Gosia Adur
Graphic Designer working across brand, print and packaging. I make the sort of design that looks obvious once it's finished, which is usually the hardest kind to arrive at.
Selected work
Six projects
Meridian
Identity for an architecture practice that had quietly outgrown its old logo. The wordmark is drawn from one modular grid, so it holds together foil-blocked on a business card or six feet tall on a site hoarding.
Salt & Ash
Bottles and labels for a two-person distillery. Each release carries a different hand-drawn botanical, which gave regulars a quiet reason to collect the whole shelf.
The Quiet Review
Art direction and layout for an independent literary quarterly. Two hundred pages, a single typeface, and a grid left loose enough to let the writing breathe.
Nightjar
A whole festival built outward from one risograph-printed poster. The look spread to tickets, tote bags and the lanyards nobody seemed to throw away.
Grotesque No. 7
A display typeface drawn for a fashion house's in-house team, taken from first sketch to a working variable font. Seven weights, and one very stubborn lowercase g.
Foundry
A portfolio site and plain-English content system for a ceramics studio, so they could add new pieces themselves instead of emailing me at midnight. Built to load fast on a gallery's temperamental wi-fi.
About
Approach & capabilitiesI'm Gosia Adur, a graphic designer with ten years of studio and freelance work behind me — most of it spent on brands, books and the occasional stubborn logo.
I like the unglamorous parts of the job. The grid, the kerning, the third round of revisions where a thing finally clicks into place. My work tends to be quiet rather than loud; I'd sooner earn a second look than shout for the first one. In practice that usually means fewer ideas done properly: one confident typeface, a palette you could describe down the phone, and a system tidy enough that other people can keep it running long after I've handed it over.
I've worked with start-ups, publishers and a slightly suspicious number of coffee roasters, and I'm as happy setting a 200-page report as I am drawing a mark from nothing. When I'm not at the desk, I'm usually hunting through charity shops for old Penguin paperbacks or at the printer's, getting ink on something I probably shouldn't.
- Brand identityLogo, system, guidelines
- EditorialBooks, magazines, reports
- PackagingStructure & surface
- Art directionPhotography & tone
- TypographyType choice & setting
- DigitalWebsites & social
Let's work together.
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