for Ellen Wilkinson as part of her Orchard Engagement Programme Spring/Summer 2017, a long-term public art project originally created by British artist David Thorpe as part of the Future Perfect public art programme. The illustrations employ the visual language and form of fruit stickers, but reimagined with prompts and ideas in place of brand names. Designed in collaboration with Neasden Control Centre.

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  • A photograph of a wall featuring a typographic installation at Arnolfini gallery designed by City Edition Studio as part of Smith and Lewarne
    A photograph of a wall featuring a typographic installation at Arnolfini gallery designed by City Edition Studio as part of Smith and Lewarne

Arnolfini: New Rules

A typographic installation produced in collaboration with Neasden Control Centre as Smith & Lewarne. Arnolfini has been a place for imagination and bold new ideas in Bristol since 1961. As Arnolfini entered a new chapter in 2018, they wanted to tear up the rulebook of what a centre for contemporary arts should be or look like. New types of arts organisations are being imagined to respond to the ways in which culture is being produced and experienced. Arnolfini commissioned Smith & Lewarne to design a typographic installation based on a set of new rules as a basis for how a reinvented institution could be run.

Arnolfini: New Rules

A typographic installation produced in collaboration with Neasden Control Centre as Smith & Lewarne. Arnolfini has been a place for imagination and bold new ideas in Bristol since 1961. As Arnolfini entered a new chapter in 2018, they wanted to tear up the rulebook of what a centre for contemporary arts should be or look like. New types of arts organisations are being imagined to respond to the ways in which culture is being produced and experienced. Arnolfini commissioned Smith & Lewarne to design a typographic installation based on a set of new rules as a basis for how a reinvented institution could be run.

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  • Animated gif of a moving identity for The Fantastical Multi Media Pop Up Project, an exhibition at the Edge in Bath. Designed by City Edition Studio
    Animated gif of a moving identity for The Fantastical Multi Media Pop Up Project, an exhibition at the Edge in Bath. Designed by City Edition Studio

The Fantastical Multimedia Pop-up Project

A digital and print-based typographic identity for Edge Arts' summer exhibition featuring works based on virtual reality and other emerging technologies. The moving identity was used on screens and surfaces throughout the gallery take-over of virtual reality, interactive games, exhibits and art works at the intersection of arts, digital and science.

The Fantastical Multimedia Pop-up Project

A digital and print-based typographic identity for Edge Arts' summer exhibition featuring works based on virtual reality and other emerging technologies. The moving identity was used on screens and surfaces throughout the gallery take-over of virtual reality, interactive games, exhibits and art works at the intersection of arts, digital and science.

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  • Smithsons Trail, a fold out leaflet, map and essay on the work and legacy of Alison and Peter Smithson at the University of Bath. Designed by City Edition Studio
    Smithsons Trail, a fold out leaflet, map and essay on the work and legacy of Alison and Peter Smithson at the University of Bath. Designed by City Edition Studio

Smithsons Trail

A map of, and essay about, the buildings Alison and Peter Smithson designed at the University of Bath. Commissioned by Edge Arts.

From 1978 onwards the Smithson’s realised five built environments on campus and Peter Smithson taught architecture students within the Department of Architecture & Civil Engineering.

Although the Smithsons’ Brutalist style is quite unlike the Palladian architecture of Bath, they took enormous inspiration from the built heritage of Bath, sharing design aspirations for cohesion, organisation and enjoyment in habitation. They saw their additions as ‘mat building’, stating that the campus was like a fabric laying on the sloping landscape of the hillside. The Smithson’s wanted to understand and complement that existing fabric and ‘weave onto its edges several terminating fringes’.

Visitors can use the map to tour these key buildings and campus locations in order to better understand the Smithson's work and legacy.

Smithsons Trail

A map of, and essay about, the buildings Alison and Peter Smithson designed at the University of Bath. Commissioned by Edge Arts.

From 1978 onwards the Smithson’s realised five built environments on campus and Peter Smithson taught architecture students within the Department of Architecture & Civil Engineering.

Although the Smithsons’ Brutalist style is quite unlike the Palladian architecture of Bath, they took enormous inspiration from the built heritage of Bath, sharing design aspirations for cohesion, organisation and enjoyment in habitation. They saw their additions as ‘mat building’, stating that the campus was like a fabric laying on the sloping landscape of the hillside. The Smithson’s wanted to understand and complement that existing fabric and ‘weave onto its edges several terminating fringes’.

Visitors can use the map to tour these key buildings and campus locations in order to better understand the Smithson's work and legacy.

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  • Front cover of Silent Quarter, a book by Tim Lane, designed by City Edition Studio
    Front cover of Silent Quarter, a book by Tim Lane, designed by City Edition Studio

Silent Quarter

Silent Quarter is a short story written and illustrated by Tim Lane, told through a combination of writing and drawing in a hardback, case-bound book. The playful structure is most akin to a concept album. It has short written passages that fit together in a loose story arch which are like the ‘lyrics'. The 'music' is then provided by the large images that literally ‘open-up’ on fold-out pages and augment the text - lending mood, symbolism and providing time for reflection. Book photography by Dom Moore.

Silent Quarter

Silent Quarter is a short story written and illustrated by Tim Lane, told through a combination of writing and drawing in a hardback, case-bound book. The playful structure is most akin to a concept album. It has short written passages that fit together in a loose story arch which are like the ‘lyrics'. The 'music' is then provided by the large images that literally ‘open-up’ on fold-out pages and augment the text - lending mood, symbolism and providing time for reflection. Book photography by Dom Moore.

