Minelgaite studio

Minelgaite studio Branding, strategy and creative content

07/12/2025

Still thinking about Lucy Raven’s Murderers Bar at the Barbican. The curved screen pulls you into the air—half helicopter, half dream—and suddenly you’re gliding over a river finally freed from a century-old dam. There’s something deeply satisfying about watching a landscape breathe again, knowing that real people fought for that restoration.

It’s part film, part visceral reminder that the land remembers—and that we can actually undo the damage we’ve done. If you need something stirring, unusual, and beautifully shot, go see Rounds. It’s there ’til 4 Jan, and it’s absolutely worth stepping into.

Type design isn’t just about shaping letters — it’s about shaping meaning. My work often sits where identity, memory, an...
06/12/2025

Type design isn’t just about shaping letters — it’s about shaping meaning. My work often sits where identity, memory, and place blur into each other, and two of my typefaces capture that intersection in very different ways.

Romford Stencil (2016) was born out of the Brexit years: fractured, modular, and deliberately uneasy. Its split forms echo a union pulling apart, while its contrasting upper- and lowercase styles hint at coexistence without blending into sameness. And yes — despite its sharp edges — it reads beautifully in text and sings at display sizes.

Suburban Collier (2020) arrived in the quiet of the pandemic. A humanist demi-serif with soft curves, subtle ligatures, and an alternate a, it draws from the suburban calm of Collier Row. It’s warm, multilingual, and designed to bring personality to both body copy and expressive headline work.

Together, they turn place and cultural memory into tools for visual storytelling — typefaces that don’t just set text, but set a mood.

✨ All my fonts are currently 30% off with the code Happy2026!

If you’re building brands, crafting editorial work, or simply hunting for type with emotional depth, now’s a perfect moment to explore them.

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