Harry Bennett

Hailing from the West Midlands, and having originally joined It’s Nice That as an editorial assistant in March 2020, Harry is a freelance writer and designer – running his own independent practice, as well as being one-half of the Studio Ground Floor.

All 101 articles

Proto-typography: how type is dictated by the surface it’s written on

9 April 2024

Caitlin McLoughlin’s design for Worms celebrates printed matter as ephemeral objects of representation

23 January 2024

How a furry encounter on a train led Laura Schaeffer to the Eurofurence convention

29 November 2023

Guns, muscles and swords: Hugo Bilton’s joyous dive into ‘boyish’ things

13 November 2023

Cristina BanBan’s La Matrona explores the female form as a vessel of introspection

8 November 2023

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Rejecting restraints: Mike Nigra on combining typographic anatomies

2 November 2023

Long live the king: Studio Herrström’s identity for Elvis pulls on his typographic history

25 October 2023

DesignStudio’s BVB rebrand embodies the club’s relentless passion on and off the pitch

25 October 2023

Growing and showing: Jack Kenyon captures a giant vegetable competition

24 October 2023

Fabiola Mejía’s inquisitive, archaeological type practice traverses unexplored territories

10 October 2023

Minimalism, connection and culture: the influence of emotional and physical spaces across Shivani Parasnis’ practice

20 October 2021

“An art of tension and release”: Kookie Santos on freedom and restriction in type design

19 October 2021

Anton Koovit’s UCity Pro is a typeface for the future, found in 1970 Lancia Stratos Zero

15 October 2021

Margherita Sabbioneda on defining her unconventional design practice

14 October 2021

How Daan Rietbergen uses physicality within type design to ensure “it really exists”

14 October 2021

“I always strive for something that I’ve never tried before”: Sthuthi Ramesh on instinctive design

14 October 2021

Art Nouveau, emojis and ignoring conventions: Emily Jing Sum Chan on her latest typeface Orna

13 October 2021

Proto-typography: how type is dictated by the surface it’s written on

Caitlin McLoughlin’s design for Worms celebrates printed matter as ephemeral objects of representation

How a furry encounter on a train led Laura Schaeffer to the Eurofurence convention

Guns, muscles and swords: Hugo Bilton’s joyous dive into ‘boyish’ things

Cristina BanBan’s La Matrona explores the female form as a vessel of introspection

Rejecting restraints: Mike Nigra on combining typographic anatomies

Long live the king: Studio Herrström’s identity for Elvis pulls on his typographic history

DesignStudio’s BVB rebrand embodies the club’s relentless passion on and off the pitch

Growing and showing: Jack Kenyon captures a giant vegetable competition

Fabiola Mejía’s inquisitive, archaeological type practice traverses unexplored territories

Studio Lowrie’s identity for Rally festival is unpolished and DIY-inspired

Words of Type opens up the multicultural typographic landscape for the better

Meet Bobby Engvall and the visual pick-and-mix of his prolific practice

Minimalism, connection and culture: the influence of emotional and physical spaces across Shivani Parasnis’ practice

“An art of tension and release”: Kookie Santos on freedom and restriction in type design

Anton Koovit’s UCity Pro is a typeface for the future, found in 1970 Lancia Stratos Zero

Margherita Sabbioneda on defining her unconventional design practice

How Daan Rietbergen uses physicality within type design to ensure “it really exists”

“I always strive for something that I’ve never tried before”: Sthuthi Ramesh on instinctive design

Art Nouveau, emojis and ignoring conventions: Emily Jing Sum Chan on her latest typeface Orna

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