Housed in Frederick Gibberd's Fullwell Cross Library the Barkingside Front Room has been designed to showcase Barkingside's past and its future as part of the ongoing 'Better Barkingside' project. It contains a growing exhibition about Barkingside, and will also host a series of events throughout the project, including lectures, celebrations, meetings and workshops.

The maps on the walls are a growing archive of Barkingside's history, and an up-to-date record of the changes to Barkingside's public realm and frontages.

Our bespoke typeface is based on Eurostile, the typeface used for the original signage in the library and leisure centre.

‘Just like you, Freeze Monster has been exploring Frieze Art Fair. But he has a terrible problem – he saw so much he can't actually remember what he has seen! As the fair is only once a year, this is a big problem. But, you can help!’

The Family Guide is an annual activity booklet for Frieze Art Fair. Children are given a series of questions and activities to help them engage with the art at the fair. The guide is made in collaboration with the illustrator Holly Wales with texts written by Hannah Murgatroyd and Hannah Coulson.

This book was designed on the occasion of Alice Channer's exhibition Out of Body at South London Gallery, using five different cuts of the typeface Univers. This book includes photographs from the exhibition, a selection of Alice's past work, an essay by Barry Schwabsky and an interview conducted by Sam Thorne.

The Aspen Complex draws on the events of the 1970 International Design Conference in Aspen, with documentary photographs of Martin Beck's exhibition Panel 2 – Nothing better than a touch of ecology and catastrophe to unite the social classes…, essays by Sabeth Buchmann, Felicity D. Scott, and Alice Twemlow and video stills from the Aspen Movie Map.

The physical form of The Aspen Complex references another book – The Aspen Papers – in both size and material. The Aspen Papers, published in 1974, is a book edited by Rayner Banham and designed by Ivan Chermayeff. It contains official material collected from the Aspen conferences. The headlines in The Aspen Complex are set in Compacta, a typeface used in two relevant counterculture publications from 1970 – Radical Software and Domebook.

Makers and Brothers is an Irish shop for design and craft objects run by brothers Jonathan and Mark Legge.

Our graphic identity for the brothers Legge includes a series of pictograms drawn from Irish landscape and tradition. These include landscapes inspired by Paul Henry paintings, objects and animals such as a stool, a sheep and a tree, and enlarged details of materials like wood and wool. The drawings are printed on stickers and tape used for the packaging of the products. We add new pictograms for special events and the changing seasons.

The Wild Kingdom is a playspace in Three Mills Green, Newham. It includes a variety of play structures that bring a sense of unexpected adventure, a place where nature and play come together.

Our graphic identity for the space is designed so that the community can easily implement it across a variety of platforms in print, online and on-site. As well as contributing a rugged playfulness to the project, the identity supports a number of free on-site workshops run before, during and after the landscape's construction.

Groundplan is a housebuilder directed by Crispin Kelly. Central to their work is the infrastructure of shared spaces within a community and how the design of private spaces influences the public spaces in between them.

We named the company and designed their graphic identity. Our research looked at icons of British suburban living from wheelie bins to picnic benches. The identity is composed of a set of pictograms depicting items that you would be likely to find in the shared spaces of the community.

Future Works is an exhibition catalogue for the Printmaking MA at the Royal College of Art. The book is printed in 8 separate 8-page signatures which are bound together, allowing one spread for each student. Each section is printed in a different complimentary colour pair which gradually changes through the book, resulting in an economical and vibrantly colourful book; a total of 16 spot pantone colours including fluorescents and metallics are used.

The students screenprinted the gatefold covers using their facilities at the RCA. Each cover features a marbling or blending of leftover inks from student projects. As a result traces of the artworks exhibited in the show are in the covers and each book is unique.

Located in London’s Olympic Park, Fantastic Factology was a project in which facts were submitted by members of the public via the website and on postcards through various workshops. The facts were collected, edited and finally produced as a series of bench plaques which were inset in park benches dispersed throughout the site, creating a trail of informative morsels covering everything from the sleeping habits of the snail to the structure of the Mongolian language.

Tumult was an exhibition showing Swedish 70s political craft. The exhibition design drew heavily on familiar vernacular exhibitions of the period, while much of the work on show had a certain urgency to it but with a high level of detail and consideration. In this spirit we imagined what a set of letterforms would look like if designed by an 'activist librarian', which became a bespoke typeface for the exhibition.

In Autumn 2010 David Batchelor installed a fountain of light above Archway tube station. The fountain remained there throughout the dark winter months until the clocks went forward again in the spring.

We worked with David Batchelor and Anna Hart to create a booklet of fountain paintings. From the fountains of Peterhof Palace to the Fountain of Youth depicted by Lucas Cranach the Elder, the fountains represented a selection from art and architectural history. David turned these fountain images into a series of dot paintings for the publication. The booklets were posted through the letterboxes of the 4000 closest residents the the station announcing the switching on of the artwork.

In 2010 and 2011 we ran and designed the bar at Sunday Art Fair with Ryan Gander. The event was punctuated by a series of artist cocktail hours where artists would design and mix cocktails for customers.

The cocktails included 'Punch' by Fiona Banner – a cocktail where the customer would attempt to down a magnum of champagne. However, there was a catch – the champagne could only be drunk from a champagne coupe whilst wearing boxing gloves and needed to be drunk in an allotted time signified by the ringing of the bell. The following year we held an art pub quiz with Bedwyr Willams as the quizmaster, putting the art knowledge of the crowd to the test.