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Tales from the Dark Side of the City

A book series produced in collaboration with Neasden Control Centre for the Unknown Fields division of the Architecture Association. The series of 6 books document expeditions through Bolivia and the Atacama Desert, the Western Australian Outback, the South China Sea and Inner Mongolia, the gemfields of Madagascar, Far North Alaska and the black sites of the USA.

Unknown Fields is a nomadic design studio that ventures out on expeditions into the shadows cast by the contemporary city, to uncover the industrial ecologies and precarious wilderness its technology and culture set in motion. This book series forms an atlas to the territories and stories of a city that stretches across the entire planet, a city that sits between documentary and fiction, a city of dislocated sites, of drone footage and hidden-camera investigations, of interviews and speculative narratives, of toxic objects and distributed matter from distant grounds.

Tales from the Dark Side of the City

A book series produced in collaboration with Neasden Control Centre for the Unknown Fields division of the Architecture Association. The series of 6 books document expeditions through Bolivia and the Atacama Desert, the Western Australian Outback, the South China Sea and Inner Mongolia, the gemfields of Madagascar, Far North Alaska and the black sites of the USA.

Unknown Fields is a nomadic design studio that ventures out on expeditions into the shadows cast by the contemporary city, to uncover the industrial ecologies and precarious wilderness its technology and culture set in motion. This book series forms an atlas to the territories and stories of a city that stretches across the entire planet, a city that sits between documentary and fiction, a city of dislocated sites, of drone footage and hidden-camera investigations, of interviews and speculative narratives, of toxic objects and distributed matter from distant grounds.

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  • Front cover of Spike Islands Open Guide, designed by City Edition Studio
    Front cover of Spike Islands Open Guide, designed by City Edition Studio

Spike Island Open Guide

A visitor guide for Spike Island’s 2017 Open weekend, where studio-holders open their doors to the general public, allowing them a rare insight to not just the artist's work, but where they make it. The A4 format booklet is unbound and printed in two spot colours, giving a duotone effect to the images.

Spike Island Open Guide

A visitor guide for Spike Island’s 2017 Open weekend, where studio-holders open their doors to the general public, allowing them a rare insight to not just the artist's work, but where they make it. The A4 format booklet is unbound and printed in two spot colours, giving a duotone effect to the images.

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  • Cover designs for BEEF (Bristol Experimental & Expanded Film) programmes, designed by City Edition Studio
    Cover designs for BEEF (Bristol Experimental & Expanded Film) programmes, designed by City Edition Studio

BEEF

Seasonal programmes for BEEF, Bristol Experimental Expanded Film.

A5, single colour risograph print on one-side-fluorescent poster paper.

BEEF

Seasonal programmes for BEEF, Bristol Experimental Expanded Film.

A5, single colour risograph print on one-side-fluorescent poster paper.

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  • Front cover of the exhibition catalogue for Shifting Ground, a show of work by painter Stephen Smith at Hestercombe Gallery, designed by City Edition Studio
    Front cover of the exhibition catalogue for Shifting Ground, a show of work by painter Stephen Smith at Hestercombe Gallery, designed by City Edition Studio

Shifting Ground

Exhibition catalogue produced for visual artist Stephen Smith’s Shifting Ground exhibition at Hestercombe Gallery. The gallery's house format is employed to present the colourful and vibrant work of the artist.

Shifting Ground

Exhibition catalogue produced for visual artist Stephen Smith’s Shifting Ground exhibition at Hestercombe Gallery. The gallery's house format is employed to present the colourful and vibrant work of the artist.

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  • Gallery visitors looking at wall mounted prints and vitrines of letterpress printing work by printer Desmond Jeffery during the exhibition Type and Space at Spike Island, curated by City Edition Studio
    Gallery visitors looking at wall mounted prints and vitrines of letterpress printing work by printer Desmond Jeffery during the exhibition Type and Space at Spike Island, curated by City Edition Studio

Desmond Jeffery: Type & Space

Exhibition of the work of the late typographer Desmond Jeffery at Spike Island. This exhibition featured posters, prints and cards produced for Robert Erskine and his St. George’s Gallery who were at the forefront of a renaissance in British printmaking, as well as more political pieces including those for the Partisan coffee house and the Solidarity group. Some of the best examples of the marriage of Jeffery’s political and professional beliefs can be found in projects such as the Solidarity manifesto (1968) and Red Paper (1969). Curated with Charlotte Hetherington. Presented as a case study at St Bride Library as part of their Letterpress: Something to Say event. Exhibition photography by Stuart Whipps.

Desmond Jeffery: Type & Space

Exhibition of the work of the late typographer Desmond Jeffery at Spike Island. This exhibition featured posters, prints and cards produced for Robert Erskine and his St. George’s Gallery who were at the forefront of a renaissance in British printmaking, as well as more political pieces including those for the Partisan coffee house and the Solidarity group. Some of the best examples of the marriage of Jeffery’s political and professional beliefs can be found in projects such as the Solidarity manifesto (1968) and Red Paper (1969). Curated with Charlotte Hetherington. Presented as a case study at St Bride Library as part of their Letterpress: Something to Say event. Exhibition photography by Stuart Whipps.