Studios & Designers Portfolio                                                                                                                                                                                                                                                                                          

Studios & Designers









Pentagram



London, New York City, San Francisco, Berlin and Austin, Texas


Pentagram is a multi-disciplinary, independently owned design studio.

Their work encompasses graphics and identity, strategy and positioning, products and packaging, exhibitions and installations, websites and digital experiences, advertising and communications, data visualizations and typefaces, sound and motion. 

I am drawn to Pentagram’s design philosophy because of its balance between creativity and functionality. The studio’s ability to translate complex ideas into visually simple, yet deeply meaningful solutions is something I admire greatly. Their approach to design, which often involves collaboration and a deep understanding of the client’s goals, resonates with my own aspirations as a designer. I value how Pentagram’s work is not just visually compelling but also strategically impactful—ensuring that every project they undertake communicates a strong message to its intended audience.

Pentagram’s ability to take risks while remaining true to a high level of design excellence is particularly inspiring. The way they create visual identities that stand out and make a lasting impact on their audiences is something I strive to emulate. Their projects feel personal and meaningful, and that’s exactly the kind of design I want to produce—work that doesn’t just blend in but makes a statement.


The Adbusters Media Foundation 








Canada


Adbusters is a Canadian-based, not-for-profit organization that uses the medium of advertising to challenge the corporate-driven, consumerist culture. Founded in 1989 by Kalle Lasn, Adbusters has been at the forefront of a global movement aiming to create "culture jamming," which seeks to subvert mainstream media messages and promote alternative, critical views. Known for its thought-provoking and often provocative campaigns, Adbusters blends art, activism, and design in a unique and compelling way. Their work typically features striking, minimalist visuals paired with social and political commentary.

Adbusters resonates with me because of its unapologetic, bold approach to design and activism. Their focus on subverting mainstream advertising and media culture mirrors my own desire to push boundaries and create designs that challenge societal norms. The way they use graphic design as a tool for activism, questioning consumerism and corporate power, aligns with my belief that design can and should be a force for social change.

What excites me about Adbusters is their ability to take a medium like advertising, which is often used to manipulate and control, and flip it on its head to communicate messages that provoke thought and encourage critical thinking. This subversive approach to design is something I want to emulate in my own work. I want my designs to have substance beyond aesthetics—to be able to challenge perspectives, raise awareness, and ultimately inspire action. Adbusters’ projects do just that, using powerful visuals and direct messages to disrupt the status quo and spark meaningful conversations.


Kalle Lasn



 Kalle Lasn is the founder and editor of Adbusters, the very leftwing, very well-designed magazine that has railed against consumerism since 1989, Lasn is a pioneer of ‘culture jamming’,  the act of disrupting or “jamming” mainstream media messages and turning them against themselves. He takes corporate logos and ads and distorts them to expose hypocrisy or manipulation.  


Kalle Lasn is a figure I admire not just for his work in design, but for how he uses media as a tool for rebellion. As the founder of Adbusters and a key voice in culture jamming, Lasn doesn’t just design — he disrupts. His work challenges the systems we often take for granted: consumerism, capitalism, the overwhelming noise of advertising. That rebellious edge is something I’m drawn to, especially as someone who sees design as a way to provoke thought and question power.


Studio Dumbar



Rotterdam, Netherlands

Studio Dumbar, established in 1977 by Gert Dumbar in The Hague, is a renowned Dutch graphic design agency now operating as STUDIO DUMBAR/DEPT®. Specializing in visual and motion identity, creative coding, and sound design, the studio has collaborated with notable clients such as Dutch Railways, Utah Jazz, Instagram, and the Van Gogh Museum. 

Among its significant projects, Studio Dumbar developed the visual identity for Rotterdam Partners, aiming to promote economic growth in the city. The studio also crafted a new international branding for The Netherlands, enhancing the country's global image.