Housed in a disused lobby within the diverse Stratford Shopping Centre (not Westfield) – a place where a 24-hour public thoroughfare and market street drives through the privately owned stores of commerce – The (Temporary) Museum of Stratford seeks to uncover the many layers of history underlying the area's current developments, providing a reflection upon Stratford's future through an excavation of its past.

Our brief was to design an exhibition which could be enjoyed by passers-by when peering through the windows of this forgotten corner of the shopping centre. We created the exhibition out of coloured cardboard and printed the catalogue on newsprint – temporary materials for a fleeting museum.

Early on in the project, when sifting through the archive material, we coincidentally found a photograph from 1971 of a previous exhibition offering ‘glimpses into the past and future of Stratford’. This image provided inspiration and direction for many of our design decisions as well as a suitable image for the front page of the newspaper.

Connectors was an exhibition of work by product designers and makers at the Saatchi Gallery. We designed the exhibition graphics including a bespoke typeface for the show.

The Parallel Cards at first appear like a traditional pack of cards. On closer inspection however it can be seen that the playing cards have no reverse side but two picture sides – with a different card always appearing on the reverse.

We developed the game Parallel Black Jacks to be played with the cards. Card tournaments for the game have been held at Somerset House, Lisson Gallery and Berkeley Art Museum, USA.

In many traditional designs, including the designs that we were using, the front face of playing cards are printed with the spot colours blue, red, yellow and black. As these colours are not so far off of the standard printing colours – cyan, magenta, yellow and black – we printed not only the cards but the accompanying leaflet which included a photograph of twins playing with the cards.

For the second edition of the cards we inverted all of the colours on the cards.

Concept Store is a journal published bi-annually by Arnolfini in Bristol. Each issue takes its theme from the current curatorial programme at the arts centre. We designed issue #2 which was about the future, spanning subjects from fashion to terrorism and from Korean housing projects to the destiny of the art world.

Material Presence was a group exhibition at 176 Gallery including work by Laura Buckley, Myriam Holmes, Graham Hudson, James Ireland, Alexej Meschtschanow, Katja Strunz and Mark Titchner.

The headline lettering that we used throughout the graphic identity was our redrawing of the Architectural Alphabet – designed by Johann Steingruber in 1773. Steingruber's letters are architectural plans for palaces, none of which were ever built. Steingruber’s alphabet, like most alphabets, existed only in printed form. To give the Alphabet a new lease of life we created a CAD rendered fly-through of the building-letters. The video loop was installed in the gallery foyer introducing visitors to the exhibition.

Housed in a former Methodist chapel, we covered sections of the gallery facade with banners depicting 1:1 scale sections of the Architectural Alphabet.

The publication to accompany the exhibition came in a box which contained the catalogue and an edition from each of the exhibiting artists.

Wouldn't it be nice… wishful thinking in art and design was a group exhibition curated by Katya García-Antón and Emily King. The artists and designers were chosen for having a modest sense of Utopianism in their work. They included Superflex, Bless, Alicia Framis, Jurgen Bey, Ryan Gander, Dexter Sinister, Dunne & Raby with Michael Anastassiades, Tobias Rehberger, Martí Guixé and Martino Gamper.

The interior of this exhibition at Somerset House was designed and built utilising bespoke polystyrene structures, which were engineered using computer operated hot wires and drill bits. We were interested in using the drill bit as a drawing tool to integrate captions and wayfinding information onto the surfaces of the exhibition space.

We drew a typeface inspired by both old engraving typefaces by Edward Johnson and Eric Gill and the monoline engraving typefaces sometimes found on generic acrylic office signage. This meant that our monoline typeface could be used on print as well as being engraved into the polystyrene, maintaining a consistent look throughout the show.

Finn Williams' exhibition at New London Architecture in 2007 included, in his words, a ‘mockumentary set 40 years after the completion of an alternative masterplan for Barking Riverside. It records residents' memories and impressions of a town built on the myth of a fictional, improved version of suburbia, a large white lie which may be fake, but ought to be true’.

We created a leaflet for this exhibition that implies it is part of a bigger history or context by appearing to be a loose section from a larger book. The page numbers begin at 97 and the publication starts and finishes mid sentence, as if cut off from the longer running text of the book. A Doric, an Ionic and a Corinthian column hang on the exhibition spaces pre-existing display boards, whilst the remaining exhibition graphics extend into wall vinyl and captions.

For the 2008 exhibition of British Post-Impressionist painters at Tate Britain we designed the marketing material. The design centred around Walter Sickert's 1914 painting Ennui.

Loose Associations are a series of lectures by the artist Ryan Gander. The lectures are informally structured, linking together a string of anecdotes and references into a series of happy encounters. We were asked to convert these lectures into printed form alongside three of Ryan's other lectures. We translated the narrative links into the layout by placing the images in the run of the text where they would appear as slides in the lecture.

The Allotment was a temporary restaurant at 8 Egerton Garden Mews in South Kensington. The restaurant opened for four months in the spring of 2007 and was run by Platform 2, Design Products at the Royal College of Art. The restaurant's menu and interior design evolved in three stages – this promotional poster was overprinted and updated three times to mirror this change.