London-based graphic designer Ciaran Birch has successfully transitioned into freelance work since his last interview in 2019, focusing his creative energy on custom typography and letterform design. Despite the inherent uncertainties of working independently, Birch has discovered his passion lies in crafting bespoke type projects that bring unique character to brand identities.
"It's often the most fun element within a project and is probably what I'm most likely to be doing day-to-day," Birch explains. "I love the process of chipping away at a design until it feels in a place that is relevant to the brief." The designer admits that freelance life comes with its challenges, noting "there's always moments where you're having doubts," but his dedication to typography has kept him motivated and engaged.
Birch's recent portfolio showcases an impressive range of custom wordmarks and icons for high-profile clients. His work includes collaborations with outdoor brand Salomon, Alaska Alaska partnerships, and distinctive designs for Martine Rose fashion collections. Additionally, he has created typography for music projects, developing album artwork for bands like Quade and designing materials for Significant Others' new musical imprint, Pain Management.
The designer's approach involves drawing type from scratch, meticulously crafting letterforms from the ground up. His creative process often begins with what he calls "a bank of half-baked typefaces" – an archive of observational sketches developed during quieter moments. However, each project presents unique challenges that require fresh solutions.
"If it's for Martine Rose, the objective is to add personality or emotion to the garments in a way that fits into her world," Birch explains. "If it's for a gig poster, such as an Accidental Meetings night, the intent is to keep it relevant to the acts on the lineup in a way that stands out in different formats."
According to Birch, custom typography gives brands greater freedom with their tone of voice. By establishing this crucial aspect of a project's visual direction early in the process, he can avoid relying on superfluous decoration later. "Tailoring the suit that letters are wearing allows the designer to craft more of a sense of meaning to any language a client wants to put front and center in a creative commission," he notes.
While the time-intensive nature of custom type design can be challenging, Birch views it as an opportunity for mindful creativity. "The only challenging side to the job is how time consuming it is – but I use that as an excuse to really slow down and zone out," he says. The designer easily finds flow state while sketching and developing alphabet-shaped ideas, describing the process of stretching letterforms, adjusting kerning, and refining details as both speculative and intuitive.
For logo design, Birch believes the most successful marks incorporate elements of intrigue and mystery to create authentic brand narratives. He uses a simple test to evaluate effectiveness: "A good gauge of whether something works being whether it can sit by itself in monotone and still hold its own."
One of his most compelling recent projects involved creating album artwork for Quade's release "The Foel Tower." The experimental folk band's music explores conflicting feelings about the British landscape, and the album was recorded at Nannerth Ganol Studios in the Elan Valley. This location holds historical significance, as Birch explains: "An area that was dammed to make way for the Elan aqueduct that sent water to Birmingham and that also provided a testing site for the bouncing bomb."
For this project, Birch aimed to "create an icon that fused this destruction and pillaging of nature with a visual language that connotes appreciation and a change in attitude." The resulting design reflects both the environmental destruction and the evolving relationship with the British landscape that characterizes Quade's music.
Birch's recent work portfolio includes diverse projects such as the Charm logotype, promotional typography for various clients, logos for Seave and INGRAM, album artwork for Holy Tongue's "The Tumbling Psychic Joy of Now," and the PLZ Make It Ruins rune design. His typography work has also appeared on Significant Other's "When It Rains" project and the logotype for "4 A.M" by Yokel.
Looking toward the future, Birch plans to maintain his focus on typography while expanding his personal projects. "At some point turn some of those half-baked sketches into fleshed out typographic projects of his own, getting them out there for others to see," he shares. However, he's content with his current direction: "For now I'm happy creating bespoke mini-identities and world building."
The designer's commitment to crafting custom typography reflects a broader trend in graphic design toward personalized, meaningful visual communication. By developing unique letterforms for each client, Birch helps brands establish distinctive voices in an increasingly crowded marketplace. His methodical approach to type design, combined with his growing archive of experimental typefaces, positions him as a notable voice in contemporary graphic design and typography.
Birch's work demonstrates how custom typography can serve as a powerful tool for brand storytelling, whether applied to fashion collections, music projects, or corporate identities. His ability to translate complex narratives – from environmental destruction to experimental music – into effective visual communication showcases the versatility and impact of thoughtful type design in modern creative practice.