I like Studio Dumbar because of how unapologetically experimental they are. Their work pushes the boundaries of traditional graphic design, especially through motion and bold use of colour, yet it never feels random—there’s always a strong conceptual backbone. They’re not afraid to be weird, abstract, or intense, but they still manage to communicate clearly.


  

Territory Studio 



London
    
I’m drawn to Territory Studio because of their distinctly futuristic style, especially in the work they’ve done for film and entertainment. Their visuals feel bold and ahead of their time—there’s a sharpness and precision to everything they design that immediately captures the imagination. What stands out most is the way they seamlessly integrate cutting-edge technology with strong design thinking, crafting cinematic experiences that feel both immersive and conceptual.

Their work inspires me to think about design not just as a visual tool, but as a storytelling medium that shapes how we engage with digital worlds. Territory Studio’s ability to build believable, speculative futures through screen graphics, interfaces, and motion work makes me want to explore how I can bring that same kind of innovative energy into my own practice. It pushes me to consider how I might blend narrative, technology, and aesthetic to create something that feels ahead of the curve—design that isn’t just functional, but visionary.
   







Studio Fallout



San Francisco

Studio Fallout is a San Francisco-based design collective led by Winston Smith and Matthew Kadi. Their work embodies a rebellious, anti-establishment ethos, aligning closely with my interest in design that challenges societal norms. Smith's iconic punk collage art and Kadi's photography and graphic design create a fusion of political commentary and visual storytelling. This approach resonates with my desire to produce work that is both impactful and thought-provoking.​

I like Studio Fallout because their work feels raw, unapologetic, and full of intent. The punk influence is loud in everything they do, especially through Winston Smith’s anarchic collage style. That kind of anti-corporate, rebellious energy is something I connect with deeply. Their work shows how graphic design can be personal, political, and powerful all at once. It’s not polished for mass appeal—it’s made to provoke, to question, and to resist. That’s the kind of practice I want to build: one that stands for something.


Winston Smith



Winston Smith was one of the first graphic designers I really connected with. I first discovered his work through the album art he created for Green Day, and that introduction led me to explore more of his collage pieces. I became completely drawn in by his distinct cut-and-paste style, which is full of raw energy and political intent.

What makes Smith’s work so compelling is the way he uses found imagery to craft bold, satirical statements. His pieces are confrontational but clever, rooted in punk culture and anti-authoritarianism. He takes symbols of power—like advertising, religion, and government—and reconstructs them into striking critiques that are hard to ignore. That showed me design doesn’t just have to be about aesthetics; it can challenge people, provoke thought, and hold meaning.

What I admire most is how personal his work feels. Even when he’s targeting large systems, his voice still comes through clearly in every composition. His use of collage isn’t just a style—it’s a way of thinking, questioning, and resisting. That approach has had a big impact on how I view design. I want my own work to have that same level of urgency and purpose, to make people feel something, and to say something that matters.


Peter Kennard


 I’m inspired by Peter Kennard because of how he uses his graphic design to raise awareness and address social and political issues. His work, particularly his photomontages, powerfully critiques war, inequality, and corruption, making his art both urgent and timeless. Kennard’s ability to merge art and activism in a way that’s both visually striking and deeply impactful is something I strive to achieve in my own designs. His pieces, like those from the Protest series, show how design can be a tool for change, and I admire how his work has maintained its relevance throughout decades of political turmoil. His focus on creating a clear message through sharp, disruptive visuals is something I hope to incorporate into my own .

David Carson


I admire David Carson, particularly for his work with Ray Gun, because he broke all the rules of graphic design and embraced chaos in a way that was both daring and refreshing. His raw, experimental style pushed boundaries, creating designs that were unconventional yet full of energy. The way he played with typography, texture, and imagery in Ray Gun made the magazine feel alive and relevant, which is something I find truly inspiring. Carson’s disregard for traditional design principles, while still maintaining clear communication, challenges the status quo and encourages creativity without limits. His work reminds me that design doesn’t always have to be neat or controlled; it can be messy, dynamic, and still have a powerful impact.